The card for the Civic Reception at Williamstown Town Hall for the ‘Back to Williamstown’ celebrations – the centenary from date of first settlement in 1834. It belonged to James and Kate Tyrrell, the paternal grandparents of the Donor. The donor is the third generation of her family to live in Williamstown. Having a photo of the Gardens in the reception card is evidence of the community pride of the Gardens. The photo is evidence of plantings in 1934 A folded sepia look card. The front has an embossed border, the City of Williamstown Shield, date in the right bottom corner and an inscription as described. The left fold inside demonstrates the reverse of the embossed border and details of the City of Williamstown and Councillors. The right side fold inside is a photo of people walking along ‘The Main Walk, Williamstown Gardens’. The back has space for ‘Autographs.’williamstown botanic gardens, hobsons bay city council, city of williamstown, williamstown gardens, 1934, councillors, james taylor gray, henry johnston harvey, william gordon gray, walter stuart menzies, james adolphus nelson, evan charles owens, john robert bell, john anthony dennis, allan john deacon, oliver prettie chanter, william roberts, george alexander paine, james hocking, harold rose, norman hodgson

non-fictionA survey of theories, practices and documents that outlines the origins of US and European Idea Art of the 1960s and 1970s.idea art, land art, conceptual art, lucy lippard, dore ashton, jonathan benthall, cheryl bernstein, jack burnhan, joseph kosuth, ursula meyer, john perreault, arthur rose, harold rosenberg, seth siegelaub, sol le witt, lawrence weiner, daniel buren, mel bochner, robert hughes

Black & white photograph of the Bendigo Butter Factory in Mundy St., mounted on cardboard. It appears to have been part of a display, with explanatory notes attached to each photograph. See 11011.10. On the reverse of the Title photograph is the date 1950-1955 and a blue registration stamp with the words 'Pure creamery, Australia, Victoria regd'. An interior photograph in the series shows a calendar with the date March 1957. This photograph shows one female and two male workers at a machine cutting and wrapping blocks of butter. The workers are identified on the reverse of the photograph from left - Rose McDonald, Harold Speechly and Ken Melling.bendigo, industry, bendigo butter factory, rose mcdonald, harold speechly, ken melling

St Katherine’s Anglican Church was built in 1858, by Anthony Beale as a memorial to his late wife Katherine. The cemetery is a rare example in Victoria of a traditional English parish church with its private graveyard and is of State Significance. Rose Chapel with its stained-glass windows of local historical significance, commemorates casualties of the Beale family in World War One.fay bridge collection, annie janet beale (nee mclennan), anthony beale, gravestones, james harold beale, james young beale, jane hewitt, katherine rose beale, margaret lindsay beale, mark hewitt, mary joyce pitt evans (nee withers), st. helena, st. katherine's church, walter withers

Some history of the Long Gully Golf Links, a 9 Hole Course, by John Harvey. First page has a map of the area showing where the holes are and different features. There is a description of the tees and the route taken around the course.Dates when the Eaglehawk, Neangar park, Kangaroo Flat Golf Clubs and the Long Gully Playground were opened.bendigo, history, long gully history group, the long gully history group - the long gully golf links, a crossley, john harvey, long gully rec, dai gum san reservation, quarry hill golf club, bendigo golf club, marong gulf club, miss colgan, sacred heart cathedral choir, mechanics institute, rose of australia hotel, north hercules and energetic mine site, les thomas, tom austen, pearl south mullock heap, doc catford, clubs wearne, pearl mining co's diggings, pearl south, pearl east, bill and faye osterfield, ellen lee osterfield, eaglehawk gold club, neangar park golf club, f m fitzpatrick, kangaroo flat golf club, long gully playground, pearl sands, ennor brothers, birchmore brothers, shirley harvey, belvoir park, harold ennor, george ennor

St Katherine's Church St Helena dates from 1858. The Church was built by Major Anthony Beale in memory of his wife Katherine Rose Beale. This photograph shows a plaque that commemorates the death of three grandsons of Anthony Beale who were killed in World War I: Robert Beale, Harold Wilcox and Robert James, and his great grandson Robert Brown.Digital copy of colour photographst katherines church st helena, anthony beale, beale family

A light brown document titled "Bendigo Teachers' College Graduation Ceremony 1953". Also on the front cover is a list of the staff at the college. On the inside cover is the Significance of the Graduation Ceremony and the Order of the Ceremony. Mr. F. M. Courtis gave the welcome to visitors and the Principal gave the College Charge to the Graduands. The 'Graduation Book' was presented to Mr. E. C. Krieger Inspector of Schools by Miss J. C. Burnett. Mr. C. L. Barker called the Roll of Graduands for 1953 and Mr. E. B. Pederick Chief Inspector of Primary Schools gave the Occasional Address. The following page has the list of graduands and on the back cover is "The Principal's Charge to the Graduands". Within the book are some loose typewritten sheets with the following headings, - Graduation Ceremony, Occasional Address Delivered to the Graduands, and Graduation Ceremony 1953. Bolton Bros. Pty. Ltd. Bendigo. The staff named are Miss J. C. Burnett, Miss I. M. Daily, Miss D. I. Hollyock, Mrs. F. M. Petri, Miss J. Coad, Mrs. C. I. Skehan, Miss B. H. Cowling, Mr. L. J. Pryor (Principal), Mr. C. L. Barker, Mr. F. G. East, Mr. M. Brown, Mr. A. H. Fry, Mr. F. M. Courtis, Mr. M. Pratt and Mr. R. L. Strauch. The Graduands named are Alexander Douglas Alexander, Elva Joan Alford, Lynette Estelle Athorn, Joyce Elizabeth Baker, Eileen Merle Barbour, Jeffrey John Berryman, Neil Edward Brisbane, Noel Bruce Cerda-Pavia, Margaret Catherine Charlton, Neil Richard Clements, Kathleen Veronica Comer, Meredith Rose Crawford, Barbara Joan Ceceilia Custerson, Joyce May Dann, John William Doble, Loretto Denyse Veronica Donohue, Pamela Mary Druce, Richard Francis Edwards, Marion Ellen Gaw, Eileen Mary Gellion, Diana Mary Girling, Ian Henry Godden, Neville Fyfe Gray, Brian William Harvey, Joan Therese Hickey, Wendy Irene Higgins, Ruth Hopper, Merle Elwyn Marie Jobling, Doreen Mary Jones, Daphne Lorna Klippel, Harold James Lawry, Elizabeth Ellen Lowe, Flora Doreen McCalman, Robert Bernard McCarthy, Phyllis Patricia McIntevy, Norman James McLean, Stuart John Magee, Margaret Fay Mapson, Reginald James Mason, Margaret Evelyn Menzies, Dino Joseph John Munari, Joan Elizabeth Murdoch, Shirley Nash, Valma Nelson, Elizabeth Lillian Newnham, Doreen Beverley Niemann, Margaret Joyce O'Brien, Edward Michael Oliver, Thomas McJannett Orde, Patricia Louise Pearce, Denis Thomas Potter, Barrie Jamieson Price, Colin Leslie Quinlivan, Lawrence Francis Raeburn, John Trevor Ratcliffe, Kevin Stewart Robins, Kathleen Joan Ryan, Therese Ellen Ryan, Norah Margaret Sheahan, Joyce Elaine Sidebottom, Barry George Smith, Elaine Violet Spencely, Francis James Henry Steminger, Nancy Elizabeth Stevens, Desmond Alfred Strauch, Beatrice Dawn Tonkin, William Alan Wales, Neil Wilson, Brian Wise, Max Woollard and Laurence John Wright.bendigo, education, bendigo teachers' college graduatio, la trobe university bendigo collection, collection, bendigo, education, students, teachers, teaching, bendigo teachers' college, bendigo teachers' college students, tertiary education, teacher training, history, book, graduation, graduands, graduation ceremony, bendigo teachers' college staff

Blue hard bound 'Harry the Hero or Forgiveness Wins ' CHILDREN'S book by Jesse Page Author of 'The Story of a Yellow Rose ; 'The Children's Saviour etc. , The Religious Tract Society , 56, Paternoster Row and 65 St Pauls Churchyard /showing picture of bird, branches , flowers and moon on front /gold lettering / inside front cover writing in ink -'Endsleigh Private School awarded to Master Harold Merifield 2nd prize for Arithmetic , E. Gibbins Xmas .Embossed .Frank Catford Bookseller Bendigo / black and white / coloured illustrations / Little Dot Series / 6 x short stories / back of the book has several pages advertising further readingJesse Pagebooks, children's, story book, harry the hero /jesse page author / the religious tract society , 56, paternoster row and 65 st pauls churchyard / 'endsleigh private school /.frank catford bookseller bendigo / little dot series

Harold Brocklebank Herbert (16.09.1891-1945) Harold Herbert was one of the first pupils at the school starting in 1891, commencing as a 15 years old he studied Applied Design and Architecture at the Ballarat Technical School of design attached to the Ballarat Fine Art Galery, transferring to the Ballarat Technical Art school attached to the Ballarat School of Mines. He was a certificated Art Teacher with the Victorian Education Department. His talents were identified by Ballarat’s Ponsonby Carew-Smith who rose to become Art Inspector with the Victorian Education Department. His teaching career included being appointed Principal of the Sale Technical Art School in 1898. Harold Herbert undertook further studies in England returning to Ballarat with all new entrepreneurial ideas. He worked at the Ballarat Technical Art School between 1915-19. Harold Herbert was involved with the design of the Ballarat Arch of Victory, and was responsible for the reproductions in ‘The Education Department’s Record of War Service. Had been principal of the Sale Technical Art School since 1898, and had undertaken further studies in England returning to Ballarat with all sorts of entrepreneurial ideas. In 1924 the Ballarat School of Mines Students’ Magazine reported “We are perfectly safe in claiming on behalf of our school, that no institution of its kind has turned out a greater number of men and women students who have since “made good” while some have achieved enviable prominence in the world of art. Amongst these later, the most brilliant is Harold B. Herbert whose work is so widely and justly appreciated throughout Australia and whose achievements are watched by his old school with the greatest pride. He commenced at the School when he was about 15 years of age, and followed a course of training very similar to what most students are doing the most valuable qualities shown by him during his career as a student were a passion for drawing and a capacity for taking pains, so essential in all artwork. He was appointed as Assistant Art Teacher at Ballarat on completion of his course, and later assistant in the office of Art Inspector. All of his spare time was devoted to out-door sketching and commercial drawing and he showed an ability in practical design for various crafts quite equal to the ability he has since displayed in depictive art. His return to this School as senior master and his departure to devote himself entirely to fine art are quite recent happenings with which all students are familiar. The wonderful exhibition he held in Melbourne on return from a sketching trip abroad has place him amongst the leading artists of Australia. Upon his death in 1945 the Ballarat School of Mines Student's Magazine recorded: "The death of the famous water-colour artist, Harold Herbert, will be a distinct loss to art in Australia. he was educated at the Ballarat Art School which it was situated in Sturt Street, and the gave promise of becoming a famous artist then. his talents were recognised, and in water-colour work he quickly made a name for himself. his landscapes in water-colour are in the principle galleries of the world, and many of them are to be found in the Ballarat gallery and in other provincial galleries. In 1941 he was appointed official war artist for the COmmonwealth, and he served in the Middle East and Syria. Exhibitions of his war pictures have been seen at different times in Melbourne."Portrait of a young man in a suit. He is Harold Brocklehurst Herbert, staffmember of the Ballarat Technical Art School (a division of the Ballarat Technical Art School). The photograph is a detail of the Ballarat School of Mines Magazine Committee, 1919. (http://victoriancollections.net.au/items/54923a682162f116140de59c)harold herbert, harold b. herbert, harold brocklebank herbert, ballarat school of mines, ballarat technical art school, art, arch of victory

This photograph was taken of the debutantes and their partners presented at the annual debutante ball.This photograph is significant for its links to the Chinese Young League. The League was formally established on 4 October 1932 to to promote free social intercourse and goodwill among its members and their mutual improvement. Membership was open to all persons, with one or both parents or grandparents born in China. Wives of Chinese members were permitted as members with the same privileges. It was a significant social organisation for Chinese-Australians in Melbourne in the mid to late twentieth century.Laminated black and white photographic print (copy print) on card. Front of card, top centre: 'Young Chinese League debutante set 1938'. Front of card, bottom centre. 'Back row: Claude WONG HEE, Jack GOON, Arthur WHEE, Gordon NAM, Gordon LOUEY, Owen YOUNG, Stanley AH MOUY, Harold KONG, Dennis QUON, G TYE DIN, Harold MEW. Next Row: Linda YOUNG, Doris WHEE, Rose YIN, Phyllis POON, Violet TOW, Thelma WING JAN, Kim SHEE, Violet LOUEY, Eunice CHIN, Edna KONG, Betty WHEE, Jean LIM, Norma YOUNG'. Back of card, top right hand corner. Number '1938' has been written in blue pen. Sticker text 'P735 (another version = P587) 93.2.1'.young chinese league, debutante balls, melbourne

This photograph was taken of the debutantes and their partners presented at the annual debutante ball held at St Kilda Town Hall. This photograph is significant for its links to the Chinese Young League. The League was formally established on 4 October 1932 to to promote free social intercourse and goodwill among its members and their mutual improvement. Membership was open to all persons, with one or both parents or grandparents born in China. Wives of Chinese members were permitted as members with the same privileges. It was a significant social organisation for Chinese-Australians in Melbourne in the mid to late twentieth century.Black and white photograph (vintage) with cream frame under glass. Has a cream card mount which provides details of the ball and names the people in the photograph.Front of card title top centre: 'The Young Chinese League Annual Ball at St Kilda Town Hall, 1947'. Bottom centre: DEBUTANTES Back Row: Alex Chun Tie, Vernon Ah Mouy, Maurice Lee, Robert Kwong. Third Row: Harold Chin, Alan Lim Joon, Lennie Quon, Eric Moy, Edward Chin. Second Row: June Lee Gow, Evelyn Law, Annamae Young, Mrs L.M.Wang, June O'Hoy, Rose lee, Audrey Lau. Front Row: Jean Wing Dann, Marjorie Kwong, Connie Ham.'young chinese league, debutante balls, st kilda, melbourne

Photographer notations on slide: At the Leather Exhib. at T. Hall Melb 1933 Age Published: Age (Melbourne, Vic.: 1854- ), 1933 THE EXHIBITS. (1933, September 20). The Age (Melbourne, Vic. : 1854 - 1954), p. 16. Retrieved January 25, 2026, from http://nla.gov.au/nla.news-article205109730 Published title: THE EXHIBITS. A COMPREHENSIVE RANGE. Curios, Novelties, Working Displays Published Caption: ONE OF THE NOVELTIES – AN OUTSIZE IN SHOES Research by Project Volunteer, Louise McKenzie: Our photo is dated 20 September 1933, and shows a happy, chubby-faced young girl sitting in a very over-sized girl’s shoe. It is labelled – “Shoe, An Out Size, loaned by Messrs Blackman & Rose”. (1) It is an effective way to capture the attention of the readership and alert them to the Melbourne Leather Show 1933. This show was designed to be a drawcard of extraordinary proportion, and there is no doubt that this leather exhibition was a really big deal for Melbourne. It completely took over the Melbourne Town Hall, and was open from 10.30 am until 10.30 pm. It seemed to contain something for everyone – the military, the man about town, the home handyman, the housewife, the child, the sporting types, the domestic workers, the outdoor enthusiasts, the horseracing fans, car enthusiasts, those wishing to show off the latest fashion – both men and women - and those just intrigued by a lot of fascinating and wide ranging exhibits. One of the most comprehensive descriptions of the Exhibition accompanies the photograph, and is worth quoting in full: “PROMINENT among exhibits which first attract attention in the foyer of the Town Hall is a comprehensive display of leather articles used by the defence forces. A conspicuous legend states that leather plays an important part in national defence, being used for saddlery, tool containers, holdalls, range-finding, surveying and signalling equipment, explosives factories, harness accoutrement, bandsmen's equipment and clothing. Three models of horses and several figures of soldiers wearing leather equipment illustrate the lesson, and a great range of leather goods used in military training and work variegate the display. Nearby are Texas cowboy, buckjumping and breaking-in saddles; whips, a walking stick, made of leather and numerous other curios. The general exhibition occupies the whole floor space of the main Town Hall, and is subdivided by partitions running most of the length of the hall. A bewildering variety, of leather goods presses for close and leisured inspection. Here and there operatives in charge of working machinery give practical demonstrations of factory processes in the production of footwear. Polishing materials are well represented. One attractive exhibit includes two bush huts constructed of leather, with wattle bark for roofing. Opossums, rosellas and a kookaburra add touches of bush realism. Adjacent exhibits include bags, fishing boots, leggings, leather covers in all colours. Factory Processes. One exhibitor has installed an automatic cinema apparatus and screen, which projects various factory processes in making a shoe, the operator being shown at work. Elsewhere an interesting exhibit depicts the five stages in the manufacture of sole leather, and the tanning materials employed. "Very handsome effects are achieved in the interior appointments of motor cars, which are attended by figures of smart chauffeurs in leather coats. Motor-trimming leather is said to be more durable and hygienic than fabric materials, and cheaper. The neat finish of the material, its excellent appearance, certainly make a very favourable impression. It takes the hides of three beasts to cover the cushions, squabs and door panels of a full-sized sedan, while to finish the entire interior, including quarter-panels and head linings would take four or even five. Special Exhibits. Amongst the special sections the display arranged by the handicrafts and home industries- committee of the Country Women's Association of Victoria is a notable one. In all there are about 130 entries which are in four classifications, viz., hand-tooled or embossed leathers, suede, hand-made gloves and undecorated leather. The glove section attracted the most numerous entries, a number being the work of members and craft subscribers of the Country Women's Association. In the leathercraft competition, organised by the Country Women's Association, the judges yesterday awarded the first prize for bookbinding (the only prize given in this division) to Miss M. Alston, of South Yarra. There is also a creditable display of exhibits submitted by boys of the orthopaedic section of the Children's Hospital at Frankston. Amongst the novelties on view in other portions of the exhibition were the following: — Leather coats worn by Sir C. Kingsford Smith on his Atlantic flight. Model Wellington boot, Phar Lap's saddle. Melbourne Cup winner's saddle. Longest whip in world, 108 feet long. (33 metres) [See our photo, to left of Girl in Shoe] Diminutive shoes. Pair of shoes 65 years old. Pair of men's working boots 75 years old. Larwood's, Tate’s and Pataudi’s cricket boots. [Three internationally revered cricketers of the day] (2) Picture frame made of leather bought 63 years ago. [See our photo, to right of Girl in Shoe] Leather frame, powder bowl, &c. Saddle used by world's champion buckjumper in U.S.A. Mexican cowboy outfit. Miniature saddle and bridle. A fireman's helmet made of sole leather. (3) Sample of the leather hat worn by porters at the Billingsgate Fish Market, London. (4) From South Australia there have been obtained sets of harness for donkeys, goats and camels, the equipment being displayed to good advantage on stuffed representations of the animals mentioned. Close to the platform is a glass case containing snow shoes and coats which have been used in Antarctic exploration work. Trade Display. Amongst the trade exhibits may be seen in operation a slipper turn shoe sewing machine, with heeling and channelling facilities, and the various stages in the production of ladies' sandals are shown. There is a wide contrast between sole leather of varying degrees of thickness on view in one stall and the choice samples of ladies' footwear in another — footwear, by the way, which could almost be used as ornaments, so dainty in colour and production are they. Again, there are displays of upholstering leathers of such soft texture that they could he readily mistaken for some of the finest cloth. Those who may be particularly interested in the production of chamois leather may gain an insight into the materials and chemicals used in the "working up” of this variety of leather. Supplies of glace kid (5) are tastefully arranged, and there may also be seen bags of all shapes and sizes, including satchels, suit cases and "sporting" cases, and bags for tennis players and golfers. Further variety is given to the exhibition by the display of antique hides, brightly coloured, with punching balls, boxing gloves and batsman's pads. There are crocodile skins and snake skins so cleverly "Worked up" that one could be almost pardoned for betraying an affection for such unpopular creatures.” “ Another wonderful article on this Exhibition, published the same day in one of the opposition daily newspapers, The Argus, is in the weekly article “Women to Women”, entitled “A Great Victorian Industry: Many Uses for Leather”. This weekly column was penned by Vesta, and she writes, with much purpose: “Yesterday afternoon I paid a hurried visit to the Leather Exhibition now being held in the Melbourne Town Hall and I was disappointed to find that the early visitors to the main exhibition were almost all men. Women, I think, should make a point of seeing every exhibition of our great industries, for women are the buyers of household requisites and goods for their own use and their tastes, and opinion influence also, to a large extent, the purchases of men. So, the welfare of industries is more or less in their hands and it becomes a duty for them to inform themselves fully of the extent and the quality of the manufacturing that is done here. The value of the output of the Australian boot and shoe factories alone was in 1930-31, the latest year for which the figures are given, Stg 3,750,000. Fully two thirds of that amount must have been spent by women on boots and shoes for themselves and their children. In a host of other directions, in the purchase of handbags, travelling bags, belts and straps, cushions, furniture coverings, purses, notebooks, spectacle cases, their annual expenditure must be very high. Their interest, therefore, in this industry is practical, and their support of it should be governed by knowledge of comparable values and qualities of the goods they buy. From the point of view of women, however, the exhibition itself is rather disappointing. There is an amazing collection of good stuff on show, but most of it is not displayed in a fashion that attracts attention. I was surprised, for example, at the range and quality of the leathers displayed, the suppleness of the finer qualities, and the varied range of colours and designs. But they are shown in such a fashion that if one set out deliberately to look for them it would be quite easy to miss most of them.” …It was surprising, too, that no one seemed to have taken advantage of the present fashion of wearing coloured gloves, or the cult of glove making, which the Country Women’s Association has fostered so successfully. Outside the collection of chamois leathers I saw no skins which were suitable to glove making. (6) However, it is perhaps a little unfair to be highly critical of the exhibition, inasmuch as it is the first of its kind. The material is there, undoubtedly, for a splendid show of every phase of this enterprising industry, and I am confident that experience will prove to those concerned that it will be worth while next time to devote a great deal of attention of the method of display.” With further research, it transpires that “Vera” is in fact NZ born Stella May Allen (nee Henderson) (1871-1962), a journalist, the first woman in NZ to begin a law course, in 1890-91). She later worked at a law firm while she completed her degree. Study of the law had always been open to women in NZ, but its practice was still barred to them. Her case “…led to amending legislation in 1896 allowing women to practise as barristers or solicitors. However, on gaining her LL.B. in November 1897 she did not apply for admission to the Bar. Instead, she became the Wellington-based correspondent and leader-writer for the Lyttelton Times. Her appointment, the first for a woman, was not welcomed by the all-male Press Gallery, and special permission had to be obtained from a subcommittee of the House before her presence was accepted. In 1900 she married Edwin Allen, a senior leader-writer for the Wellington Evening Post, and they moved to Australia in 1903 when Edwin Allen took up the post of foreign affairs leader-writer and parliamentary man for the Melbourne Argus. As Patricia Keep notes in her excellent entry of Stella Allan in the Australian Dictionary of Biography: “In 1907 The Argus commissioned her to write a series of articles on the first Australian Women's Work Exhibition held in October. They aroused much interest and next year The Argus invited her to join its full-time staff and begin a weekly section on the particular interests of women. She adopted the nom de plume 'Vesta' and called the column 'Women to Women'. Her work was unique in an Australian daily paper at that time. Her pages extended to cover every aspect of women's affairs, children's interests and community welfare, and 'Vesta' became a household word for authoritative information and advice on such matters. An excellent needlewoman and first-rate cook herself, she thoroughly tutored her staff in the work and needs of women in both country and city, as well as providing the usual training for cadet journalists. She conducted interviews and also visited the country to see at first hand the results of bushfires, mouse plagues, droughts and floods. In 1910 she was one of three women foundation members of the Australian Journalists' Association. “…she found time to become deeply involved in community affairs. She was an original committee-member of the Victorian Association of Crèches and of the Free Kindergarten Union of Victoria, and had much to do with the early days of the Victorian Bush Nursing Association, the Baby Health Centres Association and the Queen Victoria Hospital. She was a member of the National Council of Women, first in New Zealand and then in Melbourne, and of the Country Women's Association from its inception. … in 1924 she was appointed substitute delegate for Australia to the fifth assembly of the League of Nations at Geneva and was a delegate to the second Pan Pacific Women's Conference in Hawaii in 1930. A meeting held in the Melbourne Town Hall in 1938 by representatives of all the main Victorian women's organizations paid special tribute to her work and influence. She retired next year to England where she continued to write for the Argus, contributing articles on the experiences of women and children in wartime.” It is little wonder that “Vesta” was unafraid to take to task both the women of Victoria, and those who created the exhibition! One item which appears to have gone unnoticed, or at least unreported, is a framed article in the background of the photo of the chubby girl in the shoe. The display frame is labelled “Leather from the Human Skin, Tanned and Dressed by French artists.” The exhibition was certainly a cabinet of curiosities! A charming article in The Argus is a nice note on which to end. It gives a quick history and overview of the Australian leather industry and its unprecedented, and possibly unexpected, development and success, and states with pride: “Though Victoria is the largest leather producer in the Commonwealth all tanners in the Commonwealth can look back with pride on the long march of progress.” Footnotes: (1) “Blackman and Rose”. Messrs Blackman and Rose were shoe manufacturers, from 1927 located at 200 Noone Street, Clifton Hill. The Melbourne Circle describes their building as a “fine-looking building in the Federation ‘blood and bandage’ style.” It was built around 1912 for Puttifoot and Bloom, boot manufacturers, and today the building is apartments. (2) These cricketers were household names in the day: Tate: Maurice Tate, “English cricketer of the 1920s and 1930s, and leader of England’s Test bowling attack for a long time during this period. The founder of modern seam bowling. “ Larwood: Harold Larwood, “English right-arm fast bowler and the main exponent of the bowling style known as “bodyline”. Used to considerable effect in the 1932-33 Test series in Australia. Pataudi: Iftikhar A K Pataudi, “an Indian prince who in the 1930s played Test cricket for England, and in the 1940s played Test cricket for India (as Captain) – the only test cricketer to have played for both India and England. (3) “sole” leather “… is the thickest and most resistant material existing in the tanning industry … made from vegetable tanned leathers, usually bovine butts, processed in a special way to make them the hardest type of leather in existence.” (4) The hats worn by porters at Billingsgate Fish Market were also known as a “Bobbin” and look quite squat and rather unsophisticated. They were made of wood and tarred leather, with a “flat, hardened top designed to support large rectangular boxes of fish. The upturned brim protected the porter’s head against fish juice draining from the boxes of fish which would be carried on top of the hat. Some hats featured a small drain hole at the rear to allow this collected juice to drain down the back of the carrier. The hats were made using the ‘cuir bouilli’ technique. The leather was immersed in water which was heated until the leather began to shrink. It was then removed and put on a wooden former. The leather was stitched together to make the hat while still wet, and then held in place until dry.” (See article and photo on the London Museum website) (5) Glace kid – described on the Boston Museum of Fine Arts’ Cameo database as “A smooth glossy leather originally prepared from goat or sheepskin. Early glace kid had a shiny surface that was originally prepared by tawing the skin in a mixture of alum, table salt, flour, and egg yolk. Today, glace kid is prepared from many types of vegetable or chrome tanned leathers. The smooth polished surface is obtained mechanically by shaving, glazing, ironing, and/or rolling the dry leather.” (6) In the 1930s, Melbourne’s glovemaking industry was characterised by local manufacturing, with key producers like Simpson’s Gloves Pty Ltd in Richmond and the Stagg Glove Company in Clifton Hill leading the market. These factories produced high-quality leather gloves, handbags, and specialty gear, often employing a clear gendered division of labour and training young, local women. Museum Victoria holds the Simpson’s Gloves Collection, comprising over 1200 items, and the University of Melbourne Archives holds the company’s business records. References: THE EXHIBITS. (1933, September 20). The Age (Melbourne, Vic. : 1854 - 1954), p. 16. Retrieved January 25, 2026, from http://nla.gov.au/nla.news-article205109730 EXPORT LEATHER. (1929, September 17). The Argus (Melbourne, Vic. : 1848 - 1957), p. 17. Retrieved January 19, 2026, from http://nla.gov.au/nla.news-article4037647 LEATHER EXHIBITION (1933, September 18). The Argus (Melbourne, Vic. : 1848 - 1957), p. 10. Retrieved January 19, 2026, from http://nla.gov.au/nla.news-article11693362 (1933, September 23). The Argus (Melbourne, Vic. : 1848 - 1957), p. 21. Retrieved January 19, 2026, from http://nla.gov.au/nla.news-page522766 WOMEN TO WOMEN (1933, September 20). The Argus (Melbourne, Vic. : 1848 - 1957), p. 13. Retrieved January 19, 2026, from http://nla.gov.au/nla.news-article11694034 Australian Dictionary of Biography, Stella May Allan (1871–1962) https://adb.anu.edu.au/biography/allan-stella-may-4998 WOMEN TO WOMEN (1930, January 22). The Argus (Melbourne, Vic. : 1848 - 1957), p. 13. Retrieved January 19, 2026, from http://nla.gov.au/nla.news-article4063888 Museums Victoria, Simpson’s Gloves, 486-496 Victoria Street, North Richmond, VIC, Australia https://collections.museumsvictoria.com.au/articles/2702 The Argus. (1927, October 31). The Argus (Melbourne, Vic. : 1848 - 1957), p. 20. Retrieved February 7, 2026, from http://nla.gov.au/nla.news-article3888451 Melbourne Circle: stories from the suburbs: “Boots and all in Clifton Hill” https://melbournecircle.net/2015/11/20/bootmakers-of-clifton-hill/ Wikipedia, Maurice Tate, https://en.wikipedia.org/wiki/Maurice_Tate Wikipedia, Harold Larwood, https://en.wikipedia.org/wiki/Harold_Larwood Wikipedia, Iftikhar Ali Khan Pataudi, https://en.wikipedia.org/wiki/Iftikhar_Ali_Khan_Pataudi Buy Leather Online Italy, Sole leather: https://buyleatheronline.com/en/blog/outsole-and-insole-leather-n7 London Museum, Porters hats, https://www.londonmuseum.org.uk/collections/v/object-731122/hat-porters-hat/ Cameo Database, Museum of Fine Arts, Boston, Glace Kid, https://cameo.mfa.org/wiki/Glac%C3%A9_kid VICTORIAN LEATHER HAS WON RENOWN (1937, September 22). The Argus (Melbourne, Vic. : 1848 - 1957), p. 31 (March of Progress Supplement). Retrieved February 7, 2026, from http://nla.gov.au/nla.news-article1108704 Photographer notations on slide: "At the Leather Exhib. at T. Hall Melb 1933 Age B5".displays, melbourne town hall, leather, children, shoes, 1930-1939, industry, hats, gloves

An early black and white photograph of the view of the Taggerty River from Murray Pass near Marysville in Victoria.An early black and white photograph of the Taggerty River from Murray Pass near Marysville, Victoria. Murray Pass is located on the Lady Talbot Drive. Lady Talbot Drive a 24 kilometer scenic rainforest car journey which passes a number of walks and waterfalls in the Yarra Ranges National Park. Lady Talbot Drive is named after Lady Sarah Elizabeth, the wife of Sir Reginald Talbot, who was the Governor of Victoria from 25th April, 1904 to 6th July 1908. This postcard was produced by the Rose Stereograph Company as a souvenir of Marysville.POST CARD The "Rose" Series/ De Luxe A Real Photograph/ Produced in Australia Published by the Rose Stereograph Co./ Armadale, Victoria. Dear Harold/ This is the prettiest card I/ could get for you. Probably we will/ go this trip in a day or two./ Yours Nance xxx xxxmarysville, victoria, photograph, taggerty river, murray pass, lady talbot forest drive, 2309, postcard, souvenir, lady talbot drive, sir reginald talbot, sarah elizabeth talbot, rose series postcard

Register of First Pupils Dated 8 - 7 2026|Adams, Stella Adderley, Thomas Adderly, Olive Ainsworth, Violet Allen, Laura Anderson, Holly Anderson, Lola Ayton, Arthur Ayton, Jeffrey Barlow, Leila Bartlett, John Batten, Audrey Batten, Mavis Beadon, Alan Bell, Florence Benn, Dorothy Benn, Edna Benn, Walter W. Bennet, Edith Bennet, Elsie Bennett, Dorothes Bennett, Henry Bennett, Norma Benoulli, Royce A. Beynon, Frank Binns, Stella M. Blakey, Harold Breaden, Marion Breadon, Maxwell Bridges, Agnes G. Bridges, Bessie Bridges, Charles Bridges, Joseph Bridges, Myrtle Brock, Jethro Brock, Rose Annetta Brooks, Adas Brooks, Clarence Brooks, George Brown, Jean Brown, Robert Brown, Stanley Brutnell, Kathleen Bunting, John Campbell, Jessie Campbell, Marjory Challen, Peter Champman, Joy Chapman, Keith Chapman, William Clayton, Ada Clayton, Thomas Clemson, Nancy Close, Irene Jean Collison, Hannah Collison, Vera J. Coulter, Ronald Coulter, Thelma Cox, Roy Cox, Sydney Crompton, Raymond Dale, Dorothy Dempsey, Eileen Dickson, George Dickson, Leslie Dickson, Maria Francis Dixon, Isobella Donald, David Downing, Marjory Dunstan, Frances Dunstan, William Dyett, Gordon Dyett, Ronald Evans, Edward Firth, Emily Foran, Frank Frith, Emily Frith, Maisie Gardiner, Jack Gardiner, Monica Gilbert, Laughrey Gillman, Jean Gillman, Marvis Hall, Gladys Hall, Marjory Hall, Trevis Harbottle, Charles Harbottle, Ethel Heffer, Annie Heffer, Elizabeth Heffer, Maud Heffer, Olive Heid, George L. Hiscock, Augustus Hiscock, Evelyn Hiscock, Muriel Hiscock, Valma Hogarth, Ludwig Hunter, Dorothy James, Daisy Johnston, Merle Kenny, Frank Lapthorne, Coral Lapthorne, Joy Lawson, James "Jim" Neil Lowe, Lyla Mahoney, Stuart Mancell, Herbert Mancell, Jack McCall, Janet McDonald, Victor McKay, Edith McKay, Jessie McPherson, Flora Millar, George Montgomery, Albert Montgomery, Alen Montgomery, John Morris, Albert Morrisey, John Morrisey, Mathew Morrisey, Raymond Mounsey, Ray Nayler, Jack Neish, William J. Norman, Elizabeth Norton, Dennis Nye, Florence Nye, Helen J. Nye, Mabel Ethel Perry, William Phillips, Melva Prichard, Marie Proughton, Dorothy Quick, Elsie Quick, Jean Ivy Rautman, Marie Raymond, Vivian Reddrop, Bertha Reddrop, Jean Roberts, Percival Roberts, Walter Rose, Maxwell Scott, Gillah Scott, Norman Searle, William Skinner, Seslie Small, Duncan Smith, Joseph Smith, William Soutar, Henry Stafford, Dorothy Stafford, Thelma Stark, Alfred W. D. Stark, Edith Starke, William Steele, James Sweeney, David Tindell, Maudel Trickey, George Trickey, Violet Trowbridge, Harry N. Trueman, Henry Vivian, Raymond Walker, Harold Warmiington, Ian Warmington, Ian Warmington, John Warmington, Stuart Warmington, Wilson White, Norma Whittet, Jessie Whittet, Lyn Widdy, Jessie Wilson, Eric Wilson, Normanalbion primary school, albion state school, state school, primary school, albion, adelaide street

"Miss Hook of Holland" is a musical comedy (described as a "Dutch Musical Incident") in two acts, with music and lyrics by Paul Rubens and book by Austen Hurgon and Rubens. It opened at the Prince of Wales Theatre, London, on 31 January 1907, and had a successful run of 462 performances. A synopsis of the plot can be found at https://www.guidetomusicaltheatre.com/shows_m/miss_hook_holland.htm This was one of a number of productions of the Surrey Hills Amateur Operatic Society during the 1930s. The society formed in 1931 and its first production was "The Cingalee", followed in 1932 by "The Arcadians". Other productions were "Princess Ju-Ju", "The Quaker Girl", "The Hook of Holland" and "The Country Girl". Apart its cultural and social importance, the aim of the Society was to raise funds for charity. Mrs Constance Clucas was a driving force behind the productions. A comprehensive account of the society's activities is found in 'A history of Surrey Hills' Sporting clubs and Cultural Groups" by Ken James. This and other programs of the Surrey Hills Amateur Operatic Society provide insight into the cultural life of Surrey Hills in the 1930s.Cream-coloured stapled program printed in brown of a musical comedy in 2 acts. Includes a cast list and committee of the Surrey Hills Amateur Operatic Society, a synopsis of the play, a list of the musical items, photos of Mrs P D Clucas and Mr Norman Lee and a number of ads for local and city businesses."J Hall" signed on back in ink or biro; Norman Lee has signed his photo in ink.camberwell town hall, operetta, miss hook of holland, tanner and monckton, surrey hills amateur operatic society, j c williamson ltd, surrey hills baby health centre, alfred hospital, orthopaedic hospital, surrey hills orchestra, anne's pantry, surrey hall, entertainment, fundraising, musical events and activities, miss cook, mr j colquhoun, h e witchell, a h chenu, norman lee, jean gordon, wilfred darby, jeanette mcdowell, ronald isherwood, howard p denny, miss phyllis heitsch, una v blaikie, howard burnett, jack chapman, winifred broderick, gladys marshall, scyla cocking, harold g brett, harry cocking, aubrey pearce, william morrison, muriel middleton, barbara brigdon, jessie collins, ethel cerini, isabel callaghan, florrie doreian, violet ebbels, jessie fethers, margot gordon, jean robinson, gordon lavender, marjory gordon, grace linford, mollie middleton, eileen middleton, muriel marshall, gladys oliver, mary scragg, beryl scragg, nina sinclair, jean wearne, gladys roberts, rose pearse, jean douglass, jessie powys, mabel thomas, violet abery, roy brian, herbert darby, wilfred harley, robert rowse, jack walker, fred williams, george duncan, mrs g d clucas, mrs p d blaikie, miss w h duncan, mrs g d grover, mrs b collins, miss m harley, mr r cocking, mr h colton, ada walton, mrs c colquoun, program, ephemera

From 1979, the John Wilson Award was awarded to individuals who made a significant difference to the lives of those around them. To publicly acknowledge this, a signboard was established and hung at the Kooyong Centre. The top of the board was inscribed with the words 'Vision Australia Foundation' and the eye logo is located in the top left-hand corner. Below this is written: "The following recipients have made a notable contribution towards blind and vision impaired people. 1979 Agnes M. Tweedie, 1980 Elizabeth I. Lindsay, 1981 Flora Douglas, 1982 Edna Wilson, 1983 Herbert J. Brumby, 1984 Joanne Trumble, 1985 Arthur Nothling, 1986 Colin & Margaret Fox, 1987 Katharine M. Rose, 1988 Bryan G. Sitlington, 1989 Edna Swanson, 1990 Ellena F. Little, 1991 Neil McCrae, 1992 Lillian Dethridge, 1993 John A. Blanch, 1994 Winsome Baker, 1995 Barry Farnsworth, 1996 Harold Gration, 1997 Merle Wootten, 1998 Norma Crook, 1999 Thelma Royal, 2000 Neil & Elizabeth Maxwell, 2001 Elaine Leahy, 2002 Norman & Bernice Anderson, 2003 Gwladys Jeavons, 2004 Eve Lustig, 2005 Shirley Admans.Wooden board with frame and gold letteringawards, vision australia foundation, association for the blind

Andrew SIBLEY ( 9 July 1933-2015) Born London Since the 1960s Andrew Sibley consistently exhibited throughout Australia and Internationally. He was senior lecturer of painting at RMIT from 1967-1987 and senior lecturer of painting at Monash University from 1990-1999. Six framed limited edition prints by Andrew Sibley using the Sugar-lift etching technique and hand colouring. Printed at the Australian Print Workshop, Melbourne and published by The Lytlewode Press, Melbourne in an edition of 125 in 2010. .1) 'Catch a Falling Star' Sugar-Lift Etching With hand colouring by the artist Plate 67.7cm (H) x 48.0cm (W) Paper 76.0cm (H) x 57.0cm (W) Edition: 17/125 Signed, inscribed and numbered by the artist. Catch a Falling Star written by Paul Vance (born 1929) and Lee Pockriss (1924-2011) 1957 .2) 'It’s only a Paper Moon' Sugar-Lift Etching With hand colouring by the artist Plate 67.7cm (H) x 48.0cm (W) Paper 76.0cm (H) x 57.0cm (W) Edition: 1/125 Signed, inscribed and numbered by the artist. It's Only a Paper Moon by Harold Arlen (1905-1986) lyrics by E. Y. Harburg (1896-1981) and Billy Rose (1899-1966) 1933 .3) 'Come Fly With Me' Sugar-Lift Etching With hand colouring by the artist Plate 67.7cm (H) x 48.0cm (W) Paper 76.0cm (H) x 57.0cm (W) Edition: 9/125 Signed, inscribed and numbered by the artist. Come Fly with Me by Jimmy Van Heusen (1913-1990) lyrics by Sammy Cahn (1913-1993) 1957 .4) 'You are the Sunshine of my Life' Sugar-Lift Etching With hand colouring by the artist Plate 67.7cm (H) x 48.0cm (W) Paper 76.0cm (H) x 57.0cm (W) Edition: 1/125 Signed, inscribed and numbered by the artist. .5) 'Some Enchanted Evening' Sugar-Lift Etching With hand colouring by the artist Plate 67.7cm (H) x 48.0cm (W) Paper 76.0cm (H) x 57.0cm (W) Edition:1/125 Signed, inscribed and numbered by the artist. Some Enchanted Evening Richard Rodgers (1902–1979) and Oscar Hammerstein II (1895–1960) South Pacific 1949 .6) 'Vilya, Oh Vilya' Sugar-Lift Etching With hand colouring by the artist Plate 67.7cm (H) x 48.0cm (W) Paper 76.0cm (H) x 57.0cm (W) Edition: 1/125 Signed, inscribed and numbered by the artist. Vilya, Oh Vilya Die lustige Witwe (The Merry Widow), operetta Vilya, oh vilya Composed by Franz Lehar (1870-1948) 1905 Donated through the Australian Government Cultural Gifts Programme by Katherine N. Littlewood, 2014artwork, artist, sibley, andrew sibley, printmaking, etching, churchill, gippsland campus

Cooper family wedding photo of family group. The names of people in the family group are under the photo.Wedding photograph of the Cooper family consisting of 12 people and a small child, all formally dressed.Back - Ernest, Elsie, Harold, Lillian (Bride) Doris, Clement Centre - Henrietta, Margaret, Rose Winifred, Alfred and Margaret. Front - Gladys & Edward.stawell

Came from the Station Master's house at Mitcham Railway Station. Stationmaster was Mr Tom Hutchison who with his lived in the house. Harold Bakes obtained permission to remove them . Shirley Jones had first mentioned them and helped Harold to remove them, put them on the board and fill up all the holes. Mr Eric Sunderland helped to cut them out, quite a job.Large ceiling rose -plaster mould from the Station Master's house at Mitcham Railway Station.buildings, fittings

Came from the Station Master's House, Mitcham Railway Station. Shirley Jones mentioned them to Harold Bakes, Shirley helped put them on the board and fill up the holes. Mr Eric Sunderland helped cut them out, quite a jobSmall ceiling rose plaster mould from the Station Master's House, Mitcham Railway Stationbuildings, fittings

The Boroondara General Cemetery is registerd by Heritage VictoriaFrom Heritage Victoria Statement of Significance Last updated on - December 15, 2005 What is significant? Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society. Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Street was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum. The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known. The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end. The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior. By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia. The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect. The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum. Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii') Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria. The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery. How is it significant? Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria. Why is it significant? The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery. The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment. The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907. The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement. The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (Chamaecyparis funebris 'Aurea') is the only known example in Victoria. The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.Digital image of the Springthorpe Memorial in the Boroondara General Cemeterycemetery, boroondara, kew, gatehouse, clock, tower, clocktower, heritage, memorial, springthorpe memorial

The Boroondara General Cemetery is registerd by Heritage VictoriaFrom Heritage Victoria Statement of Significance Last updated on - December 15, 2005 What is significant? Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society. Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Street was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum. The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known. The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end. The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior. By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia. The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect. The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum. Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii') Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria. The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery. How is it significant? Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria. Why is it significant? The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery. The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment. The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907. The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement. The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (Chamaecyparis funebris 'Aurea') is the only known example in Victoria. The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.Digital imagescemetery, boroondara, kew, gatehouse, clock, tower, clocktower, heritage, memorial, cussen

The Boroondara General Cemetery is registered by Heritage Victoria. The Henty's were some of the earliest settlers in Victoria.From Heritage Victoria Statement of Significance Last updated on - December 15, 2005 What is significant? Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society. Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Street was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum. The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known. The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end. The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior. By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia. The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect. The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum. Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii') Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria. The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery. How is it significant? Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria. Why is it significant? The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery. The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment. The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907. The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement. The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (Chamaecyparis funebris 'Aurea') is the only known example in Victoria. The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.Digital imagescemetery, boroondara, kew, gatehouse, clock, tower, clocktower, heritage, memorial, henty, james henty

A photo from a newsletter from September 1953. The photo shows the East Brighton boys class. Front row: Tony Minogue, Tim Eltham, Harold Butler, Bob Lancaster, Bruce Pickering, Albert Hancock, David Francis, Robert Scanlan, Robert Hill. Second row: Tom Corrie, Neville Trevena, Tom Lancaster, Eric Scott, Legatees Mair, Carolan, Blackall, Holmes; Bob Gleeson, Bill Gleeson, Denis Hubbard, Robert Carnie. Third row: Mr H Singleton (Instructor), Bruce Grigg, Allan Dennis, John Burge, Peter Harris, George Trinder, David Endean, Tom Cockram, Keith Stevens, Kev Gleeson, James Haysom, Mr B Robinson (Instructor). Back row: Don Scott, Norman Corrie, Robert Haley, Noel Orr, Warwick Leeming, John Francis, Barry Wilkins, Ray McCarthy, Robert Olsen, Peter Luck. Names mentioned in the article include boys newly enrolled: Geoffrey Bishop, Gregory Bishop, Trevor Busst, Harold Butler, John Burge, Daryl Bernaldo, Norman Corrie, Tom Corrie, Alan Dennis, Peter Eltham, John Francis, David Francis, James Haysom, Albert Hancock, Robert Haley, Peter Harris, Robert Hill, Warwick Leeming, Barry Mitchell, Ray McCarthy, Ian Nicholds, Laurie Nicholls, Geoffrey One, Noel Orr, Robert Olsen, Bruce Pickering, Frank Rose, Keith Stephens, Don Scott, Robert Scanlan, Stephen Westcott, Barry Wilkins, Robert Watson. The article mentions that the photos of the boys classes were donated to Legacy by Mr John Beckett of Sandringham. Individual photos being catalogued to record detail about each one.The newsletter outlining news of Junior Legatee activities with mentions of boys by name.Black and white photo of the East Brighton boys class printed in a newsletter in September 1953.junior legatees, boys classes