117 pp : illustrated : Appendices Chapters: Preface / Robert Baker p4. The collection / Robert Baker p5. Cartwheel penny / Robert Baker p6. Creek and old watering stage / David White p10. John Carson: Mayor 1863–4 1 / Julie King p4. Wedding dress / Suzanne McWha p18. Back to Kew 1875 / Judith Scurfield p22. Barnard’s clock / Margaret Robinson p26. Denbigh quilt / Suzanne McWha p28. Fragments of art decoration / Robert Baker p32. Mr Richardson’s sock / Felicity Renowden p36. Kew Volunteer Fire Brigade / David White p38. Kew Where We Live / Judith Scurfield p42. [MMBW} Detail Plan No. 1580 / Judith Scurfield p46. Adeney Avenue / Suzanne McWha p50. Young Workers’ Patriotic Guild / Margaret Robinson p54. Roll of Honor [Thomas Rand] / Robert Baker p56. Alice Anderson in her tourer / Felicity Renowden p60. Kew War Memorial / David White p62. Beaded dance dress / Suzanne McWha p 66. The great flood of 1934 / Desley Reid p68. Depression-era toolbox / Robert Baker p72. War Savings Street / Julie King p74. Kew Public L.ibrary / Suzanne McWha p78. Signature supper cloth / Desley Reid p82. View from the garden of Rockingham / Desley Reid p86. Cr Marie Dalley / Felicity Renowden p90. Centenary of Kew / Robert Baker p94. Doris Dickinson’s gown / Julie King p98. [Model Dairy] Milk bottles / Robert Baker p100. Kew Civic Centre / David White p102. Bicentennial tapestries / Margaret Robinson p106. Crest of the City of Kew / Desley Reid p110. Town Crier [outfit] / Desley Reid p112. Acknowledgements p114. List of works p115.non-fiction'Stories They Tell : A history of Kew through objects' explores diverse narratives from European settlement to the first decades of the twenty-first century. These stories use as their starting point artworks, texts and artefacts from the nationally significant collection of the Kew Historical Society. Limited to 100 copies.collection -- kew historical society, museum catalogues, henty family, cartwheel pennies, kew lunatic asylum, patchwork quilts, john carson, george bouchier richardson, gb richardson, coombs family, james dannock, back to kew 1875, francis barnard, denbigh family, cullis hill & co, ordsall, southesk, kew volunteer fire brigade, jfc farquhar, henry kellett, mmbw detail plan 1580, william nicholls anderson, young workers patriotic guild, roll of honor -- town of kew, alice anderson, kew war memorial, flapper dresses, fairfield bridge, chandler highway bridge, warren trestrail, furniture -- 1930s, war savings streets, kew library, children's libraries, voluntary aid detachments - kew (vic.), rockingham, james govett, centenary of kew, mayoresses -- kew (vic.), model dairy -- kew (vic.), doris dickinson, crests -- city of kew (vic.), town criers -- kew (vic.), joy stewart, australian bicentennial -- kew (vic.), kew civic centre, ak lines mcfarlane marshall, adeney avenue -- kew, wwi

Henry Henty and his wife Marion Anne Henty (nee McKellar) had ‘Tarring’, Kew built for their family in 1872. Their house was named for Tarring, Sussex, the Henty familys' ancestral home in the United Kingdom. The Henty family resided at ‘Tarring’, Kew until the death of Marion Henty in 1919. ‘Tarring’ was sold to Ruyton Girls’ School in 1920, and the School moved to the site, (now 12 Selbourne Rd, Kew) in that year. ‘Tarring’ was renamed ‘Henty House’ by Ruyton in honour of its original owners.Rectangular-shaped brass name plate for the house "Tarring". One screw-sized hole in each corner to allow name plate to be attached to a building, (total of four). Reverse of nameplate is flat.TARRINGhenty, henry, henty, marion, tarring, 12 selbourne road, kew, ruyton girls' school, kew

Published: Age (Melbourne, Vic.: 1854- ), 4 August 1933, page 3 Published title: GIRLS’ SCHOOLS – MODEL YACHTING - FOOTBALL Published caption: The headmistress, Miss H. Daniell, and girls at Ruyton, Selbourne Road, Kew, snapped after school hours. Trove article identifier: http://nla.gov.au/nla.news-article204381763 Research by Project Volunteer, Louise McKenzie: Rather than the people, this charming building takes the eye! Originally named “Tarring”, it was built in 1872 by Mr Henry Henty and his wife Mrs Marion Anne Henty (nee McKellar) for their family. Located at 82 Selbourne Road, Kew, it is described by Melbourne’s Open House organisation as “… a two-storey, polychrome brick mansion built for them by prominent Melbourne architect Albert Purchas. The house and nearly four acres of grounds served as their family home until the death of Marian Henty in 1919. “ (See below for further information on Albert Purchas.) In 1920 it was sold to Ruyton Girls School. Ruyton was established in 1878 by its first principal, Charlotte Anderson (1838-1906), who named it in honour of the parish in Shropshire, England, Ruyton-XI-Towns, where her great-great-grandfather David Evans had been vicar. Its motto is Recte et Fideliter, meaning "Upright and Faithful", which is also the name of the school song. The original school, one of Victoria’s oldest independent schools for girls, was located at the home of Mrs Anderson at 63 High Street South, Kew. In 1882 she moved the school to Edgecombe in Studley Park Road. Mrs Anderson retired due to ill health and sold the school to her friend Miss Eliza Bromby. One of Ruyton's four Houses, Anderson, is named for Charlotte Anderson. When Ruyton Girls School was moved to the site in 1920 it established the building as a Boarding House, and renamed the building “Henty House” in honour of its original owners. Today the school remains an all girls’ school, and pays tribute to its founder and the historic significance of Henty House and its magnificent Moreton Bay Fig tree, which still stands today. The building retains many original, Victorian-era features, while also showing the layers of change, made over the decades in order to meet the evolving needs of one of Melbourne’s leading schools. The headmistress mentioned in the caption for MCK016 is Miss Hilda Daniell, shown standing in front of Henty House in the midst of a group of Ruyton girls in their school uniforms, some holding hockey sticks. Miss Daniell was the longest serving Principal of Ruyton 1913-1952. She was originally a student in 1893, then joined the teaching staff in 1898. It was under her leadership that the School purchased and moved to “Tarring”. The boarding house included a flat for Hilda to live onsite. An article in the Ruyton Heritage Collection – Bedford Series, dated 21 May 2021 cites that Miss Daniell “was affectionately known as “Dream” by Ruytonians of her era” apparently due to a tendency to quiet reflection. The article continues, “After her retirement in 1952 Miss Daniell was awarded an Order of the British Empire for her many services to education, an award she received from the hands of the Queen during the 1954 Royal Tour. Also in 1952, the Kew Council honoured her by renaming Brougham Place as ‘Daniell Place’.” Arthur Purchas, architect: The architect responsible for the design of “Tarring”. Arthur Purchas, was extremely active and highly regarded at this time. Born in Wales in 1825, he emigrated to Melbourne in 1851 and soon established a private practice as a surveyor and architect, with offices variously in Little Collins, Queen Street, Chancery Lane, and finally 462 Little Collins Street. Wikipedia notes in an early reference to Purchas that “An early story is that one of his first jobs, when he would have been about 25 years old, was a position under Surveyor-General Robert Hoddle, and disagreeing with him over the line for St Kilda Road, appealed to Governor La Trobe, and successfully got the road diverted around the hill which eventually became the site of the Shrine of Remembrance. There may not be much truth to this, since by 1851 St Kilda Road was already a well worn track running around the hill, the top of which La Trobe had reserved for a Government House in 1840.” The timing of Purchas’s arrival in Melbourne was perfect. The Victorian gold rush of the 1850’s generated enormous wealth in Melbourne, and a building boom followed. The Wikipedia entry continues … that alone, or with his brother in law Charles R Swyer, “Purchas is said to have designed over 140 houses, offices, churches, banks and cemetery buildings in Victoria in his long career. Berkely Hall, St Kilda dating from 1854 is one of his first buildings, and still exists, though the original house is obscured by an early C20th verandah. Another notable early design was the head office of the Melbourne Savings Bank, built on the corner Flinders Lane and Market Street in 1857-58, in an elaborately detailed Renaissance Revival style. His churches were mostly Gothic Revival, built for the Anglican Church, along with some parsonages, while most of the bank buildings were Renaissance Revival designs for the Bank of Australasia. He also designed city buildings in the 1860s and 70s, such as the Mutual Insurance Co, Northern Insurance Co, and the first premises for George & George, destroyed by fire in 1889. One of his most outstanding designs is St George's Presbyterian Church in Chapel Street, St Kilda (1877–80), in a striking polychrome brick Gothic Revival style, unusually carried on through to the interior. Purchas produced one of the few published maps and compilations of the early pastoral settlers runs in Victoria in 1853. In the same year he designed the layout of the Melbourne General Cemetery, the first 'garden' cemetery in Victoria, a curvilinear layout with extensive plantings, as well as the gate lodge and gates (the gates lodge were demolished and the gates relocated to their present position in the 1930s). He was a long time member of the Cemetery Trust, serving as secretary from 1876-1886. He was also Chairman of the Boroondara General Cemetery Board of Trustees 1867 to 1909, and designed many aspects of the cemetery, including the landscape, the cast iron entrance gates (1889), the rotunda (1890) and the surrounding brick wall (1895–6). Purchas was a keen inventor having applied for a patent for an invention for lighting a railway carriage with gas in 1861, and won a competition for a model farm complex, in 1862. This unusual design had the dairy either underground or half underground, to keep it cool, with a 'dry lining' around the outside of the sunken portions. In 1883, with fellow architect Alfred Smith, he took out a patent for fire-proof floors, arches, staircases and other parts of buildings.” Purchas died in his home in Kew in 1909 and, not surprisingly, was buried at Boroondara Cemetery. Henty family history in Australia: Henry Henty (b.1833-d.1912) was a successful businessman, and briefly a MLA for the seat of Grenville, Victoria in 1866. He was one of three sons of James Henty, and nephew of Edward Henty who is considered to be the first permanent European colonist to take up residence in Victoria. The Australian Dictionary of Biography provides a riveting overview of the complex and enthusiastic activities of the Henty family, and its entanglement in the development of mercantile life in WA, Tasmania, SA and Victoria from 1828 onwards. The family had a focussed commitment to creating thriving businesses in Australia, despite being regularly thwarted by legislative pushbacks and law changes, instigated in Britain as the Australian colony developed. Areas of greatest influence were merino sheep, beef and horse breeding, whaling, farm establishment, membership of the legal and political fraternities, sporting prowess, and board directorships in banking and railways. The Dictionary of Biography summarises: “As settlers the Henty men were notable not merely for being the first to settle in Victoria but also for their number and quality: a father and seven educated sons experienced in farming and trading, occupations of prime importance to a new colony, and importers of unusually substantial capital in money, skilled workers and thoroughbred stock.” As well as Tarring, the Henty family Melbourne residences included Findon (in Kew, overlooking Studley Park), Offington (St Kilda Road overlooking Albert Park) and Field Place (Henty Court, Kew), and descriptions of the houses in Wikipedia –Melbourne Architecture 1870s - reflect the development of Melbourne society. References RUYTON (1934, December 15). The Argus (Melbourne, Vic. : 1848 - 1957), p. 18. Retrieved March 12, 2025, from http://nla.gov.au/nla.news-article11001092 https://en.wikipedia.org/wiki/Ruyton_Girls%27_School#:~:text=Ruyton%20Girls'%20School%2C%20commonly%20referred,of%20Melbourne%2C%20Victoria%2C%20Australia. https://www.ruyton.vic.edu.au/our-school#:~:text=With%20an%20international%20reputation%20as,opportunity%20and%20challenge%20for%20girls. https://victoriancollections.net.au/items/5bea06b121ea690bf4eb08ed https://www.ruyton.vic.edu.au/our-school/campus-and-facilities Biography of Edward Henty and family: https://adb.anu.edu.au/biography/henty-edward-2247 Article on Offington House: http://nla.gov.au/nla.news-article196554993 Article on Field Place House : https://vhd.heritagecouncil.vic.gov.au/places/64881 Article on Findon: https://www.facebook.com/KewHistoryGroup/posts/in-the-book-jubilee-history-of-kew-1803-1910-by-fga-barnard-there-is-a-photo-of-/4389837914376555/ Charlotte Anderson/Ruyton: https://victoriancollections.net.au/items/5be4b8c821ea6a039c7a13e3 https://victoriancollections.net.au/items/6179e90da912eb195970bdf8 https://victoriancollections.net.au/items/5bea06b121ea690bf4eb08ed https://victoriancollections.net.au/items/65d3e05c5b5e5c61346420a2 Photo of Charlotte Anderson: https://viewer.slv.vic.gov.au/?entity=IE1515776&mode=browse Photo of Charlotte Anderson: https://victoriancollections.net.au/items/6179e90da912eb195970bdf8 https://victoriancollections.net.au/items/5be4b8c821ea6a039c7a13e3 Wikipedia: Architecture of Melbourne: https://en.wikipedia.org/wiki/Architecture_of_Melbourne Open House Melbourne: Henty House: https://www.universe.com/events/henty-house-ruyton-girls-school-tickets-Z45LYH Albert Purchas: https://en.wikipedia.org/wiki/Albert_Purchas Leader (Melbourne, Vic. : 1862 - 1918, 1935), Saturday 3 June 1876, page 9 – Article on Offington http://www.ohta.org.au/organs/organs/BoxHillUC.html Melb Architecture 1870s - Wikipedia Victorian Collections: Letters of Hilda Daniell https://victoriancollections.net.au/items/65d3e05c5b5e5c61346420a2 Photographer notations on slide: "Ruyton Girls School 1933".schools, 1930-1939, architecture, victorian architecture, trees, architects

Depicted are four students who were the 1951 House Captains at Ruyton Girls' School. The photo is an official school portrait, taken outdoors in front of Henty House (formerly Tarring). In the background, we can see two bicycles. The girls are dressed in their school uniforms, comprising a knee-length check-print skirt, dark jumper, light-coloured collared buttoned blouse with a dark tie, wool blazer, stockings, and dark-coloured lace-up shoes. Two of the girls are standing, while the other two are seated on a small concrete plinth. The students have been identified, from left to right, as A. Dickinson (Lascelles), C. Kent (Anderson, H. Cole (Bromby), and E. Duff (Daniell). Student leadership commenced at Ruyton Girls' School in 1906 with the introduction of the prefect system. Prefects had numerous responsibilities—gate duty, grounds duty, classroom marking, assembly door watch, uniform monitoring, and even supervising student detention. In 1947, a dedicated Prefects Room was erected on the east side of the Ruyton Girls' School Assembly Room in Henty House. The prefects system was revised in 1968 with a new leadership structure: there would be a permanent School Captain, Vice Captain and School Sports Captain; six permanent prefects would be elected, and the rest of the Matriculation class would form committees. These included Library, Social Services, S.C.M., Editorial, and Music. In this way, it was thought "that each Matric girl would have a certain amount of responsibility." With this revised structure came a brand new Prefects' Study, located in a former classroom next to the Domestic Science building. Each prefect was allocated one book locker, one clothing locker, "a small share in the heater", plus a new shared lounge. The prefect system was updated again in 1974. All sixth formers would become prefects, or "school officials." This saw the sixth form divided into two halves: one group would be prefects for the first half of the year, then the second group would take the reigns in the latter half of the year. In October 2023, Ruyton announced a new collaborative leadership structure for captains, prefects and house leaders, which would see two students in each leadership role.The record has strong historic significance as it gives insight into the House system at Ruyton Girls' School. In the early 1920s, Ruyton was settling into its new home at Selbourne Road, Kew. At the time, students were arranged by their form (or year level) for lessons and other school activities. A collection of eight emblems and mottoes for each form group was published in the Ruytonian December 1922, although the genesis of each were left unexplained. With enrolments continually growing, Principal Miss Hilda Daniell felt a new basis of organisation would benefit students, giving them a broader outlook and something bigger to work for. She took inspiration from tradition and implemented a House system. The House system was adopted at Ruyton in September 1924 to "provide a new kind of co-operation and competition among the girls, especially in Sport." There were four houses, three of which were named after early Principals: Anderson, Bromby and Lascelles. There was also the School House, initially for boarders only. Some time after the publication of the Ruytonian in April 1928, the School House was renamed Daniell House, and had opened up to day girls. The account published by the newly formed Daniell House in the Ruytonian December 1928 reads, "we are rather bashful in presenting this account of our doings, for we are conscious of our newness. Our house has now the honour of being known as Daniell House." Four of the original eight form emblems were adopted by the new Houses, while the others were discarded. According to former teacher and author of the centenary history of Ruyton, Ms Majorie Theobald, the House system "gave a new focus for all competitive sport, which had previously been organised on a rather inequitable basis." The colours chosen for the Houses were cherry red for Anderson, royal blue for Bromby, gold for Lascelles, and pale blue for School (later Daniell). New students starting at Ruyton from Prep onwards are allocated to one of the Houses with consideration to family connections and balance of numbers. The record's significance is further enhanced by its strong provenance, having been produced by Ruyton Girls' School and donated to the Archives by a familial connection of a former notable student.Black and white rectangular photograph printed on matte photographic paper.Reverse: Caroline Kent / Mary Murray. / 11.12.51. / Ann Dickinson / RGS011/1951/0003ruyton girls' school, ruyton, students, school, senior school, girls school, kew, melbourne, school uniform, prefects, photograph, henry henty, henty house, marion henty, tarring

Henry Henty (b.1833-d.1912) was a successful businessman, and briefly a MLA for the seat of Grenville, Victoria in 1866. He was one of three sons of James Henty, and nephew of Edward Henty who is considered to be the first permanent European colonist to take up residence in Victoria. Henry Henty and his wife Marion Ann Henty (nee McKellar) had ‘Tarring’, Kew built for their family in 1872. The Henty family resided at ‘Tarring’ until the death of Marion Henty in 1919. ‘Tarring’ was then sold to Ruyton Girls’ School, and the School moved to the site, (now 12 Selbourne Rd, Kew) in 1920. ‘Tarring’ was renamed ‘Henty House’ in honour of its original owners. Half-length, sepia-toned studio portrait of Mr Henry Henty (b.1833-d.1912). Mr Henty wears a dark suit and tie. His body is one quarter turned to his left, while he looks straight towards the camera. The background behind him is plain and dark. Photograph is mounted on cream card.henry henty, tarring, marion henty, selbourne road, kew (vic), ruyton girls' school, businessman, politician, 1890s

Marion Anne McKellar, the daughter of William Gilbert McKellar and Maria Jones was born in 1838. She married Henry Henty in 1859 and they had 9 children. She died in June 1919. Henry Henty and his wife Marion had ‘Tarring’, Kew built for their family in 1872. The Henty family resided at ‘Tarring’ until the death of Marion Henty in 1919. ‘Tarring’ was then sold to Ruyton Girls’ School, and the School moved to the site, (now 12 Selbourne Rd, Kew) in 1920. ‘Tarring’ was renamed ‘Henty House’ in honour of its original owners. Full length, sepia toned studio portrait of Mrs Marion Henty (b.1838-d.1919). Mrs Henty is standing, hold holds a book in front of her while looking to her left. She is wearing a lace cap on her head and has a cameo broach around her neck.marion henty, henry henty, tarring, selbourne road, marion mckellar, ruyton girls' school, kew (vic), woman, book, cameo, studio portrait, 1890s

Beatrice Charlotte Henty was born 25 December 1867, married Graham Frederick Blandy in 1927 and died on 5 March 1950 in Toorak. She did not have any children. Miss Beatrice Henty was the daughter of Henry and Marion Henty. Mr Henry Henty and his wife Mrs Marion Anne Henty (nee McKellar) had ‘Tarring’, Kew built for their family in 1872, and resided there until the death of Marion Henty in 1919. ‘Tarring’ was then sold to Ruyton Girls’ School, and the School moved to the site, (now 12 Selbourne Rd, Kew) in 1920. ‘Tarring’ was renamed ‘Henty House’ by Ruyton Girls' School in honour of its original owners. Ruyton Girls' School was founded in 1878, Miss Beatrice Henty attended the School before 1888. The photograph is dated c.1904. Sepia toned photograph Miss Beatrice Henty in the garden of her family home Tarring, Selbourne Road, Kew. The north east and south facades of the two story brick house are visible in the photo. Beatrice Henty is standing in the garden wearing a long gown and a large hat. A gravel path curves across the lower left corner of the photograph. The photograph is mounted on card.ruyton girls' school, kew, beatrice henty, henry henty, marion henty, tarring, henty house, selbourne road, beatrice blandy, kew (vic), 1900s, 1904

The letters address three parents of daughters who attended Ruyton Girls' School at the time — Mrs Friedman, Mrs Horan and Mrs McDonald. The letters invite the three mothers to make a contribution to the School's war scholarship fund by making homemade sandwiches or cakes to help cater the annual School dance, or providing a small financial donation towards it. Although the letters are signed by Hilda Daniell, given that the handwriting differs across all three examples, it is possible the content of the letters were scribed by a student or assistant to the Principal. The war scholarship fund (also referred to as the Scholarship Fund) was managed by the treasurer of the Old Ruytonian's Association (ORA); Ruyton's alumnae community. The earliest mention of Ruyton's war scholarship fund is in the Ruytonian December 1918, which recalls how the Senior Dramatic Club performed Jane Austen's "Pride and Prejudice" in the Kew Recreation Hall and raised over £100 to "provide a Ruyton scholarship for the daughter of a soldier who has given his life for his country." In the Ruytonian December 1955, the criteria for the war scholarship fund was revised to prioritise students in the following order: the child of a deceased serviceman, an ex-serviceman, and an Old Ruytonian. Other editions of the Ruytonian from this period recount how students also participated in fundraising activities to support the scholarship. It is unclear when the war scholarship fund ceased.The letters are historically significant as they were written by Miss Hilda Daniell, the longest serving Principal of Ruyton Girls' School from 1913-1952. She had enrolled as a student at Ruyton in 1893, and then appeared in a list of teaching staff dated 1898. When Hilda became Principal in 1913, Ruyton was still located on A'Beckett Street in Kew, Victoria. Hilda had purchased "Tarring" (now Henty House) from the old Henty family estate in 1919 to accommodate the growing School. In 1920, Hilda, teachers and the students moved to Ruyton's new location at "Tarring", 12 Selbourne Rd, Kew. The building became home for Ruyton’s boarding students and included a flat for Hilda to live onsite. Hilda passed away in March 1970. The record's significance is also supported by its strong provenance, having been produced by Ruyton Girls' School and donated to the Archives by the daughter of a former student.Three individual loose sheets of cream coloured paper, each printed with Ruyton Girls' School's name and emblem. All sheets are handwritten with black/charcoal ink and signed by H. (Hilda) Daniell.Reverse: RGS008/2024/0007.1 / Reverse: RGS008/2024/0007.2 / Reverse: RGS008/2024/0007.3 /ruyton girls' school, students, scholarship, school, ruyton, principal, victoria, high school, senior school, day school, letter, miss hilda daniell, hilda daniell, henty, tarring, old ruytonians association, kew recreation hall, kew

FOBKC (Friends of Boroondara Kew Cemetery) has previously published "Triangle of Tranquility":150 years of the Boroondara (Kew) Cemetery. 1859-2009 Gives brief biographies of many of the people buried in the Kew Cemetery from all walks of life, including the Henty family, Georgiana McCrae, George Coppin, Sir Owen Dixon and the Duffy family of lawyers.Gives brief biographies of many of the people buried in the Kew Cemetery from all walks of life, including the Henty family, Georgiana McCrae, George Coppin, Sir Owen Dixon and the Duffy family of lawyers.boroondara general cemetery, cemeteries, kew cemetery, fobkc, friends of boroondara kew cemetery

Pru Sanderson, in her groundbreaking ‘City of Kew Urban Conservation Study : Volume 2 - Development History’ (1988), summarised the periods of urban development and subdivisions of land in Kew. The periods that she identified included 1845-1880, 1880-1893, 1893-1921, 1921-1933, 1933-1943, and Post-War Development. These periods were selected as they represented periods of rapid growth or decline in urban development. An obvious starting point for Sanderson’s groupings involved population growth and the associated economic cycles. These cycles also highlighted urban expansion onto land that was predominantly rural, although in other cases it represented the decline and breakup of large estates. A number of the plans in the Kew Historical Society’s collection can also be found in other collections, such as those of the State Library of Victoria and the Boroondara Library Service. A number are however unique to the collection.The Kew Historical Society collection includes almost 100 subdivision plans pertaining to suburbs of the City of Melbourne. Most of these are of Kew, Kew East or Studley Park, although a smaller number are plans of Camberwell, Deepdene, Balwyn and Hawthorn. It is believed that the majority of the plans were gifted to the Society by persons connected with the real estate firm - J. R. Mathers and McMillan, 136 Cotham Road, Kew. The Plans in the collection are rarely in pristine form, being working plans on which the agent would write notes and record lots sold and the prices of these. The subdivision plans are historically significant examples of the growth of urban Melbourne from the beginning of the 20th Century up until the 1980s. A number of the plans are double-sided and often include a photograph on the reverse. A number of the latter are by noted photographers such as J.E. Barnes.An unnamed subdivision in Studley Park including five lots for sale in Studley Park Road, Highfield Grove and Tara Avenue. Unidentified on the plan, but clearly existing, are the Henty family mansion of Field Place and Tara Hall in Studley Park Road. The first attempted subdivision of Tara Hall was advertised in 1927 in which Lots 5, 6 and 7 in this plan were also advertised. Unusually, Lot 2 in Studley Park Road was created from the northern part of the Henty mansion, rather than Tara Hall. In the subdivision, lots were advertised at varying prices, with the highest price for land being Lot 2 in Studley Park Road. The plan notes that only one villa is to be allowed on each allotment.subdivision plans - kew, field place subdivision -- studley park – kew (vic.), highfield grove – kew (vic.), tara avenue – kew (vic.)

The Henty family, the first European settlers in the State of Victoria, owned a number of houses in Kew and many members of the family are buried in the Boroondara General (Kew) Cemetery, including Edward Henty, the first European settler in Victoria.Monumental grave marker for Edward Henty and his family in the Boroondara General Cemetery. Annotation on reverse: "Reg No-KH-135. Donated by Mrs Nita Green, 1979nita green, henty family, boroondara general cemetery, edward henty

'The land on which 'Swinton'was later built was first purchased by John Bakewell in 1851 and later sold to Edmund Laskey Splatt in 1858. Splatt was a member of the first provisional committee of the National Bank of Australia in Melbourne and built the first house on the land naming it 'Laskey Villa'. By 1863 the house was occupied by Herbert Henty. The Johnson family connection with the property began with the marriage in 1858 of Annabella Johnson to David Syme, owner of the Áge' newspaper and owner of the adjacent property 'Blytheswood'. Annabella's brother, Francis Johnson, bought the villa in 1876 and renamed it 'Swinton' after his birthplace in Yorkshire. The property was later owned by the artistic Colquhoun family. The house is one of the earliest examples of the Italianate style in Victoria - the outstanding element being the tower with its cantilevered walkway and heavily bracketed pryamidal tower.' Source: Victorian Heritage RegisterThis work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical SocietySwinton in Kew and its tower. This side of the house faces the Yarra River.swinton, laskey villa, swinton avenue, kew, dorothy rogers

Built by John Bournane, Rockingham had a number of occupants before the newspaper magnate David Syme purchased it in 1902. The house in the 1860s and ‘70s was comprised of nine rooms, and was surrounded by a veranda on the front and sides. It was approached from the Kew road by the curve in front of the Hon. S.G. Henty’s mansion of ‘Findon’.In 1955, the Syme family sold Rockingham to the Red Cross Society to be used as a convalescent home for returned servicemen. The house was sold, demolished, and the land subdivided in 1966.An early panoramic photograph of an early Kew mansion (now demolished), dating from the 1870s.A rare, panoramic photograph (c.1870) of the garden of ‘Rockingham’, during the occupation of the house by W. Gardiner Esq. Rockingham was located beside and above the Barkers Road cutting. The view of the garden in the photograph is of the terraces leading down to the Yarra River. At the time the photograph was taken, the property covered an area of “…nine acres of beautifully laid-out grounds, interspersed with numerous terraces leading down the sloping bank of the river”.rockingham, david syme, kew

This wedding photograph is an illustration of the intermarriage of notable Victorian (and Kew) families. The parents of the groom were the Hon. James Balfour MP., and his wife, Frances Charlotte (Henty) [the eldest daughter of James Henty] who married at Hawthorn in 1859. The Balfour lived at 'Windella' in Studley Park Road. Henry Rairey (Harry) Balfour was the youngest son of Mr & Mrs Balfour who married Katie Harrison of 'Horley' in Molesworth Street, Kew. Miss Harrison's father was the T.S. Harrison (merchant and importer, b. Banbury, Oxon, 1829, d. Melb 1901). Portrait of the wedding party in the garden of Horley in Molesworth Street, following the marriage of Elizabeth Kate (Katie) Harrison to Henry Rairey (Harry) Balfour at the Kew Presbyterian Church in 1905. The outfits worn by the women were reported in Punch, on 9 February 1905]. The bride wore a frock of ivory white satin, with bertha of duchesse lace and a yoke of ruched chiffon. The bridesmaids … wore white muslin dresses, inserted with Valenciennes, made in early Victorian style. The white straw hats were trimmed with lace and blue hydrangea, and their flowers were blue hydrangea, delphiniums and cornflowers. … The bride’s mother [right] wore a well-cut dress of black silk. The bridegroom’s mother [left] wore a gown of black silk voile, and smart black bonnet grouped with roses. L. to R. Christian Balfour, Jean Mackintosh, Mrs James Balfour (nee Henty), Bridegroom, Bride, Dr. Lewis Balfour, Genevieve Harrison, Hon. James Balfour, Henry Harvey, Marion Harrison (nee Borodin) [Married by Mr Alec Scholes at Kew Presbyterian Church] .Individuals identified in ink on reverse plus donor name and date.balfour, henty, harrison, horley, molesworth street, kew

This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society."The land on which Swinton was later built was first purchased by John Bakewell in 1851 and later sold to Edmund Laskey Splatt in 1858. Splatt was a member of the first provisional committee of the National Bank of Australia in Melbourne and built the first house on the land naming it Laskey Villa. By 1863 the house was occupied by Herbert Henty. The Johnson family connection with the property began with the marriage in 1858 of Annabella Johnson to David Sym - owner of The Age newspaper and owner of the adjacent property Blytheswood. Annabella's brother, Francis Johnson, bought the villa in 1876 and renamed it Swinton after his birthplace in Yorkshire. The property was later owned by the artistic Colquhoun family. The house is one of the earliest examples of the Italianate style in Victoria - the outstanding element being the tower with its cantilevered walkway and heavily bracketed pyramidal tower. (Source: Victorian Heritage Database)"Swinton. Built about 1959-60. Chap.20 Swinton. Johnson - Col"swinton, swinton avenue (kew)

Ruyton was founded in 1878 in the Bulleen Road, Kew, home of newly widowed Mrs Charlotte Anderson (now High Street South). There she hired a governess, Miss Flora Barton, to educate a small group of children, including her own, in her front parlour. Her school immediately flourished. By 1882 she was able to move it to larger premises at ‘Edgecomb’, in Studley Park Road, and name it Ruyton, after a family connection with the village of Ruyton-XI-Towns, Shropshire, England. Since that time Ruyton has continued to thrive, outgrowing its Edgecomb site, and another at A’Beckett Street, Kew, before settling into its current home in Selbourne Road in 1920. The centrepiece of this property is Henty House, now named for its original owners, Henry and Marion Henty, but once known as ‘Tarring’. The grand, polychrome brick home was built in 1872 and with nearly four acres of gardens and grounds around it, it has proved to be a place where Ruyton and its students could continue to prosper. (source: Ruyton website 2020)Prospectus provided in response to an enrolment inquiry in 1950 for Ruyton Girls' Grammar School. (See also Item 2016.0468)ruyton girls grammar school

Many of the Henty's of the Western District of Victoria also owned houses in Kew, Victoria. Stephen Henty, referred to on the reverse of the postcard, lived while a member of the Vitoria Parliament at 'Findon' in Kew. Kew Historical Society also holds a nationally significant collection of costumes belonging to three generations of Henty women.Monochrome, blue tinted 'real photo' postcard of Housen's Richmond Hotel, Portland. Two women stand on the steps of the hotel at left, with the rose garden in front of them. Behind them is a church spire. The hotel and its significance is outlined in two columns of blue coloured text on the reverse.Printed reverse: "THE RICHMOND is the most historical building in the State. On the site of today's building Edward Henty, the founder of permanent settlement in Victoria, commenced his first house February 19, 1835, finishing the work in two months. He had landed in Portland on Nov. 19th, 1834, and turned the first plough furrows in Victoria where the Hotel now stands on the 26th of the following month. It was also here that Major Mitchell ended his explorations from Sydney, meeting the Hentys on August 29th, 1836. In December of the same year Mrs S. G. Henty joined her husband, their son Richmond, the first male white child in Portland, being born in the Henty cottage. The present Richmond Hotel was built in 1840, and became the home of Stephen Henty until his departure from Portland in 1869. Though Edward Henty's first house was demolished in 1840, to make room for the new surveyed town streets, part of his wool store remains in the Hotel grounds, and is used as a wood shed. This is about the oldest building in the State : in it was held the first christening service in Portland on September 26th, 1841. On the site of the Richmond Hotel all the early visiting celebrities were entertained - Mitchell, Wedge, La Trobe, Fyans, Sir John Franklin, Capt. Stokes, etc. No other hostelry in Victoria can give you the historical atmosphere of the RICHMOND. / THE ORIGINAL HOME OF THE HENTYS."henty family, richmond hotel -- portland (vic.), stephen henty, edward henty, richmond henty, henty houses -- victoria, portland, postcards

Louisa Henty (1847-24) was the eldest daughter of Francis and Mary Ann Henty (nee Lawrence). Following the deaths of her mother and father, she inherited 'Fieldplace' in Studley Park, Kew, and 'Merino Downs' in Henty, near Casterton. The original photo, owned by a descendant of Francis Henty is part of an album of family photographs.Print copy of an original carte de visite; a studio portrait of Miss Louisa Henty, daughter of Francis and Mary Ann Henty (nee Lawrence). Photographed in the Johnstone & O'Shannessy & Co atelier, she is posed in a day dress which has a polonaise and train, dating the photograph to the mid 1870s. Standard props used by the studio include imitation masonry and a curtain.Front: "Johnstone & O'Shannessy & Co"louisa henty, henty family, merino downs, fieldplace -- kew (vic)

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

This dress is believed to have belonged to Mary Ann Henty [nee Lawrence] (1821-81), the wife of Francis Henty (1815-89). Her husband, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.A one-piece, lustrous silk taffeta evening dress, lined with polished cotton, probably owned by Mary Ann Henty, and later by her daughter, Alice. The V-waist line of the dress and the dimensions of the skirt are comparable to Mary Ann’s wedding dress. The bodice in contrast is less structured. At a later stage, the sleeves were removed. Measurements (mm): BODICE: Girth - Neck 914.4, Chest 863.6, Waist 685.8, Hip 863.6, Hem circumference 3302. Vertical - Front neck to hem 1371.6, Front waist to hem 1092.2, Back neck to hem 1384.3, Back waist to hem 1079.5 Horizontal - Neck to sleeve head 44.45, Chest back 431.8, Underarm to underarm 431.8.mary ann lawrence, francis henty, evening dresses, henty collection, fashion -- 1840s

This bridesmaid's dress was owned and first worn by Alice Frances Henty, the daughter of Francis Henty and Mary Ann (Lawrence) Henty. The outfit was worn at the marriage of her friend Miss Hopkins to Mr ST Staughnton in 1874. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.An ivory silk skirt and matching jacket worn by Alice Henty, aged 22, at the marriage of her friend Lizzie Hopkins and S.T. Staugnton in 1874. The ivory silk satin peplum jacket is boned, tailored, and fitted with many princess line panels. The front closure has handmade embroidered buttonholes and covered buttons. The collar and sleeves are decorated with gathered silk tulle frills. The peplum back features a silk cord bow decoration. The skirt with bustle and train features a central panel with hand ruching and silk satin piping. It is decorated with five rows of pleated silk tulle frills. Measurements (mm): PEPLUM JACKET Girth - Neck 317.5, Chest 914.4, Waist 698.5, Hip 965.2, Cuff 279.4, Hem circumference 1168.4. Vertical - From neck to hem 558.8, Front waist to hem 254, Back neck to hem 838.2, Back waist to hem 241.3, Sleeve length 279.4. Horizontal - Neck to sleeve head 165.1,Cross back 292.1, Underarm to underarm 393.7. SKIRT Girth - Waist 635, Hip 914.4, Hem circumference 3810. Vertical - Front waist to hem 1092.2, Back waist to hem 1701.8. fashion -- 1870s, alice frances (henty) hindson, women's clothing, bridesmaid's dresses

This bodice, belonging to Alice (Henty) Hindson has traditionally been identified as a travelling jacket by her descendants. Alice Hindson was the youngest daughter of Francis Henty and Mary Ann (Lawrence) Henty. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Alice (Henty) Hindson's midnight blue sateen bodice is highlighted using velvet lapels, cuffs, and a rear bow. The velvet, in contrast to the plain midnight blue sateen, is embellished [in the weave] with pink and navy spots. Joined at the front with 23 round domed buttons, hooks and eyes are used to close the neckline. The bodice also features coffee-coloured lace at the front and on the cuffs, which may have been added later. The bodice has some condition issues, missing one cuff and the lace on the cuffs needing re-attaching. The inside of the bodice is heavily boned, complete with a floral chintz lining. Measurements (mm): BODICE: Girth - Neck 355.6, Chest 812.8, Waist 660.4, Hip 685.8, Cuff 228.6 Vertical - From neck to hem 406.4, Front waist to hem 152.4, Back neck to hem 546.1, Back waist to hem 228.6, Sleeve length 533.4. Horizontal - Neck to sleeve head 114.3, Cross back 266.7, Underarm to underarm 368.3.alice hindson, alice henty, bodices, women's clothing, alice (henty) hindson

This dress belonged to Mary Ann Henty [nee Lawrence] (1821-81), the wife of Francis Henty (1815-89). Her husband, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.A two-piece, moiré silk faille day dress, owned and worn by Mary Ann Henty, aged 59, while resident at Field Place, Kew. The fitted and panelled bodice on the day dress features wide velvet ribbon, hand sewn to form ‘V’ detailing at front and back. The front bodice hook and eye closure is decorated with handmade velvet covered buttons. The high round neckline is trimmed with pleated ivory fine tulle lace. The wide long sleeves of the bodice are also trimmed with velvet ribbon and buttons forming exquisite cuff detailing. The full length skirt and train are tucked into a fitted waistline band. The hemline is hand finished with wide velvet ribbon. A separate attached peplum is worn over the full bustle of the skirt. Measurements (mm): DRESS: Girth - Neck 355.6, Chest 889, Waist 673.1, Cuff 279.4, Hem circumference 4292.6. Vertical - Front neck to hem 1447.8, Front waist to hem 1117.6, Back neck to hem 1765.3, Back waist to hem 1346.2 , Sleeve length 590.55. Horizontal - Neck to sleeve head 196.85, Chest back 469.9, Underarm to underarm 457.2. PEPLUM Girth - Waist 711.2, Hem circumference 1066.8. Vertical - Back waist to hem 406.4.mary ann lawrence, francis henty, fashion -- 1880s, day dresses, women's clothing

Alice Frances (Henty) Hindson's grey silk bodice is believed to be part of her 'going-away' outfit after her wedding to John Hindson on 15 April 1875. The bodice must have been a family favourite as it was used and amended over the years. Alice was the youngest daughter of Francis Henty and Mary Ann (Lawrence) Henty. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.The yoke is a bustier bodice, made of silk and silk organza with an insert of hand-tatted lace. The bodice is carefully boned and has a little padding in the bust line. It includes the name of the maker of the bodice as ‘Madame Jay, Brighton, 38 London Road’. The silk organza sleeves have hand shirring, trim, and frilled cuffs. The bodice is finished with a large, frilled bow at the back. Believed by the Henty family to be part of the ‘going away’ outfit worn by Alice Henty in 1875. Measurements (mm): BODICE: Girth - Neck 304.8, Chest 762, Waist 571.5, Cuff 127 Vertical - From neck to hem 381, Front waist to hem 152.4, Back neck to hem 419.1, Back waist to hem 228.6, Sleeve length 254. Horizontal - Neck to sleeve head 165.1, Cross back 457.2, Underarm to underarm 431.8.Mme Jay, Brighton Road, London [dressmaker]bodices, women's clothing, alice (henty) hindson, alice francés henty