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.Small, black and white photo of Fernhurst in Kew, built for the architect and surveyor George Wharton. (Now demolished)"Probably built in 1860s / Fernhurst"fernhurst -- kew (vic), historical houses -- kew (vic), kew mansions

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.Small black and white photograph of 'Campion Hall' (previously called Dalswraith and Glendalough) in Studley Park Road, Kew."Ca. 1905 / Campion College / built for S.W. Gibson"historic houses -- kew (vic.), campion hall -- house, glendalough, dalswraith-- dalsraith, kew mansions

Ross House, formerly called Charleville, was built as a two-storey mansion in 1889 for Charles Donaldson. It was designed in the Italianate style by the architect H. Shallers and built by G. Ginham. Dr Tom King, surgeon purchased Charleville from Donaldson in 1939 and renamed it Ross House.Photographic print positive of 'Ross House' (formerly 'Charleville'), Cotham Roadross house, charleville, houses --- cotham road -- kew (vic.), mansions -- kew (vic.)

Small, square, original colour positive photograph of 'Mandalay', Molesworth Street, Kew, taken in 1979 by Elizabeth Mackie. Side view showing double-storey colonnade faced with cement pilasters on first floor and projecting bay window on both floors.Annotated in ink on reverse: " Mandalay, 3 Molesworth St. / once Morrissey family home / Donated by E Mackie 1979"mandalay, historic houses -- kew (vic.), mansions -- kew (vic.), morrissey family

No 1 Molesworth Street was at one stage the home of our member Elizabeth Mackie. She believed the house, like Mynda at 5 Molesworth Street was designed by the architect Lloyd Tayler. The Melbourne Mansion Database confirms that the house was built by Lloyd Taylor & Fitts in c.1898.Small, square, original colour positive photograph of 1 Molesworth Street, Kew, taken in 1979 by Elizabeth Mackie. Carport and driveway with grey rendered two storey house at left. Annotated in ink on reverse: " No.1 Molesworth St. / Architect - Lloyd Tayler 1880s [sic] / Gift of E Mackie"historic houses -- kew (vic.), mansions -- kew (vic.), architects -- lloyd tayler, 1 molesworth st -- kew (vic.)

The first section of Raheen was commenced in 1870 with an extension added in 1884. It was designed by William Salway and built for Edward Latham of the Carlton Brewery. Sir Henry Wrixon, prominent Melbourne barrister and solicitor, later owned and resided at the property. In 1917 Raheen was purchased by the Catholic Church and became the official residence of Archbishop Mannix, as well as four other Catholic archbishops of Melbourne. In 1981 the Church sold the property and it again reverted to a private residence. (Source: VHD)Photographic positive showing the gates to the mansion 'Raheen' in Studley Park Road. Notable are the three Himalayan Cedars inside and outside the high brick fence.Verso: "Gates to Raheen 1981"raheen -- studley park road -- kew (vic.), mansions -- studley park -- kew (vic.), historic houses -- studley park -- kew (vic.), raheen

The Kew Historical Society's Fashion & Design collection includes a small and representative collection of reticules, purses and handbags, purchased, inherited or collected by members of the Society. These items date from the Nineteenth and Twentieth centuries, and conform to fashions and styles popular during the period of their use. Some of the items are handmade, while others are mass-produced commercial products. Hand-beaded evening purse, with silver frame and finger ring. While the note accompanying the item states that it was made and used in the 1880s, the label 'Made in France' would indicate that it was probably made in the first decade of the twentieth century.Label: "Made in France / Hand-made". A note which accompanies the item states: "Hand beaded evening purse, 1880s. Frequently used when formal dinner dances were held in the Kew mansions." [Editor - See correct date in Physical description]fashion accessories, clothing accessories, women's clothing -- accessories, bags -- handbags, bags -- purses

"The first section of Raheen was commenced in 1870 with an extension added in 1884. It was designed by William Salway and built for Edward Latham of the Carlton Brewery. Sir Henry Wrixon, prominent Melbourne barrister and solicitor, later owned and resided at the property. In 1917 Raheen was purchased by the Catholic Church and became the official residence of Archbishop Mannix, as well as four other Catholic archbishops of Melbourne. In 1981 the Church sold the property and it again reverted to a private residence." (Victorian Heritage Database, 2023)This work forms part of the collection assembled by the historian Dorothy Rogers (1905-1973), donated to the Kew Historical Society by her son 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 from the 1960s to the 1970s. Original, monochrome print copy of a photograph of Raheen in Studley Park Road (Kew). The unrendered red brick house with tower has a toe story section at right with a double colonnade and a single story section at left. The photographs predates the restoration of the gardens and house by te. Pratt family. Annotation verso: "Raheen. R. C. Archbishops Palace, Studley Park Road, Kew".reheen, mansions -- kew (vic.), studley park road

The architect, Edward Kilburn designed Byram in the Arts & Crafts style for the industrialist George Ramsden. Construction began in 1888 and was reputed to have lasted three years. The mansion had frontages to Studley Park Road and Stevenson Street, including gardens laid out with great taste, including pleasure grounds, tennis lawn, fruit and flower garden, and paddock.The size of many of the trees in the garden indicate that many survived from the garden of Clifton Villa, the previous single-storeyed house built on the site by the Stevenson brothers. Byram had views to Melbourne and Port Phillip Bay. The house was demolished in 1960, despite opposition from the National Trust (Victoria), and its gardens subdivided into residential allotments.An early photograph of Goathland (also known as Byram, Lowan and Tara Hall). The photo shows the front of the building during the period of Sir Malcolm McEacharn’s occupation of the house (1901-11). Edward George Kilburn, of Ellerker & Kilburn, had originally designed the house for the industrialist George Ramsden in 1888. When Sir Malcolm McEacharn purchased Byram, he was to rename it as Goathland. This has led to some confusion, as Goathland was also the name used for McEacharn’s other home in St. Kilda. The period of McEacharn’s ownership represented the high point of the mansion’s history. 'Lost Glories: a memorial to forgotten Australian buildings' was published by David Latta in 1986. It tells the story of a number of significant Australian buildings that had previously been demolished. A chapter in the book was devoted to Goathland, later known as Tara Hall. To supplement the text, he sourced photographs from a range of suppliers, chiefly the Royal Women's Hospital which had once owned Tara Hall, but had sold it in 1960. This is one of the photographs donated to KHS by the author."'Goathland', The Residence of Sir Malcolm D McEacharn"byram, goathland, tara hall, lowan, studley park road -- kew (vic.), melbourne mansions, e g kilburn - architect

Raheen was constructed as a two-storey house in the Italianate style with a four-storey tower over the entrance and single-storey extension. It was designed in an asymmetric and arcaded form, and is built of red brick with cement render. The property retains its garden layout, including an Italianate garden, outbuildings, fence and gates, and internal features including the original stairwell, library, ballroom and cast iron tower stairs. (source VHD)View of the upper and lower eastern loggias of 'Raheen' at 96 Studley Park Road, Kew from the eastern garden. The colour photo shows the pedestals and urns above the steps and the plantings in the garden c.1980. raheen -- 96 studley park road -- kew (vic.), historic houses -- studley park, mansions -- kew (vic.)

The Free Kindergarten Union of Victoria commenced teacher training in 1909. A two year course was run in cooperation with the Education Department in 1910-14, but from 1917 the Union trained its students independently. In 1922 the Kindergarten Training College was established in Mooroolbeek, Kew. In 1965, the institution, as the Melbourne Kindergarten Teachers' College, became an entity separate from the Union, and in 1973 joined the State College of Victoria as the Institute of Early Childhood Development. It subsequently amalgamated with the University of Melbourne to become the Department of Early Childhood Studies and moved from Madden Grove, Kew, to 234 Queensberry St, Carlton, early in July 1997.Commemorative plaque indicating the location of a former Kew mansionBronze plaque commemorating the location of Mooroolbeek, one of the great mansions of Kew, demolished in 1968 by the Kindergarten Training College"The original college building "Mooroolbeek" was the home of Sir Frank Madden Speaker of the Victorian Legislative Assembly from 1904-1917. The crest of the Madden family here inset was removed from "Mooroolbeek" when the building was demolished in 1968."institute of early childhood development - kew (vic), mooroolbeek - madden grove - kew (vic), sir frank madden

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.In this view of Studley Park Road, looking northeast to the Junction, the photographer invites the viewer to participate in a point-of-view that emphasises the elevated, tranquil vantage point of the hill in contrast to the bustling commercial area in the distance. The view emphasises the exclusiveness of Studley Park, with its high fences behind which a number of significant Kew mansions were concealed. Contemporary advertisements for the sale of mansions in Studley Park Road often included fulsome descriptions of their elaborate formal gardens, as well as paddocks for grazing, stabling and dairies. None can be seen here. The use of high, protective wooden pickets to surround the newly planted avenue of elms on the south side of the road appears to be typical of the period. Similar examples can be seen in early photographs of Wellington and Princess Streets.The horse and carriage, selected as a central focus of the view, reinforces the residential, exclusive nature of this part of Kew in the early 1890s. Studley Park Roadkew illustrated, kew where we live, photographic books, henry kellett

The sons and daughters of Thomas and Frances Henty were notable settlers, initially in Western Australia, then in Launceston and finally in Victoria. A number of significant mansions in Kew were owned at various stages by members of the immediate family and or their descendants. The Boroondara General Cemetery includes a number of memorials of or to Henty family members.Original colour positive photograph of a Hindson family grave in the Boroondara General Cemetery. This is one of a number of photographs taken c.1987 of graves/headstones of descendants of the Henty family of Victoria. This particular grave is located in Section C/E C 1117A and holds the remains of John Hindson, Alice Hindson, William Francis Hindson. [Alice Hindson was the daughter of Francis Henty]. Other members of the Hindson family are recorded on the grave but are not listed as buried at the site in the Boroondara General Cemetery records of burials. henty family, boroondara general cemetery, john hindson, alice hindson, william francis hindson

The sons and daughters of Thomas and Frances Henty were notable settlers, initially in Western Australia, then in Launceston and finally in Victoria. A number of significant mansions in Kew were owned at various stages by members of the immediate family and or their descendants. The Boroondara General Cemetery includes a number of memorials of or to Henty family members.Original colour positive photograph of a Henty family grave in the Boroondara General Cemetery. This is one of a number of photographs taken c.1987 of graves/headstones of descendants of the Henty family of Victoria. This particular grave is located in Section PRES A 1227 and holds the remains of Myrtle Irena Henty, Venus Walker Henty, Ivor Arthur Henty, the children of Mr & Mrs AJ Henty.. henty family, boroondara general cemetery, myrtle irena henty, venus walker henty, ivor arthur henty

The sons and daughters of Thomas and Frances Henty were notable settlers, initially in Western Australia, then in Launceston and finally in Victoria. A number of significant mansions in Kew were owned at various stages by members of the immediate family and or their descendants. The Boroondara General Cemetery includes a number of memorials of or to Henty family members.Original colour positive photograph of a Balfour family grave in the Boroondara General Cemetery. This is one of a number of photographs taken c.1987 of graves/headstones of descendants of the Henty family of Victoria. This particular grave is located in Section PRES A 0058 and holds the remains of James Balfour and his wife Frances Charlotte Henty. James Balfour was a Scottish-born Australian merchant and politician, member of the Victorian Legislative Assembly 1866 to 1868 and of the Victorian Legislative Council from 1874 to 1913. In 1859, he married Frances Charlotte, eldest daughter of Hon. James Henty, M.L.C. They had 11 children, nine of whom survived him.henty family, boroondara general cemetery, james balfour, frances charlotte henty

The sons and daughters of Thomas and Frances Henty were notable settlers, initially in Western Australia, then in Launceston and finally in Victoria. A number of significant mansions in Kew were owned at various stages by members of the immediate family and or their descendants. The Boroondara General Cemetery includes a number of memorials of or to Henty family members.Original colour positive photograph of two Henty family graves in the Boroondara General Cemetery. This is one of a number of photographs taken c.1987 of graves/headstones of descendants of the Henty family of Victoria. The scrolled headstone at left is located at Section C/E D 0241 and its grave contains the remains of Herbert William (Willy) Henty, Frances Emma Henty, May Lillian Henty. The headstone at right is located in Section C/E D 0245 and its grave holds the remains of Edith Mary (Lettie) Embling (nee Henty), Florence Emily Henty, Arthur Frederick Henty, 'Stillborn Skamp'. henty family, boroondara general cemetery, herbert william (willy) henty, frances emma henty, may lillian henty, edith mary (lettie) embling (nee henty), florence emily henty, arthur frederick henty, 'stillborn skamp'

The sons and daughters of Thomas and Frances Henty were notable settlers, initially in Western Australia, then in Launceston and finally in Victoria. A number of significant mansions in Kew were owned at various stages by members of the immediate family and or their descendants. The Boroondara General Cemetery includes a number of memorials of or to Henty family members.Original colour positive photograph of a Hindson family grave in the Boroondara General Cemetery. This is one of a number of photographs taken c.1987 of graves/headstones of descendants of the Henty family of Victoria. This particular grave is located in Section C/E C 1117A and holds the remains of John Hindson, Alice Hindson, William Francis Hindson. [Alice Hindson was the daughter of Francis Henty]. Other members of the Hindson family are recorded on the grave but are not listed as buried at the site in the Boroondara General Cemetery records of burials. henty family, boroondara general cemetery, john hindson, alice hindson, william francis hindson

The sons and daughters of Thomas and Frances Henty were notable settlers, initially in Western Australia, then in Launceston and finally in Victoria. A number of significant mansions in Kew were owned at various stages by members of the immediate family and or their descendants. The Boroondara General Cemetery includes a number of memorials of or to Henty family members.Original colour positive photograph of Edward Henty's obelisk in the Boroondara General Cemetery. This is one of a number of photographs taken c.1987 of graves/headstones of descendants of the Henty family of Victoria. The obelisk is located at Section C/E D 0201 and its grave contains the remains of Edward Henty, Anna Maria Henty. henty family, boroondara general cemetery, edward henty, anna maria henty

The sons and daughters of Thomas and Frances Henty were notable settlers, initially in Western Australia, then in Launceston and finally in Victoria. A number of significant mansions in Kew were owned at various stages by members of the immediate family and or their descendants. The Boroondara General Cemetery includes a number of memorials of or to Henty family members.Original colour positive photograph of Edward Henty's obelisk in the Boroondara General Cemetery. This is one of a number of photographs taken c.1987 of graves/headstones of descendants of the Henty family of Victoria. The obelisk is located at Section C/E D 0201 and its grave contains the remains of Edward Henty, Anna Maria Henty. henty family, boroondara general cemetery, edward henty, anna maria henty

The sons and daughters of Thomas and Frances Henty were notable settlers, initially in Western Australia, then in Launceston and finally in Victoria. A number of significant mansions in Kew were owned at various stages by members of the immediate family and or their descendants. The Boroondara General Cemetery includes a number of memorials of or to Henty family members.Original colour positive photograph of Edward Henty's obelisk in the Boroondara General Cemetery. This is one of a number of photographs taken c.1987 of graves/headstones of descendants of the Henty family of Victoria. henty family, boroondara general cemetery, edward henty, anna maria henty

The Melbourne and Metropolitan Board of Works (MMBW) plans were produced from the 1890s to the 1950s. They were crucial to the design and development of Melbourne's sewerage and drainage system. The plans, at a scale of 40 feet to 1 inch (1:480), provide a detailed historical record of Melbourne streetscapes and environmental features. Each plan covers one or two street blocks (roughly six streets), showing details of buildings, including garden layouts and ownership boundaries, and features such as laneways, drains, bridges, parks, municipal boundaries and other prominent landmarks as they existed at the time each plan was produced. (Source: State Library of Victoria)This plan forms part of a large group of MMBW plans and maps that was donated to the Society by the Mr Poulter, City Engineer of the City of Kew in 1989. Within this collection, thirty-five hand-coloured plans, backed with linen, are of statewide significance as they include annotations that provide details of construction materials used in buildings in the first decade of the 20th century as well as additional information about land ownership and usage. The copies in the Public Record Office Victoria and the State Library of Victoria are monochrome versions which do not denote building materials so that the maps in this collection are invaluable and unique tools for researchers and heritage consultants. A number of the plans are not held in the collection of the State Library of Victoria so they have the additional attribute of rarity.Original survey plan, issued by the MMBW to a contractor with responsibility for constructing sewers in the area identified on the plan within the Borough of Kew. The plan was at some stage hand-coloured, possibly by the contractor, but more likely by officers working in the Engineering Department of the Borough and later Town, then City of Kew. The hand-coloured sections of buildings on the plan were used to denote masonry or brick constructions (pink), weatherboard constructions (yellow), and public buildings (grey). This plan, which covers parts of High Street, Pakington Street and Derby Street is dominated by two historic Kew mansions: ‘Konetta’ and ‘Ramornie’. Ramornie was constructed in 1890 for James Maitland Campbell, three times Mayor of Kew. Sold in 1940, it became a boarding house known as ‘The Towers’. Now a private residence again, it has only one of its three balconies remaining. The location of the missing two balconies can be seen on the plan. In 1903, the grounds of Ramornie included a large tennis court fronting Pakington Street. The rear of the property is shown as extending to Cobden Street. One of Kew’s oldest hotels, the Prospect Hill Hotel on the corner of High and Cobden Street was established in 1858. The outline of the hotel shown on the plan represents the second building on the site. During the 19th century it was often used for electoral meetings. The Prospect Hill Hotel was to be redeveloped again in 1928, by the local architect Robert McIntyre. Since the 1980s, the hotel has been a live music venue, the home of the Melbourne Jazz Club, a restaurant and a liquor outlet.melbourne and metropolitan board of works, detail plans, maps - borough of kew, mmbw 1585, cartography

Open House 2022: "Like many Melburnians, Ying-Lan Dann has long been fascinated by the Mission to Seafarers, in Docklands. When she was invited to create a work in response to a building as part of this year’s Open House Melbourne, she knew immediately which it would be. Taking a peek behind the closed doors of some of Melbourne’s finest and most interesting buildings is a core premise of the weekend event, now in its 15th year. During that time, the program has grown from half a dozen buildings to a 200-plus strong list that extends to Ballarat and Bendigo. “[It’s] much more expansive and citizen-led,” says Fleur Watson, Open House Melbourne’s executive director. “As a public festival, it has always had a spirit of generosity, this gesture of opening up and allowing visitors to come and look and experience things.” Swinging open their doors at the end of the month will be some of the city’s finest mansions, including Villa Alba in Kew and Brighton’s Billilla, the Cairo flats in Fitzroy, the newly renovated Jewish Museum designed by Kerstin Thompson, the Melbourne Quakers Centre, the Albanian Mosque in Carlton North and many more. Considering how to approach the event this year, held remotely for the past two, Watson decided to explore beyond the traditional, with associate professor and director of curatorial practice at Monash University Tara McDowell. The two have co-curated an exhibition of works to run concurrently with the Open House program, called Take Hold of the Clouds. That’s where Dann’s work, Circular Temporalities, comes in, one of seven commissions around town in which local and international artists respond to chosen buildings or sites. A lecturer in interior design at RMIT as well as an artist, she is interested in time and finding different mediums to show things in flux and, having grown up on Phillip Island, she often uses water as a theme. When she started spending time at the Mission, Dann found there was an oculus at the top of the dome, known as the Norla Dome. She thought about how that small but significant opening related to where sailors spent so many months of the year, the sky being the only thing they would see much of the time, stars guiding the way in times gone by, and of the recent stories she’d heard about sailors being trapped at sea during COVID. Built in the Arts and Craft style between 1916 and 1919 and designed by architect Walter Butler, the Mission includes a chapel, clubroom, Chaplain’s house, a small cottage and the Norla Dome, which was apparently inspired by the Pantheon. The Mission was funded by the government and the Ladies Harbour Lights Guild, who Dann was also intrigued by. “One of the things those women identified is that life at sea is very dangerous [and they] wanted to give them a space of sanctuary and support,” she says, adding that for many years, the dome was used as a gymnasium. Her work inside the dome includes a 35-minute loop film, recorded from the ferry during the crossing from Queenscliff to Sorrento. The horizon takes up about a third of the shot and moves as the waves rise and fall, mirroring the journeys made by the sailors who found refuge at the mission over the years; it will be projected onto a gauze-like fabric, allowing glimpses of the building behind. Dann also plans to activate the site over the course of the weekend and will read a poem by Justin Clemens.The articles gives an insight of the création of the artwork by Ying-Lan Dann. digital copy of an article with photographs published in the Ageopen house melbourne, 2022, ying-lan dann, take hold of the clouds, norla dome, exhibition, the age, cultural events

The Melbourne and Metropolitan Board of Works (MMBW) plans were produced from the 1890s to the 1950s. They were crucial to the design and development of Melbourne's sewerage and drainage system. The plans, at a scale of 40 feet to 1 inch (1:480), provide a detailed historical record of Melbourne streetscapes and environmental features. Each plan covers one or two street blocks (roughly six streets), showing details of buildings, including garden layouts and ownership boundaries, and features such as laneways, drains, bridges, parks, municipal boundaries and other prominent landmarks as they existed at the time each plan was produced. (Source: State Library of Victoria)This plan forms part of a large group of MMBW plans and maps that was donated to the Society by the Mr Poulter, City Engineer of the City of Kew in 1989. Within this collection, thirty-five hand-coloured plans, backed with linen, are of statewide significance as they include annotations that provide details of construction materials used in buildings in the first decade of the 20th century as well as additional information about land ownership and usage. The copies in the Public Record Office Victoria and the State Library of Victoria are monochrome versions which do not denote building materials so that the maps in this collection are invaluable and unique tools for researchers and heritage consultants. A number of the plans are not held in the collection of the State Library of Victoria so they have the additional attribute of rarity.Original survey plan, issued by the MMBW to a contractor with responsibility for constructing sewers in the area identified on the plan within the Borough of Kew. The plan was at some stage hand-coloured, possibly by the contractor, but more likely by officers working in the Engineering Department of the Borough and later Town, then City of Kew. The hand-coloured sections of buildings on the plan were used to denote masonry or brick constructions (pink), weatherboard constructions (yellow), and public buildings (grey). The streets and built structures in this plan were surveyed in 1903 and released to contractors in 1904. In addition to the designation of building types by colour, the plan includes detailed descriptions of land use and ownership. While many buildings remain from this period, a number of the buildings represented have been demolished including the original Kew Town Hall, and the Congregational and Roman Catholic churches in Walpole Street. While the mansion ‘Illapa’ in Princess Street is still extant – now part of ‘Rylands’ – the neighbouring mansion ‘Elsmere’ was demolished some decades ago. Rivalling Illapa and Elsmere in size were two mansions in Walpole Street, one named on the plan as ‘Gnarlbine’. Over time, Kew Junction and the south side of High Street have been reconfigured and widened, so that the commercial buildings on the corner of Princess and High Street no longer exist. A surprising feature of this part of central Kew to the northwest of Kew Junction is the amount of vacant land. In a number of cases, this land is noted by the contractor as used for vegetable gardens.melbourne and metropolitan board of works, detail plans, maps - borough of kew, mmbw 1581, cartography

The correspondent of The Argus recorded that: "The Parliament of the Commonwealth was opened yesterday by the Duke, of Cornwall and York, under a Commission signed by Queen Victoria and subsequently endorsed by King Edward VII. The ceremony was marked by the splendour and solemn impressiveness which befitted its historic importance. ... To-day the Heir to the Throne will review some 15,000 Australian troops at Flemington. ... It is a function which, on a lesser scale, might have been arranged at any time for many years past; but it could never previously have conveyed the meaning it does now. Soldiering was popularly regarded as a pastime here until South Africa tried the mettle of our men. It is serious business from henceforth. Those who followed the nascent aspirations of the volunteer soldiery in Australia must be impressed at the rapidity of their fulfillment. ... The document design has artistic and aesthetic merit. While it is not rare, it is representative of the kinds of formal designs used for the Australian Commonwealth celebrations at the time of Federation, and is in excellent condition. Such items as this invitation have local, state and national historic significance as mementoes of a key moment in Australia's history. Locally, the invitation is part of a group of Federation-related items issued to James Maitland Campbell (and his wife). Campbell was three times mayor of Kew in the second half of the 19th Century and the owner of Ramornie in Pakington Street, one of the significant extant mansions in Kew. An invitation, mounted on card to the Royal Review held at Flemington racecourse on Friday 10 May 1901, as part of the Government of Victoria's Australian Commonwealth Celebrations. The border is vividly decorated with flags, shields and a large coat of arms. The photographic images depict various scenes of Flemington in Melbourne, in addition to two separate portraits of the Duke and Duchess of Cornwall and York. Illustrations of military servicemen on foot and horseback flank the central block of text. The invitation was addressed to Mr & Mrs J. M. Campbell. James Maitland Campbell had been Mayor of Kew in the years 1889-90, 1890-91 and 1892-93.Printed: AUSTRALIAN COMMONWEALTH CELEBRATIONS/ The Government of Victoria/ requests the honour of the presence of/ .../ AT THE/ ROYAL REVIEW/ at Flemington on Friday/ the 10th of May 1901. Handwritten on the dotted line: Mr. & Mrs. J. M. Campbellfederation events, royal review - 1901, james maitland campbell, federation -- invitations

The commemorative booklet 'Our Invited Guests for the Opening of the First Parliament of the Commonwealth of Australia : An open directory of the guests invited to Melbourne, May 9th 1901' lists invitees from each Australian State. Mr & Mrs. J. M. Campbell are on this list, and recoded as residing at "Ramornie" 40 Pakington Street, Kew.The document design has artistic and aesthetic merit. While it is not rare, it is representative of the kinds of formal designs used for the Australian Commonwealth celebrations at the time of Federation, and is in excellent condition. Such items as this invitation have local, state and national historic significance as mementoes of a key moment in Australia's history. Locally, the invitation is part of a group of Federation-related items issued to James Maitland Campbell (and his wife). Campbell was three times mayor of Kew in the second half of the 19th Century and the owner of Ramornie in Pakington Street, one of the significant extant mansions in Kew.An invitation on card to Mr. & Mrs J. M. Campbell to attend an evening reception at the Exhibition Building, Melbourne, on 9 May 1901, to meet the Duke and Duchess of Cornwall as part of the celebrations of the opening of the first Federal Parliament. A figure of Britannia, in red dress and mailed vest holding a shield like the Union Jack, is on the left of the invitation; she reaches out her hand towards a younger female figure, representing Australia, who is dressed in blue and holds a shield which is white with a blue cross decorated with stars. The writing is on a scroll in the centre of the certificate, and there is a border of vines and vine leaves. The royal crest is at the base of the certificate.Printed on a banner across the top: 'IN CELEBRATION / OF THE / OPENING / PARLIAMENT of the COMMONWEALTH / OF AUSTRALIA' Printed below the banner: 'To meet Their Royal Highness / the DUKE and DUCHESS of CORNWALL & / YORK / His Majesty's / MINISTERS OF STATE FOR AUSTRALIA / have the honor to invite / [handwritten] Mr. & Mrs J. M. Campbell / to an Evening Reception at the / Exhibition Building MELBOURNE, / on the 9th of May 1901, at 8 o'clock'.federation -- australia -- 1901, parliament -- australia, invitations -- 1901

The correspondent of the Argus on 10 May 1901 wrote: "The Parliament of the Commonwealth was opened yesterday by the Duke, of Cornwall and York, under a Commission signed by Queen Victoria and subsequently endorsed by King Edward VII. The ceremony was marked by the splendour and solemn impressiveness which befitted its historic importance. An immense assemblage of spectators, drawn mainly, of course, from this state, but in part also from each of the other federated states, and including representatives of other portions of the British Empire and of foreign powers, thronged the spacious, stately, and joyously decorated edifice. The picture was magnificent. It must have printed itself indelibly on the sensitive minds of the thousands of Australians who were privileged to behold it. We may assume that artists will reproduce it in worthy and imperishable forms, and that from generation to generation it will be familiar in the households of the Commonwealth. Our children's children, we may gladly say to-day, will not be ashamed of the function which inaugurated the self-governing rights of the southern British Nation. Nothing was omitted which could add to the grandeur and significance of the occasion. In a broad sense the proceedings were perfectly intelligible to the vast and sympathetic gathering, though the natural limits of a single human voice had to be accepted. The King's son, with his consort and the Governor-General and Lady Hopetoun by his side, and supported by the Governors of the states and other eminent personages, fulfilled his doubly-attested Commission with a simple dignity and a modest manliness altogether admirable. The ceremony was a brilliant spectacle, and, in its sentiment and suggestiveness, an inspiration to a loyal and patriotic people."The document design has artistic and aesthetic merit. While it is not rare, it is representative of the kinds of formal designs used for the Australian Commonwealth celebrations at the time of Federation, and is in excellent condition. Such items as this invitation have local, state and national historic significance as mementoes of a key moment in Australia's history. Locally, the invitation is part of a group of Federation-related items issued to James Maitland Campbell (and his wife). Campbell was three times mayor of Kew in the second half of the 19th Century and the owner of Ramornie in Pakington Street, one of the significant extant mansions in Kew.An invitation, mounted on card for Mr & Mrs James Maitland Campbell to an evening reception at the Exhibition Building, Melbourne, on 9 May 1901, to meet the Duke and Duchess of Cornwall as part of the celebrations of the opening of the first Federal Parliament. A figure of Britannia, in red dress and mailed vest holding a shield like the Union Jack, is on the left of the invitation; she reaches out her hand towards a younger female figure, representing Australia, who is dressed in blue and holds a shield which is white with a blue cross decorated with stars. The writing is on a scroll in the centre of the certificate, and there is a border of vines and vine leaves. The royal crest is at the base of the certificate. James Maitland Campbell of ‘Ramornie’ in Pakington Street was mayor of Kew on three occasionsFront, printed. gold ink: "His Majesty's Ministers of State for the Commonwealth of Australia request the honour of the presence of / Mr & Mrs J. M. Campbell (handwritten) / In the Exhibition Building, Melbourne, on Thursday, 9th May, 1901, to witness / the Opening of the Parliament of the Commonwealth. / Edmund Barton / Prime Minister." Front, bottom left, printed: "The Young Queen / Her hand was still on her sword hilt - the spur was still on her heel ... (and further text) KIPLING'S COMMONWEALTH ODE."australia -- federation -- 1901, invitations, parliament -- opening -- 1901, james maitland campbell

The Correspondent for The Argus on 10 May 1901 described the opening on 9 May as: "The Parliament of the Commonwealth was opened yesterday by the Duke, of Cornwall and York, under a Commission signed by Queen Victoria and subsequently endorsed by King Edward VII. The ceremony was marked by the splendour and solemn impressiveness which befitted its historic importance. An immense assemblage of spectators, drawn mainly, of course, from this state, but in part also from each of the other federated states, and including representatives of other portions of the British Empire and of foreign powers, thronged the spacious, stately, and joyously decorated edifice. The picture was magnificent. It must have printed itself indelibly on the sensitive minds of the thousands of Australians who were privileged to behold it. We may assume that artists will reproduce it in worthy and imperishable forms, and that from generation to generation it will be familiar in the households of the Commonwealth. Our children's children, we may gladly say to-day, will not be ashamed of the function which inaugurated the self-governing rights of the southern British Nation. Nothing was omitted which could add to the grandeur and significance of the occasion. In a broad sense the proceedings were perfectly intelligible to the vast and sympathetic gathering, though the natural limits of a single human voice had to be accepted. The King's son, with his consort and the Governor-General and Lady Hopetoun by his side, and supported by the Governors of the states and other eminent personages, fulfilled his doubly-attested Commission with a simple dignity and a modest manliness altogether admirable. The ceremony was a brilliant spectacle, and, in its sentiment and suggestiveness, an inspiration to a loyal and patriotic people."The document design has artistic and aesthetic merit. While it is not rare, it is representative of the kinds of formal designs used for the Australian Commonwealth celebrations at the time of Federation, and is in excellent condition. Such items as this invitation have local, state and national historic significance as mementoes of a key moment in Australia's history. Locally, the invitation is part of a group of Federation-related items issued to James Maitland Campbell (and his wife). Campbell was three times mayor of Kew in the second half of the 19th Century and the owner of Ramornie in Pakington Street, one of the significant extant mansions in Kew.A colour lithograph mounted on card which is an invitation to the Opening of the First Commonwealth Parliament of Australia, 9 May 1901. The invitation was sent to Mr J.M. & Mrs Campbell. John Longstaff and Norman Lindsay’s design for the invitation includes symbolic female figures and coats of arms of the British and Australian Commonwealth. The central figure represents Justice. At her feet a crown and sceptre are laid, ‘to denote that the monarch will always acquiesce in laws passed by Parliament, provided they are just.’ On the left appears a figure of Britannia, above the royal coat of arms and in front of the white cliffs of England; on the right is a female figure representing Australia, with one hand out-stretched and above the Australian Coat of Arms. Behind her is a pastoral scene; she stands beneath a gum tree. At the top is a border of waratahs; on the left is a border of oak. The six states are represented in shields at the bottom of the card.Front, printed. gold ink: "Opening of the Parliament of the Commonwealth By his Royal Highness The Duke of Cornwall and York / The Government of Victoria requests the honour of the presence of / Mr. J . M. and Mrs. Campbell (handwritten / At the Celebrations in Melbourne in connection with the Opening of the Parliament of the Commonwealth of Australia."parliament of australia -- 1901, royal exhibition building -- melbourne (vic), james maitland campbell

A report in the Ballarat Star on 8 May 1901 recorded that: "THE CONVERSAZIONE. A GREAT SUCCESS. The conversazion given by the Government of Victoria at the Exhibition was very largely patronised. the guests includ ing the Prime Minister and a goodly proportion of the distinguished personages now in Melbourne. A programme of high-class music was gone through, and refreshments were served during the evening. Australian wines were very prominent."The document design has artistic and aesthetic merit. While it is not rare, it is representative of the kinds of formal designs used for the Australian Commonwealth celebrations at the time of Federation, and is in excellent condition. Such items as this invitation have local, state and national historic significance as mementoes of a key moment in Australia's history. Locally, the invitation is part of a group of Federation-related items issued to James Maitland Campbell (and his wife). Campbell was three times mayor of Kew in the second half of the 19th Century and the owner of Ramornie in Pakington Street, one of the significant extant mansions in Kew.Colour lithograph mounted on card to an evening event, a conversazione, held in the Exhibition Building on the evening of Tuesday 7th May 1901, as part of the Australian Commonwealth Celebrations. The recipients of the invitation were Mr and Mrs James Maitland Campbell of Kew. The Government of Victoria hosted the event. The invitation shows an etching of the Exhibition Building, surrounded by an ornate border of heraldic shields, portraits of the Duke and Duchess, views of Perth, Adelaide, Melbourne, Sydney, Brisbane and Hobart, and native flora (including wattle, waratah, pink heath, Sturt’s desert pea, and flannel flower), and native fauna (kookaburra, possum, lyre bird, cockatoo and koala). The royal crest ‘Dieu et mon droit’ and the Australian crest, ‘Advance Australia’ are also included.Printed: UNITED AUSTRALIA 1901 / ONE FLAG / ONE HOPE / ONE DESTINY; AUSTRALIAN COMMONWEALTH CELEBRATIONS / THE GOVERNMENT OF VICTORIA requests the honour of the presence of / / at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901 at 8 P.M. Handwritten: Mr & Mrs J. M. Campbell.sands & mcdougall ltd, documents - invitations, first commonwealth parliament 1901, james maitland campbell (1847-1930), ramornie, ramornie - pakington street

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Before true aerial photography became possible, photographers such as J.F.C. Farquhar were compelled to shoot their images from the highest vantage point. Here, it is presumed to be the roof of Xavier College, from which the panoramic view extends west towards the rise of Studley Park. The houses in the foreground face the southern end of Gellibrand Street. Wellington Street is at an angle to the camera with the Queen Street intersection on the near right. The wooden building behind the large horse paddock on the other side of Gellibrand Street is the Kew Recreation Hall, built 1888, demolished 1960. It was reputed to have one of the finest dancing floors in or around Melbourne. The Bowling Green at the rear of the Hall belonged to the Kew Bowling Club. Further west is the Kew Railway Station on Denmark Street, opened to the public in 1887. At this period, much of Studley Park was locked up in large landholdings, dominated by large mansions such as ‘Byram’. Bird's Eye View Looking Westkew illustrated, kew where we live, photographic books, henry kellett, denmark street, kew recreation hall, kew bowling club, wellington street