Arthur Henry Dear was an employee of the City of Kew, acting as Hall Keeper of the Kew Recreation Hall in Wellington Street, and later the new Kew City Hall in Cotham Road. The Arthur Dear Collection contains memorabilia - tickets, programmes, invitations - as well as his identification badge. Items in the collection dates from the 1940s to the 1960s. The Kew Recreation Hall (Wellington Street) and later the Kew City Hall (Cotham Road) were major locations in suburban Melbourne in the postwar period for civic and private events including theatre productions and exhibitions. The Arthur Dear Collection (in conjunction with the scrapbooks compiled by Marion Tilley) provide a comprehensive snapshot of performing arts in Kew during the 1940s, 1950s and 1960s. The collection includes valuable data about performances, performers, directors etc., during this period. Programme for a performance of The Miser by Moliere by The Everyman Theatres Company in association with the Council of Adult Education. The text was adapted by Miles Malleson. The 12-page programme includes a cast list, individual performer profiles and notes regarding the history of Everyman Theatres Company. arthur dear collection, performing arts -- kew -- victoria, kew recreation hall -- wellington street, theatre memorabilia, the everyman theatres company

Two novels.The Miser's Daughter first published in 1842, serialised in Ainsworths Magazine. Old St. Pauls first published in 1841, serialised in the Sunday Times.Leather spine & corner binding with brown marble book board cover. Gold writing on spine 'Old Saint Paul's Miser's Daughter' 'Ainsworth' 'Mechanics Institute Kilmore' viii ; 691 pages ; 17 cm Handwritten inscription on page i '177' Stamp on multiple pages 'Kilmore Mechanics Institute'romance, kilmore mechanics institute library.

Typed notes briefly telling of the life of Arthur T. Woodward and mentions some of his pupils. Also mentions his family.document, arthur t woodward - artist and poet, school of mines, agnes goodsir, madge freeman (mrs lanfear thompson), george h freeman, bendigo high school, tom bone, adelaide national gallery, miss ola cohn, women's pioneers' memorial, fairy tree in the fitzroy gardens melb, mrs dorothy carroll, royal historical society of victoria, bendigo art gallery, princess margaret rose, kurmala, 'songs from a studio', mccoll rankin & stanistreet, central nell gwynne mine, 'roselands', ida woodward, lt col claude robertson, isola woodward, mr richard harvey, bendigo art gallery, w a dargie, 'the miser', baron von mueller

The Miser’s purse originated late in the eighteenth century and was variously called misers, hookers, almoners (or aumonières), and wallets, or long, stocking, ring, and string purses. The shape of the miser’s purse originated from the medieval practice of carrying coins in the toe of a stocking. A large version—as much as a couple of feet long and perhaps used largely by men during the eighteenth century—gradually became smaller and more refined. The miser’s purse grew in popularity on the continent and in England during the nineteenth century. During the second half of the century, it became one of the most common purses that Victorians carried. Used by both women and men, the typical nineteenth-century miser’s purse was a long tube made of “purse” or “netting” silk, often crocheted, netted, or knitted, with or without beads. Narrow in the middle and closed at both ends, miser’s purses ranged in the course of their history from 4 to 36 inches (10.2 to 91.4 cm) long. During the Victorian era, many miser’s purses were from 8 to 10 inches (20.3 to 25.4 cm) long. The “toes” of the purse, which might be of the same or different shapes, often were tasseled or fringed.Crochet tubular reticule in black with cream, maroon and green chevron pattern. Includes steel metal rods with balls attachment , metal chain handle and metal ball at base.

The Miser’s purse originated late in the eighteenth century and was variously called misers, hookers, almoners (or aumonières), and wallets, or long, stocking, ring, and string purses. The shape of the miser’s purse originated from the medieval practice of carrying coins in the toe of a stocking. A large version—as much as a couple of feet long and perhaps used largely by men during the eighteenth century—gradually became smaller and more refined. The miser’s purse grew in popularity on the continent and in England during the nineteenth century. During the second half of the century, it became one of the most common purses that Victorians carried. Used by both women and men, the typical nineteenth-century miser’s purse was a long tube made of “purse” or “netting” silk, often crocheted, netted, or knitted, with or without beads. Narrow in the middle and closed at both ends, miser’s purses ranged in the course of their history from 4 to 36 inches (10.2 to 91.4 cm) long. During the Victorian era, many miser’s purses were from 8 to 10 inches (20.3 to 25.4 cm) long. The “toes” of the purse, which might be of the same or different shapes, often were tasseled or fringed.Tubular purse in crochet with pink and black netting silk. Embellished with metallic steel cut beads. Steel handle with security steel ring.

Black knitted misers purse, embellished with black beading one end in checkerboard pattern and the other as loops. Ends have beaded tassels. Two brass coloured rings for closure.beading, purse

The Kew Light Opera Company was formed in 1952, and mounted a number of musical and variety productions each year until it was subsumed in the "Q" Theatre Guild in 1957. A partial record of performances by the company includes: 1952 Florodora, 1953 The Cingalee - San Toy or The Emperor's Own, 1954 While the Sun Shines - A Country Girl - Our Miss Gibbs, 1955 The Toreador - The Arcadians, 1956 The Maid of the Mountains - Whiteoaks - Goodnight Vienna!, 1957 A Country Girl. Most of the Company's performances took place in the Kew Recreation Hall in Wellington Street, Kew. The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Black and white photograph of Lance Nicholls, left, in a performance of Goodnight Vienna! by The Kew Light Opera Company in 1957. Nicholls produced and directed the production as well as performing as Prince Schmettoff. The accompanying programme provides a profile of Nicholls. It states that: Lance Nicholls (Prince Schmettoff), our producer, is a well known personality in the theatre and radio world, having created a reputation as an outstanding character actor through his roles in "Libel", "Streets of London", "Seven Day's Leave", "Village Priest". He was with J.C.W. for many years and a leading player with the late Gregan McMahon, The Roland McCarty Shakespearian Coy., and The Melbourne Little Theatre; also touring with the Council of Adult Education in "Tobias and the Angel" and "The Miser", then in "While the Sun Shines" for the Red Cross. Mr. Nicholls conducted his own Company of players, known as The Modern Theatre, who presented Shakespearian productions to schools and colleges, and has successfully produced many other plays and Musical Comedy. The Kew Light Opera Company has been fortunate in having a producer and player of such high calibre as Mr. Nicholls, and, it has been seen in previous successful shows under his guidance, hopes to go on to further success in the future."Inscribed above the photo in the scrapbook by Marion Tilley: "Lance Nicholls".performing arts -- kew (vic.), scrapbooks, marion tilley collection, kew light opera company, kew recreation hall, musical comedy -- melbourne -- victoria

Ill, p.399.fictionDickens's story of solitary miser Ebenezer Scrooge, who is taught the true meaning of Christmas by a series of ghostly visitors, has proved one of his most well-loved works. Ever since it was published in 1843 it has had an enduring influence on the way we think about the traditions of Christmas. Dickens's other Christmas writings collected here include 'The Story of the Goblins who Stole a Sexton', the short story from The Pickwick Papers on which A Christmas Carol was based; along with shorter pieces drawn from the 'Christmas Stories' that Dickens wrote annually for his weekly journals. In all of them Dickens celebrates the season as one of geniality, charity and remembrance.english fiction, charles dickens 1812-1870

French 1592/93 - 1635EtchingInscribed in plate

Said to have once belonged to Marie Antoinette.Crochet purse, Finely made in colours of red, blue, greens and gold with lovely tassels of silk (red) with silk and gold metal thread tops, and 2 closure rings.embroidery, crochet, tassels, purses, miser's purse, metal thread

Small purse, brown cotton, edged in looped gold beads in threads attached to a covered metal ring threaded through the flap serve as closure. Knitted or crochet (?)knitting, crochet, purses, miser's purse

Fawn and red crochet with small silver steel beads, with a 500 mm beaded fringe. Two silver metal rings at the centre close the purse.crochet, bags, beading, 1900-20