Merle Hall Collection - Arts Bendigo, Various sundry documents- a. One-page notice (''To All Teachers of Piano in the Bendigo Area'') of visit to Bendigo of former Bendigo student Tony Gray, notice date March 1993 - concert in the Banquet Room, Capital Theatre 14/3/1993; b. One-page notice of visit of Russian pianist Elisio Virsaladze and ''Moving Harps'' (trio) for October dates Year??; c. A5 brochure of information and dates for 1985 ''for many of the local and visiting arts-associated functions''. (3 pages of functions with dates, summary of performance and location of show; d. Single-page sheet of ''Arts Bendigo Activities Oct. '84 - Sept. '85 with paragraphs of ''Major Achievements'' and ''Disappointments'' and ''Thanks''. Also - ''Just Happened of Still To Come''; d. Six paged listing of 'Bendigo Subscribers' List 1979'' (Arts Council of Australia) with * annotations of being ''Financial'' - mostly personal names/addresses but some organizations. Approx 150 entries; e. two-paged list of ''Arts Bendigo Members July 1985'' with annotations of s= Single and F = Family members - approx 65 names; f. one-page Brief Report of Program Subcommittee June 1982, with rough analysis of attendance figures for recent shows; g. 3-page report of AB Development Sub-Committee meeting of 25/2/1985; h. two-paged report on ''Possible rehearsal and performing spaces in Bendigo area as known at June 1988 by Merle Hall, Secretary - brief details of 7 facilities and a number of ''Other'' facilities, with a final section on ''The Grand Vision''; i. One-page ''Proposals from Development Sub-committee'', prepared by Ellis C Blainer 3/3/87 - eight proposals in small detail; j. Bi-fold flyer ''Membership Information'' with description of AB activities and membership details/application form (not dated); k. A5 invitation of 'parchment' paper to ''25 Years of Achievement in the Arts'' (27/101995) - a brief AGM with a Social Evening from 8 pm; l. one-page invitation note accompanying the formal invitation to the special evening for 25th celebration of working with the arts in the Bendigo region.

Merle Hall Collection - ''Arts of Fire'' Newsletter (Old Fire Station Arts Co-operative Limited). - newsletter of various arts activities taking place in Bendigo region on a monthly basis. Issues of: a. Aug 1987 (with loose-leaf insert from Bendigo Film Group for July-Dec 87); Oct 1987; c. Dec 1987 (with flyer on Craft Market); d. Mar. 1988; Apr 1988; f. June 1988; g. June 1988; h. July 1988 ( with attached letter to ''Dear Secretary'' from the Editor informing recipients of the newsletter's objectives); i. Aug 1988; j. Oct 1988; k. July 1989; l. Oct 1989; m. Mar 1990; n. Apr 1990; o. June 1987; p. May 1989; q. June 1990; r. July 1990; Sept 1990.

Artznews Newsletters (Cultural Development Office, Bendigo Regional Arts Centre - a. Dec 1998-Jan 1999 Issue; b. Feb 1999 Issue; c. Mar 1999 Issue; d. Nov 1999 Issue; e. Apr 2001 Issue; f. May 2001 Issue; g. June 2001 Issue; h. Dec 2001 - Jan 2002 Issue; i. Jan 2000 issue; j. Feb 2000 issue; k. Mar 2000 issue; Apr 2000 issue; m. Oct 2000 issue.

List of the Seating for Supper, includes Official Party, Debutantes and their Partners, and Other Guests. Official Party consisted of: Sir George Lansell, Lt General Wells & Mrs Wells, Col J W Swatton & Mrs Swatton, Cr. Oliver & Mrs Oliver, Mr F E Jackson & Mrs Jackson, Mr R C Wright & Mrs Wright, Ladies Auxiliary, Mr A V Palmer and J. Barton. Other Guests: Miss Liddell, Col. J Lockwood & Mrs Lockwood, Col P Seymour & Mrs Seymour, Major P Kennedy & Mrs Kennedy, Ladies Carpet Bowls, War Widows Guild, S. S. & A. Mothers, Eaglehawk Sub-branch, Parma Dance Club, Harcourt Sub-branch, Mr B Wood & Mrs Wood, Mr Tout & Mrs Tout, Mrs Keck, Captain Poole,event, social, victory ball, r.s.l. bendigo collection - rsl victory ball 1951 seating for supper, sir george lansell, lt general wells & mrs wells, col j w swatton & mrs swatton, cr oliver & mrs oliver, mr f e jackson & mrs jackson, mr r c wright & mrs wright, ladies auxiliary, mr a v palmer, j barton, miss liddell, col j lockwood & mrs lockwood, col p seymour & mrs seymour, major p kennedy & mrs kennedy, ladies carpet bowls, war widows guyild, s s & a mothers, eaglehawk sub-branch, parma dance club, harcourt sub-branch, mr b wood & mrs wood, mr tout & mars tout, mrs keck, captain poole

Timetable published by the Electric Supply Co of Victoria (ESCo) for Ballarat Tramways - dated 1/10/1914 to 30/4/1915. Provides times for each route, ticket prices, school tickets, fare box routes, fares, transfer tickets, and route colours both for day and night. Also has notes to passengers and places of interest for each route. Has contact phone numbers for the Company. Manager Mr Pringle. See item 9131 for a 1915 Winter timetable. Has many adverts - from the front page: A M Palmer Chemist Hodgson - optical Snows - department store Summerscales - postcards W E Thomas - Dentist L Casper - optician E Jermyn - feed merchant Standsfield & Smith - Decorators Briant's Red shop tea rooms A E White - tailor Ellingsen & Co - furniture Southern Cross Hotel H P Stevens & Co - fur coats Frank Williams - painter and decorator Longhurst's bread factory G Buchanan - metal ceilings Robert Hutchinson - electrical engineer and contractor G Ludbrook - furnishing undertaker A Cant - plumber, gasfitter and ironmonger Huddart Parker and Howard Smith coal merchants Precision Big 4 - motor cycles and bicycles H W Channing - Tram drivers' training school T H Richards - butcher C Ellis - furniture exchange Levecke's motor garage Frank Penhalluriack - electrical work Nankervis - store Taffy King Fred A Reed - tobacconist F & J W Gower - builder E E Hobson - decorator Walter Cornell - liver pills Irvines - wines G Warner - Ironmonger J A Reynolds - Wall papers W J Robson - leadlights Porter's - boots and shoes Holman & Fiscalini - stables and motor garage Butler & Co - blinds Mrs Kerby - clothing reseller Rose Cosmetic - H Binzer & Co Mrs Busfield - laundry Mrs J H Dogson - registry office for servants B G Tucker's Water Cure Electric Supply Co Rowlands drinks On the bottom of most pages - Sidar products and on the top the Coliseum Picture Palace. Demonstrates and ESCo timetable and provides information about fare systems and local businesses.Time table - booklet - 40 pages + brown light card covers centre stapled with tabbed or cut pages.tramways, ballarat, timetables, esco, advertisements, fares, tickets, fare boxes

Timetable published by the Electric Supply Co of Victoria (ESCo) for Ballarat Tramways - dated 1/5/1915 to 30/9/1915 - winter. Provides times for each route, ticket prices, school tickets, issue and use of tokens, fares, transfer tickets, and route colours both for day and night. Also has notes to passengers and places of interest for each route. Has contact phone numbers for the Company. Manager Mr Pringle. See item 9132 for a 1914 Summer timetable. Has many adverts - from the front page: A M Palmer Chemist Hodgson - optical Snows - department store ESCo - show room in Sturt St L Casper - optician E Jermyn - feed merchant Standsfield & Smith - Decorators Briant's Red shop tea rooms A E White - tailor Ellingsen & Co - furniture Southern Cross Hotel H P Stevens & Co - fur coats Frank Williams - painter and decorator Longhurst's bread factory G Buchanan - metal ceilings Robert Hutchinson - electrical engineer and contractor G Ludbrook - furnishing undertaker A Cant - plumber, gasfitter and ironmonger Huddart Parker and Howard Smith coal merchants Precision Big 4 - motor cycles and bicycles H W Channing - Tram drivers' training school T H Richards - butcher C Ellis - furniture exchange Levecke's motor garage Frank Penhalluriack - electrical work Nankervis - store Taffy King Fred A Reed - tobacconist F & J W Gower - builder E E Hobson - decorator Walter Cornell - liver pills Irvines - wines G Warner - Ironmonger J A Reynolds - Wall papers ESCo Electric lighting Holman & Fiscalini - stables and motor garage Butler & Co - blinds Mrs Kerby - clothing reseller Rose Cosmetic - H Binzer & Co Mrs Busfield - laundry Mrs J H Dogson - registry office for servants Summerscales - stationary and postcards W J Robson - glass Porter's Boots and Shoes B G Tucker's Water Cure Electric Supply Co Rowlands drinks On the bottom of most pages - Sidar products and on the top the Coliseum Picture Palace. Demonstrates and ESCo timetable and provides information about fare systems and local businesses.Time table - booklet - 40 pages + green light card covers centre stapled with tabbed or cut pages.tramways, ballarat, timetables, esco, advertisements, fares, tickets, tokens

politician, mayor, premier, bust, sculpture, margaret baskerville, speaker, member of parliament, member of lower house, local government, councillor, brighton, public art, bayside, thomas bent, unveiling, ceremony, mayoress, sculptor, councillor wilson, crowd, 1913, nepean highway, mrs bent, elizabeth bleazby, fountain, memorial, john madden, lieutenant governor

This framed compilation was presented to Councillor Thomas Wilson J.P., President and Trustee, by the Members & Committee of the Brighton District Brass Band as a token of esteem on 23 September 1915.brighton district brass band, band, brass band, councillor, committee, members, w.a. adamson, d.e. mcbryde, cr. g.h. alford, cr. j.j. hanby, cr. t. wilson, cr. w.p. frances, cr. j.r. burrows, j.h. taylor, d. bridgen, h.l. glenn, g. sheppard, d. mcpherson, w. octagon, h.r. wonnacott, w. booker, j. grundy, e. sangwell, h. teeson, c. dunham, w. lawrence, l. blight, h. leftley, g. rumney, f. monk, j.j. passe, a.e. brown, h.j. thorns, n.l. orford, a. grant, j. monk, w. graham, g. nickells, c. temme, h.f. northe, e. harding, g. reed, w. mason, w. lott, h. cooper, j. eldred, h. holmes, a. brame, sepia photograph, portrait, gainsborough studios

politician, mayor, premier, bust, sculpture, margaret baskerville, speaker, member of parliament, member of lower house, local government, councillor, brighton, public art, bayside, thomas bent, unveiling, ceremony, mayoress, sculptor, councillor wilson, crowd, 1913, nepean highway, mrs bent, elizabeth bleazby, fountain, memorial

The A.N.A. Hall in View Street was opened in August 1894. The Sandhurst Branch was started on August 26th, 1874. In July 1874, several gentlemen met together, and when a sufficient number had given in their names and sufficient promises of support had been received, the board of directors were approached with a view to forming a branch of the association in Bendigo. On August 26, 1874, the inception took place. The building was demolished in 1971. Photo collage of members of the Building Committee of the Sandhurst Branch of the Australian Natives' Association. Twenty sepia coloured photos recessed in oval or rectangular shaped opening with gold coloured edging, on backing board. One larger photo is surrounded by gold coloured pattern with scalloped edge. Below this is a photo of the ANA building in View Street. Banner beneath the Photo of the ANA building "Presented to Mr Chas. the Sandhurst Branch ANA in Recognition of His Valuable Service as President in Year 1894". The collage is framed in gold coloured ornate wooden frame. Plaque attached to lower edge of frame lists names of men in the photos. "BUILDING COMMITTEE - 1894" J H CURNOW M J CAHILL Dr J QUICK D A CAMPBELL M J E STAPLETON A DUNSTAN Dr J MURPHY C DALEY (President) A G DUNLOP W CROWLEY A J HAMPSON W BEEBE J HOGAN T GLASS J B YOUNG R H ABBOTT A.N.A. HALL A G DAYMOND D EGAN J DANIEL J BUCHAN S A COCK ana, australian natives' association, sandhurst, photo collage

Old Tom mine included quartz mining and open cut mining. Today the remains of the battery site, cyanide plant, hydrolic sluicing and a 1930's puddler can be seen. It was operating in August 1874 and was taken over in 1897 by an English syndicate, J. R. Syndicate. By 1899 the mine had reached 500 feet in depth . The mine closed c. 1901.8529 Sand mining at Old Tom mine the Whipstick, Eaglehawk. O'Halloran's team of nine men and two horses and carts. Two men with horse and carts; and seven men on top of the sand deposit. A4 copy of 1513 Box 25sand mining, whipstick, old tom mine

Flanged Tramway Rails - sections from The North Eastern Steel Co. Ltd. Middlesborough - see https://www.gracesguide.co.uk/North_Eastern_Steel_Co 1 - Walthamstow & District Light Railways BS Section No. 3C - 106 lbs. per yard 1904 - Dick Kerr & Co. Contractors London. See https://en.wikipedia.org/wiki/Tottenham_Outrage 2 - Bath & District Tramways 95 lbs per yard 1903 - George Hopkins & Sons Engineers London 3 - Burton on Trent Tramways 90 lbs per yard 1903 - Messrs Kincaid, Waller & Manville, Consulting Engineers 4 - Swindon Corporation Tramways BS Section No. 4 C, 111 lbs per yard, 1904 - Messrs J G White & Co. Ltd, Contractors London 5 - Wigan Corporation Tramways BS Section No. 5, 100 lbs per yard, 1903 - Messrs J G White & Co. Ltd, Contractors London 6 - Derby Corporation Tramways BS Section No. 6, 107 lbs per yard, 1904 - Messrs J G White & Co. Ltd, Contractors London 7 - Nottingham Corporation Tramways BS Section No. 1 , 90 lbs per yard, 1903, J. G. White Ltd, London, Contractors. 8 - Swindon Corporation Tramways, BS Section No. 4, 105 lbs per yard - Messrs J G White & Co. Ltd, Contractors London, Messrs Lacy & Sillars Consulting Engineer 9 - Kalgoorlie Electric Tramways BS Section ? 96 lbs per yard. 1904 - Messrs J G White & Co. Ltd, Contractors London 10 - Leicester Corporation Tramways & Track? 100 lbs per yard 1903, I George Maybey? MICE Engineer 11 - Ipswich Tramways 90 lbs per yard, 1902, Dick Kerr & Co. Contractors London Shows the type of tramway rail and cross section produced by The North Eastern Steel Co early 1900's, the relationship to the British Standard and who used them. Provenance of the item not fully known. Possibly given to the Electric Supply Co of Victoria at the time when they would have been ordering rails for use in Ballarat. May have been collected by other parties.Plywood sheet, covered in black cloth displaying 11 different British Standard Rail Sections made by The North Eastern Steel Co. Ltd. Middlesborough , early 1900's. Each section secured with two 20mm (¾”) long, 3mm dia (1/8”) machine screws, countersunk with a slotted head from the rear. All nickel plated on both sides, engraved as to the tramway used on, date of production on the head of the rail, Designing Engineers on the web and the manufacturer on the foot of the rail. Cloth secured with staples and drawing pins on the rear. On the rear is a chalked sign, the principal one being "No Thoroughfare"Engraved as listed.tramway rails, rails, tramways, north eastern steel co, middlesborough, walthamstow, bath, burton on trent, swindon, wigan, derby, nottingham, kalgoorlie, leichester, ipswich, j g white & co, dick kerr

Subdivision plans are historically important documents used as evidence of the growth of suburbs in Australia. They frequently provide information about when the land was sold on which a built structure was subsequently constructed as well as evidence relating to surveyors and real estate and financial agents. The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens. The photograph is also aesthetically significant as it was taken by J. E. Barnes, a nationally significant photographer. He was the most important photographer to have worked in Kew. He was active as a photographer in the district from c.1906 until his death in 1921. Best known as 'the Embarkation Photographer' (see the Australian War Memorial collection), Josiah Earl Barnes was also the official photographer employed by the Borough (and later Town, then City) of Kew. He clearly also completed commercial jobs for local businesses, as is the case in this photograph of a house for a local real estate and financial agent. A modest weatherboard house with rough-cast rendered walls. The gabled entrance incorporates elements of the Japanese aesthetic. The strong lines of the dark timber gable are reinforced by the colour and shape of the pickets in the fence. In contrast to an earlier period, the chimneys appear truncated. The use of extensive double-hung sash windows in the front rooms reflects a new interest in light in houses. The use of separate sunshades over windows in an earlier period is here replaced by an extension of the roofline over the window. The photographer Josiah Barnes died in 1921; so, the photograph of the house must predate this date. The location of the house, which was advertised for sale, has to date not been identified. Illegible inscription. Photographer's information on mount.josiah earl barnes, j e barnes, photography - kew, interwar housing - victoria, 1920s housing - kew

Subdivision plans are historically important documents used as evidence of the growth of suburbs in Australia. They frequently provide information about when the land was sold on which a built structure was subsequently constructed as well as evidence relating to surveyors and real estate and financial agents. The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens. The photograph is of additional aesthetic significance as it was photographed by J. E. Barnes. Josiah Earl Barnes is a nationally significant photographer. He was also the most important photographer to have worked in Kew. He was active as a photographer in the district from c.1906 until his death in 1921. Best known as 'the Embarkation Photographer' (see the Australian War Memorial collection), J. Earl Barnes was also the official photographer employed by the Borough (and later Town, then City) of Kew. He clearly also completed commercial jobs for local businesses, as is the case in this photograph of a house for a local real estate and financial agent.A photograph, mounted on board of a double fronted Federation-era brick villa in Kew, photographed for a local real estate agent and financier by J. E. Barnes of Kew. On the reverse of the photograph is a subdivision plan for the Normanby Estate, East Kew - 2016.0039.1. As can be seen from the image, there is a large tear on the surface of the photograph.The brown card on which the photograph is mounted includes the following handwritten description, which may aid the identification of the house: "Kew, 3 minutes from tram, 8 roomed DF Brick Villa, tile roof including two attics, sleepout, bathroom, heater, E Light, Entrance Hall, double doors, leadlights, laundry, garden, lawns, land 75 x 170, 1975 pounds". Also photographers inscription on mount, lower left: J. E. Barnes / Photo / Phone 1966 Haw. KEW.j. e. barnes, josiah earl barnes, j. earl banes - photographer, architecture - federation style, houses - kew, real estate photographs

Historical information - RECHABITES - The Star of Kew Tent, No. 260. This branch of the Independent Order of Rechabites was founded in September, 1882, when the following members were installed as the first officers by the district officers, viz. Chief Ruler, Bro. W. H. Bardwell; Deputy Ruler, Bro. C. 
Viney; Past Chief Ruler, Bro. J. V. Morgan; Treasurer, Bro. R. Eyre; Money Steward, Bro. A. Brown; Levite, Bro. W. H. Richardson; Guardian, Bro. J. Wathen; Secretary, Bro. T. J. Eaton. Bros. W. H. Bardwell, T. J. Eaton, and F. J. Legge 
were appointed as trustees. It is interesting to 
note that three of the foundation members, Messrs. Bardwell, Eaton, and Richardson, and still members of the tent. The first meetings were held in the Mission Hall, but for many years the meeting place 
of the tent has been the Kew Town Hall. The funds of the tent have gradually accumulated until at the last audit they amounted to £2,097. For many years past the interest on the funds has been more than sufficient to meet all claims for sick pay. The 
total membership is now 140. The following past secretaries have been mainly instrumental in placing the tent in its present position:-Bros. T. J. Eaton, W. H. Bardwell, C. B. Gray, and C. L. Churcher. The present officers are :- C.R., Bro. R. M. Jones; D.R., Bro. T. H. B. Williams; P.C.R., Bro. C. H. Green; Treasurer, Bro. W. J. Thornton; Secretary, Bro. F. C. W. Hurrell. Junior Branch. A junior branch was founded in 1883, and while its membership has fluctuated considerably according to the enthusiasm of the management, it has been the means of introducing many members to the senior tent. Its membership is now 41. Female Branch. Lily of Kew Tent, No. 20. This branch was formed in October, 1904, and has accomplished good work. Its membership is 38. Much of its success is due to the untiring energy of its secretary, Mrs. J Jaycock. Source: Barnard, FGA, Jubilee History of Kew, Victoria, 1910This document forms part of a large collection of material assembled by the Rogers family of Kew and donated by the family to the Kew Historical Society by Dorothy Rogers or by her sons. The items in the collection have social and spiritual significance and are also historically significant. Items such as this coloured lithograph have a degree of artistic and aesthetic significance as representative examples of the certificate designers art in the 19th Century. A certificate awarded to W. H. Richardson (the father of the historian Dorothy Rogers) by the ‘Juvenile Tent No.157 in appreciation of his role as ‘Superintendent’. The certificate notes that 1887 was the fourth anniversary of the Juvenile Tent. The Star of Kew Tent No. 260 had been formed in 1882 as a branch of the Independent Order of Rechabites. W. H. Richardson was a founding member.star of kew tent no.260, independent order of rechabites, william h richardson, rogers collection, testimonials

RECHABITES. The Star of Kew Tent, No. 260. This branch of the Independent Order of Rechabites was founded in September, 1882, when the following members were installed as the first officers by the district officers, viz. Chief Ruler, Bro. W. H. Bardwell; Deputy Ruler, Bro. C. 
Viney; Past Chief Ruler, Bro. J. V. Morgan; Treasurer, Bro. R. Eyre; Money Steward, Bro. A. Brown; Levite, Bro. W. H. Richardson; Guardian, Bro. J. Wathen; Secretary, Bro. T. J. Eaton. Bros. W. H. Bardwell, T. J. Eaton, and F. J. Legge 
were appointed as trustees. It is interesting to 
note that three of the foundation members, Messrs. Bardwell, Eaton, and Richardson, and still members of the tent. The first meetings were held in the Mission Hall, but for many years the meeting place 
of the tent has been the Kew Town Hall. The funds of the tent have gradually accumulated until at the last audit they amounted to £2,097. For many years past the interest on the funds has been more than sufficient to meet all claims for sick pay. The 
total membership is now 140. The following past secretaries have been mainly instrumental in placing the tent in its present position:-Bros. T. J. Eaton, W. H. Bardwell, C. B. Gray, and C. L. Churcher. The present officers are :- C.R., Bro. R. M. Jones; D.R., Bro. T. H. B. Williams; P.C.R., Bro. C. H. Green; Treasurer, Bro. W. J. Thornton; Secretary, Bro. F. C. W. Hurrell. Junior Branch. A junior branch was founded in 1883, and while its membership has fluctuated considerably according to the enthusiasm of the management, it has been the means of introducing many members to the senior tent. Its membership is now 41. Female Branch. Lily of Kew Tent, No. 20. This branch was formed in October, 1904, and has accomplished good work. Its membership is 38. Much of its success is due to the untiring energy of its secretary, Mrs. J Jaycock. Source: FGA Barnard, Jubilee History of Kew, Victoria, 1910This document forms part of a large collection of material assembled by the Rogers family of Kew and donated by the family to the Kew Historical Society by Dorothy Rogers or by her sons. The items in the collection have social and spiritual significance and are also historically significant. Items such as this coloured lithograph have a degree of artistic and aesthetic significance as representative examples of the certificate designers art in the 19th Century.A colour lithograph, following a standard Rechabite design recording that Sister Richardson (later the historian Dorothy Rogers) joined the Junior Section of the Star of Kew Tent of the Independent Order of Rechabites on 17 February 1915. The certificate features biblical scenes and figures exhorting ‘Truth and Temperance’ and ‘Love and Purity’.independ, independent order of rechabites, dorothy (richardson) rogers, membership certificates, rogers collection, lily of kew tent, no. 20

"METHODIST CHURCH. In 1881, during the ministry of Rev. W. H. Fitchett, B.A., at Hawthorn, a number of members of the denomination living at Kew considered that the time was opportune for founding a local Church. The Superintendent of the Circuit, the Rev. W. A. Quick of Richmond, met the members and formed them into a society class under the leadership of Mr. A. Brown and a Church was formally instituted at the house of Mr. T. J. Eaton, of Eglinton Street, in December, 1881. Services were regularly held for some time at the same place, and funds for purchasing a block of land were gradually collected, resulting in the present site in Highbury Grove being purchased for £350. Messrs. W. Cleverdon, A. Money, T. E. Serpell, and T. Vasey, of Hawthorn, and Messrs. A. Brown, R. Eyre, and T. J. Eaton of Kew, were appointed trustees. A public meeting was held a the Town Hall, when over £100 was raised. The Rev. John Harcourt, who had just been placed on the supernumerary list, was persuaded to undertake the charge, and commenced services in the Town Hall on 29th April, 1882, which were continued for eighteen months. A Sunday School was started, and altogether the effort progressed so satisfactorily that in October, 1882, the foundation and memorial stones of the present Church were laid by Mr James Huddart. At the tea meeting held in connection with this event nearly £200 was raised and a few months later £250 more was obtained by means of a bazaar. The contract for building Church was let for £1,200. The Sunday School celebrated its first anniversary in June, and the Church was opened on 7th October 1883, the preachers on the occasion being Revs. E. J. Watkin, S. Chapman, and John Harcourt, the collections amounting to £230. Towards raising these sums of money the ladies of the congregation helped very materially. In 1886 the foundation stone of a Sunday school, to cost about £900, was laid by Mrs. H Berry, the building being opened in April 1887. During the same year the Church was enlarged. In 1889 parsonage was erected, and again arrangements had to be made for a further enlargement of the Church, at a cost of nearly £2,000. The foundation stones of the tower were laid by Rev J. Harcourt, and of the transepts by Mrs. Job Smith and Mrs. John Watson. These additions were made during the ministry of Rev. P. R. C. Ussher, the first minister appointed to Kew by conference. He has been succeeded by Revs. Henry Howard, J. de Q. Robin, J. J. Brown, J. G. Wheen, A. E. Albiston, M.A., and F. J. Nance, M.A., who is at present ably filling the pulpit. For the musical portion of the services, the Church has been greatly indebted to the enthusiasm of Mr. C. Gardner, the leader of the choir, and Mr. C. E. Gardner, the organist. The Sunday School has had a number of excellent workers, among whom may be mentioned Messrs. Burchett, Allum, Hillard, Tonkin, Dent, Avery, McDonald, Green, and B. Hoadley, who have acted as Superintendents, and Messrs. Arnall and McCaghern as Secretaries. The present trustees are Messrs. H. Berry, Job Smith, A. Hoadley, F. Vial, C. Powers, H. L. Carnegie, C. H. Green, W. R. Rylah, E. M. Tonkin, S. Gaylard, J. Gregory, J. R. McDonald, T. J. Eaton, F. S. Fitchett, and S. Lamble; Society Stewards, T. J. Eaton and B. Hoadley; Poor Stewards, G. Hinchliffe and G. Fraser; Church Stewards, C. H. Green and G. Hinchliffe; Treasurer, F. S. Fitchett; Secretary, S. Lamble." Source: FGA Barnard, Jubilee History of Kew, Victoria, 1910Commemorative tributes were regularly produced in the 19th and early 20th Century to honour community service. Most were adapted from traditional lithographed models. This example, while created within a formal lithographed border has been transmuted into the equivalent of an illuminated document, hand-painted, and therefore rare. The use of flowers in the design emphasises the sentimental and spiritual aspects of the certificate. The document is a rare unique record of the Kew Methodist Church's history.A hand written testimonial for John Watson Esq from the Trustees of the Kew Methodist Church. The customised colour lithograph includes, at lower left, a turn of the century photograph of the Kew Methodist Church in Highbury Grove. The entire certificate is surrounded by floral art and scroll work. The central text uses neo-gothic lettering.‘Dear Sir … in view of your compulsory retirement on health grounds, from the position of Church Steward, [the Trustees] desire to express their great appreciation of your long service of over 22 years, in that and other offices in the Church. They trust that you will yet be spared many years in fellowship with our Church, and that God’s richest blessing be on you, and your family. We remain, Yours sincerely A. E. Albiston (Minister), S. Lamble (Secretary), F. S. Fitchett (Treasurer), T. J. Eaton (Trustee), C. H. Green and Hubert S. Howell (Church Stewards); March 28th 1907’. john watson esq, kew methodist church, highbury grove, certificates, tesimonials

When E. Whitehead's New Map of Victoria was released in 1869, an advertisement in the Bendigo Advertiser (16 July 1869) noted that: "This beautifully engraved Map has been revised and brought down to the present time; and, with the Alphabetical Key, is the most complete and the cheapest Map ever published; Price, 6d plain; 1s colored; 2s 6d in case; on linen, post free, 2d extra. E.. WHITEHEAD and CO, Publishers, 67 Collins-street east." The following year, 1870, Whitehead's promoted the edition in the Portland Guardian and Normanby General Advertiser (3 January 1870), advising that: "WHITEHEAD'S NEW MAP OF VICTORIA, 1869 ... is corrected to the latest date, and around is arranged an Alphabetical Key, with Post Towns and Money Order Olffices marked. The Map being divided into squares and numbered, by reference to the Key any place can be found immediately. Price Is beautifully colored, or mounted on linen in case, 2s 6d. Post free, 2d extra, in Victoria. B. Whitehead and C0., Puolishers, 67 Collins-street East, Melbourne". In the same edition of the Portland Advertiser, they also promoted their business generally, saying: "E WHITEHEAD and Co., Stationers, Engravers, Lithographers, 67 Collins street East, execute every description of Lithographic PRINTING, BILL-HEADS. NOTE Headings. Business Dies Engraved and Embossed on Envelopes &c. ARMS, MONOGRAMS, AND CRESTS Engraved and Embossed in Colour, superior to any other house in the Colony. Specimens, post free, 2d. Lithographers, &c, to H.R.H. the Duke of Edinburgh, and Die-inkers and Embossers to His Excellency Sir J. H. T. Manners-Sutton, K C.B. Orders executed for the Trade". Whitehead’s New Map of Victoria 1869 is is an important record of region created towards the end of the Victorian Gold Rush (1851-1869). In addition to its historical significance, this is a rare map, of which the only known copies in Australian public collections are those held at the National Library of Australia, the State Library of Victoria, State Library of New South Wales and the University of Queensland Library.Map of Victoria with gold mining areas, notes on topography, transport routes. Relief shown by hachures. List of towns with distance from Melbourne in map margin. [Melbourne] : Printed & Published by ... E Whitehead & Co ... 67 Collins Street East, 1869 1 map : col., mounted on linen ; 38.4 x 55.4 cm, folded to 18 x 12 cm.Cover "WHITEHEAD'S NEW MAP OF VICTORIA 1869"maps - victoria - 1860s, e whitehead's new map of victoria 1869, whitehead's map of victoria with alphabetical key 1869, cartography, gold rush

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.A panoramic photograph of the junction of High Street and Cotham Road. The photographer centres the point-of-view on the Kew Post Office and adjacent Court House. These were designed in the Queen Anne style by the Public Works Department's architect J Harvey and completed in 1888. The complex is important because it demonstrates a departure from the contemporaneously favoured High Victorian Classical to the Queen Anne style in the design of civic buildings. The earlier Jubilee Fountain in front of the Post Office was erected by the Kew Borough Council to commemorate the Golden Jubilee of Queen Victoria in 1887. It was created to a design of the architects Reed, Henderson and Smart. The fountain was later relocated to the Alexandra Gardens to make way for the Kew War Memorial. The tram tracks in High Street were used by the horse tram, which ran from the Victoria Street Bridge to the Boroondara General Cemetery. The tram was replaced by an electrified service in 1915.The Post Officekew post office, kew illustrated, kew where we live, photographic books, henry kellett

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 1891, High Street was the centre of commercial activity in the Borough of Kew. It was unpaved and edged with deep bluestone gutters, which were designed to channel the significant flow of storm water down the hill to and beyond the Junction. On either side of the entrance to the shopping strip are two cast iron gas lamps that provided the only public street lighting before the Post Office was reached. Most shops, including the Nicholas Brothers’ Junction Store featured cast iron verandas. Further up the hill, Dougherty’s Greyhound Hotel was by this stage a local institution. Apart from the horse-drawn tram, the main form of personal and commercial transport in this period remained the horse, horse and cart, or buggy.The panoramic view predates the widening of High Street in the 20th century, and thus includes the original alignment of buildings on the south side. These included Henry Kellett’s shop.High Street, Kewkew illustrated, kew where we live, photographic books, henry kellett, high street - kew (vic)

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.Before true aerial photography became possible, photographers such as J.F.C. Farquhar were compelled to shoot their images from the highest vantage point. Here, it is presumed to be the roof of Xavier College, from which the panoramic view extends west towards the rise of Studley Park. The houses in the foreground face the southern end of Gellibrand Street. Wellington Street is at an angle to the camera with the Queen Street intersection on the near right. The wooden building behind the large horse paddock on the other side of Gellibrand Street is the Kew Recreation Hall, built 1888, demolished 1960. It was reputed to have one of the finest dancing floors in or around Melbourne. The Bowling Green at the rear of the Hall belonged to the Kew Bowling Club. Further west is the Kew Railway Station on Denmark Street, opened to the public in 1887. At this period, much of Studley Park was locked up in large landholdings, dominated by large mansions such as ‘Byram’. Bird's Eye View Looking Westkew illustrated, kew where we live, photographic books, henry kellett, denmark street, kew recreation hall, kew bowling club, wellington street

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.This panoramic view was probably taken from the roof of Xavier College. It invites the viewer to look down on the buildings and streets of Kew, and across to the distant horizon. Mansions and solid bourgeois villas dominate the view of Charles and Wellington Streets. The imposing spires of the Presbyterian and Methodist Churches, built in one of the highest areas of Kew, can be seen in the distance. In the foreground, the photographer includes three significant mansions: Molina, Roxeth and Elsinore. Molina, in the foreground, and the group of weatherboard buildings in its yard was used at this stage for the privately operated ‘Kew High School’ (founded 1872). Roxeth, the home of Herbert Henty can be identified by its distinctive four-sided tower. All three buildings are now part of Trinity Grammar. Other built structures observable in the photograph include Wilton (now the Kew RSL), designed by Guyon Purchas for Dr William Walsh in 1886, and the only known image of the Prospect Hill Hotel prior to the renovation of 1935. Bird's Eye View Looking Northkew illustrated, kew where we live, photographic books, henry kellett

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.Very few of the natural or built features in this panoramic photograph of Wellington Street remain. The open land between High Street South and Denmark Street, then known as O’Shannessy’s Paddock, was to become a residential subdivision at the beginning of the 20th Century. On the far side of Denmark Street, bordered by a picket fence, is the Kew Railway Station (demolished 1957). Further east, the large building with the flagpole is the Kew Recreation Hall (demolished 1960), which was the centre of civic life for almost a century. The building was used for dances, civic functions and exhibitions. A bowling green, tennis courts, and a cricket ground surrounded the Hall. The dominant building in the photograph is Xavier College, founded in 1872 by the Society of Jesus. The first classes for pupils were held in 1878. It is presumed that Farquhar used its roof for two of his bird’s eye views.Wellington Street from High Streetkew illustrated, kew where we live, photographic books, henry kellett

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 this view of Studley Park Road, looking northeast to the Junction, the photographer invites the viewer to participate in a point-of-view that emphasises the elevated, tranquil vantage point of the hill in contrast to the bustling commercial area in the distance. The view emphasises the exclusiveness of Studley Park, with its high fences behind which a number of significant Kew mansions were concealed. Contemporary advertisements for the sale of mansions in Studley Park Road often included fulsome descriptions of their elaborate formal gardens, as well as paddocks for grazing, stabling and dairies. None can be seen here. The use of high, protective wooden pickets to surround the newly planted avenue of elms on the south side of the road appears to be typical of the period. Similar examples can be seen in early photographs of Wellington and Princess Streets.The horse and carriage, selected as a central focus of the view, reinforces the residential, exclusive nature of this part of Kew in the early 1890s. Studley Park Roadkew illustrated, kew where we live, photographic books, henry kellett

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.This is the earliest known photograph of the exterior of Byram (later Tara Hall). It shows the original red brick fence, its asymmetrical gate and gateposts, with a large terra cotta gargoyle surmounting the higher of the two. The architect, Edward Kilburn designed Byram in the Arts & Crafts style for the industrialist George Ramsden. Construction began in 1888 and was reputed to have lasted three years. The mansion had frontages to Studley Park Road and Stevenson Street, including gardens laid out with great taste, including pleasure grounds, tennis lawn, fruit and flower garden, and paddock. The size of many of the trees in the garden indicate that many survived from the garden of Clifton Villa, the previous single-storeyed house built on the site by the Stevenson brothers. Byram had views to Melbourne and Port Phillip Bay. The house was demolished in 1960, despite opposition from the National Trust (Victoria), and its gardens subdivided into residential allotments.A View in Studley Park Roadkew illustrated, kew where we live, photographic books, henry kellett, byram, tara hall, goathlands

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.Completed in November 1890, the railway viaduct (now the Chandler Highway Bridge) linked Kew and Fairfield. The viaduct is significant as the most substantial extant engineering remnant of the Outer Circle Railway Line. Opened in March 1891, the viaduct crossed the Yarra River in a single span, atop three supporting brick pillars. Following the closure of the railway line in 1927, and the construction of the Chandler Highway in 1930, the bridge was used for vehicular traffic. In 1891 when this panoramic photograph was taken, the grounds of what was then the Kew Lunatic Asylum extended down to the River and eastward beyond the viaduct. The landscape surrounding the Asylum was planted with traditional exotic trees such as Oaks, Pines and Cedars, and landmark trees from northern Australia such as the Hoop Pine. Remnant indigenous trees such as the River Red Gum, Yellow Box and Lightwood were scattered around the site, including beside the Yarra River.Railway Bridge Over the Yarrakew illustrated, kew where we live, photographic books, henry kellett, railway viaduct - - kew (vic)

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