At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.When the Kew Lunatic Asylum was opened in 1871, its extensive 340 acres of grounds were intended for farming, agriculture and recreation for the inmates. The point-of-view chosen by Farquhar for this panoramic photograph focuses on the ordered open fields, haystacks and remnant trees that extended from the foreground to the rear of the Asylum. The inmates are the absent players in this pastoral idyll. In 1891, The Argus reported on the Annual Asylum Picnic: “Wednesday saw the Kew picnic, the yearly festival of the mad folks and their keepers. Once a year the public subscribes for cakes and ale for all these mad folks, and their keepers, from superintendent to lowest wardsman, turn out, and use their best endeavours to make one day in the year sanely merry.” Regardless of such merriment, the Asylum’s development and ongoing status were frequently a source of disquiet to the residents of Kew, who regularly petitioned the State Government for its removal. Despite these views, the Asylum was to remain a functioning institution from 1871 to 1988. Kew Asylum & Groundskew illustrated, kew where we live, photographic books, henry kellett, kew lunatic asylum

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.In Farquhar’s close-up portrait of the rat catcher and his dog, the photographer excludes any extraneous data that otherwise might have provided a spatial or motivational context. The contemporary or the present day viewer is required to construct a narrative to explore or understand what is occurring. The title of the picture might incline a viewer to believe that what they see is an exercise in vermin control, and that the rat concerned might be an introduced black or brown rodent. A more likely scenario is that the rat catcher is focussed on catching ‘rakali’, a native water-rat once widely trapped for its fur. The trapping of rakali for use in the manufacture of fashionable clothing accelerated as introduced furs such as musquash became more expensive. It was not until 1938 that rakali were granted protected status.Ratting on the Yarrakew illustrated, kew where we live, photographic books, henry kellett, yarra river

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Dight’s Falls in Studley Park is an artificial weir built on a natural rock bar across the Yarra. The weir was built in the 1840s to provide water to the ‘Ceres’ flour mill, one of the earliest industrial sites in Melbourne. The falls were later to be named after the owner of this mill. In 1888, William Guilfoyle, Director of the Melbourne Botanical Gardens had called for fresh water to be piped from above the weir to the Botanical Gardens, using a pumping station on the Kew side of the Falls, a holding reservoir in Walmer Street and a series of pipes from there to the Gardens. This system was opened in May 1891. Farquhar’s photograph of the man-made weir obscures the industrial activity on both sides of the Falls and focusses solely on the river and the surrounding natural vegetation. The photograph probably predates the disastrous flooding of the Yarra River in July 1891, the greatest to have occurred in the Colony since the foundation of Melbourne.Dight's Fallskew illustrated, kew where we live, photographic books, henry kellett, yarra river

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Hyde Park is now a small recreation reserve bordered by Willsmere and Kilby Roads and White Avenue. In 1982, Hyde Park was cut off from the Yarra River by the construction of the Eastern Freeway. The building of the latter was to transform the natural landscape, including the Yarra, as well as Hyde Park. The construction of the Freeway makes it difficult to view the scene with the photographer’s eye. Today’s Hyde Park is located on land purchased in 1847 by John Cowell, and in 1851 Catherine Cowell, yet the scene selected by the photographer may well have been located on farmland owned by the Wills family. Farquhar’s point-of-view emphasises both the pastoral and recreational elements of the scene: the grazing cows, three boys, and in the distance two figures, seated on the bank with a parasol. By 1891, an environmental consequence of human activity, including farming, was deforestation, leading to the erosion of the south bank of the Yarra. In contrast, the land on the Alphington side of the river in 1891 included remnant bushland.The Yarra in Hyde Parkkew illustrated, kew where we live, photographic books, henry kellett, yarra river

The French Collection was donated to the Society in 2022. This collection includes documents, artworks, books, costumes and artefacts belonging to two families. A number belonged to, or were made by the grandparents of the donor: Vera May Wing and her husband Hubert Charles McDonald. [Other items belonging to Vera and Hubert are in the collections of the Australian Performing Arts Museum and Museum Victoria.] A second significant group of objects were gifts made to the donor's family by Lucy (Jean) Hornby of Queen Street, Kew whose family had been early settlers in the district.Gift of Anna French, 2022Frankston country road. Oil on composite board by Hubert Charles McDonald.Reverse: "HC McDonald / Frankston"artworks, frankston, hubert c mcdonald

Kew achieved independence from the Boroondara Roads Board in 1860. As a new municipality, its first three leaders were designated as chairmen. On becoming a borough in 1863, its leaders were identified as mayors. The earliest photographs date from ca.1906, when the Town of Kew commissioned the noted local photographer Josiah E Barnes to produce standardised portraits of former mayors to be displayed in the Mayoral Chamber of the Town Hall. The collection also includes photographs by other well-known photographic studios such as Burlington Studios, Melba – Melbourne, Stuart Tompkins, Spencer Shier and Talma & Co. The majority of mounts identify the photographer. Eighty photographs are housed in their original frames.This portrait is one of a series of mounted and framed photographic portraits of mayors and town clerks of the former Borough, Town and City of Kew. The portraits were transferred by the City of Kew to the Kew Historical Society in March 1989. A Significance Assessment in 2018, funded by the National Library of Australia confirmed the historic, and often artistic significance of the series.Framed portrait of Cr. J.H. Woolcock, Mayor of Kew 1922-3, 1923-4. The mounting and framing of the photograph follows a typical layout or style in that each is framed in dark wood, glazed, and laid down on an inscribed board. The inscription identifies the name of the mayor and the year/s that he/she served.[Inscription] "Cr. J.H. Woolcock, Mayor 1922-24" [Photographer] "C.S. Tompkins / Camberwell"mayors of kew (vic), cr. j.h. woolcock, australian photographers - c. stuart tompkins - camberwell (vic), kew (vic.) — municipal collection

Kew achieved independence from the Boroondara Roads Board in 1860. As a new municipality, its first three leaders were designated as chairmen. On becoming a borough in 1863, its leaders were identified as mayors. The earliest photographs date from ca.1906, when the Town of Kew commissioned the noted local photographer Josiah E Barnes to produce standardised portraits of former mayors to be displayed in the Mayoral Chamber of the Town Hall. The collection also includes photographs by other well-known photographic studios such as Burlington Studios, Melba – Melbourne, Stuart Tompkins, Spencer Shier and Talma & Co. The majority of mounts identify the photographer. Eighty photographs are housed in their original frames.This portrait is one of a series of mounted and framed photographic portraits of mayors and town clerks of the former Borough, Town and City of Kew. The portraits were transferred by the City of Kew to the Kew Historical Society in March 1989. A Significance Assessment in 2018, funded by the National Library of Australia confirmed the historic, and often artistic significance of the series.Framed portrait of a mayor of Kew. The mounting and framing of the photograph follows a typical layout or style in that each is framed in dark wood, glazed, and laid down on an inscribed board. The inscription identifies the name of the mayor and the year/s that he/she served.mayors of kew (vic), australian photographers - c stuart tompkins, cr. d. s. m. norris, kew (vic.) — municipal collection

Previous owners: T. H. Smith, T. W. SmithNo. of volumes: 7 Volume range: Vol. 1 (1866) - Vol. 7 (1874-1875) law reports; digests; etc. -- great britain, nobility -- claims, appellate procedure -- great britain -- cases

Oil on canvas

F E Glisson Great Western Victoriastawell education

History of the St Matthews Church(2 Copies 1 trimmed on A4 Size) Photocopy white paper with black print and B/W/ Photo of a church.Jubilee History 1860-1911 St Matthews Presbyterian Churchstawell religion

The Mont Albert Reading Circle was founded in 1919 to provide mental stimulus. Its adaptability to changing circumstances over the years were recognised and met. This book unfolds its story. It includes a list of presidents.The Mont Albert Reading Circle was founded in 1919 to provide mental stimulus. Its adaptability to changing circumstances over the years were recognised and met. This book unfolds its story. It includes a list of presidents.ibhai, house names, wolseley street, mont albert, (miss) - sinnott, (miss) - hollow, (mrs) c m grout, (mrs) e drake, (mrs) i steane, (mrs) a webster, (mrs) s g routley, (mrs) - dunn, (mrs) boyce gibson, (mr) noel counihan, (mrs) - normand, (mr) john mcdouall stuart, social clubs, clubs and associations, mont albert reading circle, reading circle, groups (people)