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Kew Historical Society Inc Kew, Victoria

Founded in 1958, the Kew Historical Society is one of the oldest suburban historical societies in Melbourne. The Society was formed to assist in the preparations for Kew’s 100th Anniversary in 1960. Today, the Society continues to work with local government and other organisations within Kew to stimulate interest in our history and heritage. It publishes, in print and online, information and resources about Kew’s history, as well as organising events relevant to our heritage. The Society cooperates with other historical societies and groups across the City of Boroondara through the Boroondara Historical Societies Association.

Links

Contact Information

location
PO Box 175 Kew Victoria 3101

Contact

Opening Hours

Fridays & Saturdays 11.00am to 1.00pm. Closed in January.

Entry Fee

Free entry

Location

Level 1, Kew Court House 188 High Street Kew Victoria

The Kew Historical Society was founded in 1958, and the collection predates and postdates that year. The collection has sometimes grown gradually, or significantly, the latter through key donations (eg The Rogers Collection), or due to events such as the amalgamation of the former City of Kew into the new City of Boroondara in 1994. Many ‘civic’ items were donated before, during or after the amalgamation. These records are digitised by the Kew Historical Society on Victorian Collections for the purposes of education and preservation. If you believe that we have infringed your copyright please contact us and we will remove the material from the site.

Significance

The collection as a whole fulfills the criteria for very strong historical, aesthetic and research significance at a local level. It also has many outstanding associations with state themes, figures and events and quite a few that resonate at a national level. The costume and textiles, map and picture collections each have very strong historical, research and aesthetic significance of their own accord. The degree of their significance is greatly enhanced by all of the comparative criteria: interpretive value, provenance, condition, integrity, rarity and representativeness.

The costume collection has a very high degree of aesthetic significance for its beauty, quality and workmanship. There are some items that are associated with nationally significant designers, or with Kew donors who have made an impact on society at a local and a state level (ie Prue Acton, Jinoel of Melbourne, Oggi Fashion House). The strong degree of provenance and high quality of the design and dressmaking that went into the production of these clothes strengthens the research significance of this sub-collection for those interested in fashion, textiles and dressmaking. This costume collection includes items that date back to the 1850s (patchwork Denbigh quilt) through to the 1980s, and that reflect changing styles, technologies, textiles and production methods.

The picture collection has some items that have high local significance such as the Josiah Barnes photograph ‘Kew proclaimed a city’, which was taken on that day – 10 March 1921, and the ‘Unveiling of the Kew War Memorial’ on August 30 1925 in front of an audience of over 5,000 people and presided over by the Kew Mayor and the Governor of Victoria. Both of these important images also have significance to state and national processes of municipal development and memorializing war. The mayoral portraits (part of the picture collection) have a very high degree of historical and research significance for their associations, enhanced by strong provenance and technical qualities. Eminent photographers took many of the portraits and the subjects are people who have made a significant contribution to the welfare and development of Kew and, in the case of some of the Mayors in this collection, of the state or even the nation. This includes people such as Stanley Argyle (Premier of Victoria 1932-35) and William Kerr (influential businessman and federal government advisor in the early decades of the 20th century). The significance threshold of this sub-collection is therefore likely to be of state significance at the least.

The maps and plans number some 300 or more and include some fascinating and important maps beyond the MMBW sub-collection that, itself, holds some unique items and has been discussed at length in this report. Other much earlier and hand drawn maps such as ‘Back to Kew’ (c.1875) and ‘Site of the first house in Kew Central’ (undated) are historically fascinating. In the case of ‘Back to Kew’ it is the detail of the built, natural and social landscape of Kew, which was also annotated and added to several times in subsequent decades to show the development of the area. In the case of ‘Site of the first house in Kew Central’ it is the careful recording of the garden layout and the nature of domesticity in these early days of European settlement that is both fascinating and rare to find in any local history collection. While not all the items are original the map and plan collection has a very high degree of historical and research significance.

Provenance for much of the collection is strong, and therefore supportive of its historical, research and interpretive value. Certainly the interpretive capacity for understanding a detailed and nuanced history of Kew on many levels, as well as touching or reflecting on wider stories on a state or national stage is very high.

Russell, Emma, 'Kew Historical Society Significance Assessment | Collection', History@Work, 2018

Cameron Auty 26 April 2016 9:48 AM

Amazing hat collection, these are a great addition to the site - Site admin.

Leave a comment

2715 items

Headware - Viscose and silk ribbon hat by Da-Me

Kew Historical Society Inc, Kew

Wide brimmed simulated straw summer hat decorated with silk and a fabric rose.

Inscriptions & Markings

Label: Da-Me. Made in Italy. Viscose

Headware - Man's Smoker's or Lounging Hat, Green Velvet & Silk, 1871

Kew Historical Society Inc, Kew

Smoker’s [lounging] hat made of dark green velvet, and hand embroidered with yellow and green silk thread and topped with a lime green tassle.

Historical information

The smoker's hat was made for the grandfather of the historian Dorothy Rogers by her grandmother. Dorothy Rogers' grandparents lived in Malmsbury Street, Kew. The provenance dates the hat to 1871.

Hat - Beret, Green Corduroy

Kew Historical Society Inc, Kew

Dark teal green corduroy woman’s beret. The beret has a bow of the same fabric at the rear.

Inscriptions & Markings

Nil

Hat - Black & White Striped Silk, Chiffon / by Beverly [of Melbourne]

Kew Historical Society Inc, Kew

Black and white narrow woman’s hat designed and or retailed by Beverly of Melbourne surmounted by a band of black chiffon that forms a loose bow at the back.

Inscriptions & Markings

Label: Beverly 13 Centre Place, Melb. MF 8873

Hat - Blue Velvet

Kew Historical Society Inc, Kew

Circular high crowned woman’s turban made of royal blue velvet.

Hat - Green & Black Woollen Felt / by Lucelle Hats

Kew Historical Society Inc, Kew

Woman’s half hat constructed of bands of olive green and darker green felt ending with a loose bow at the rear.

Inscriptions & Markings

Label: Lucelle Hats. 80 Castlereagh St. Sydney. Phone: BW 7555

Mural [Fragment] - Ordsall [Southesk], Cotham Road, Kew, circa 1882

Kew Historical Society Inc, Kew

One of only two fragments of the painted domed ceiling of the ballroom of Ordsall (later renamed Southesk) which once stood at the corner of Cotham Road and Charles Street, Kew. This triangular piece of the fresco is of a cherub's face.

Historical information

Ordsall, renamed Southesk in the 20th century was built for John Halfey in or before 1865. The house was rebuilt in the 1870s to designs by architect Michael Hennessy. In 1882 the house was redecorated by the firm of Culls Hill & Co., who hired the artists 'Mr Vandenbrandt' and 'Signor Rizzi" to paint the ceilings of the ballroom and the drawingroom. The artistic triumph was described in detail in The Argus, 30 October, 1882. In 1947, Southesk was purchased by the Kew City Council. For 23 years it was used as a meeting place for community groups. The house was then demolished in 1970 to make way for a new Town Hall.

Significance

The interiors of the two main reception rooms at Ordsall included some of the most outstanding domestic frescos painted in Australia in the late Victorian period. These frescos were executed by artists hired by the firm of Cullis Hill & Co. While a number of photographs were taken of the interiors prior to the house's demolition in 1970, this small fragment of the fresco is one of only three extant. The fresco allows conservators to examine and evaluate fresco techniques of the period.

Inscriptions & Markings

Label: 'This is from the "Southesk" ballroom 14-7-70'

Mural [Fragment] - Ordsall [Southesk], Cotham Road, Kew, circa 1882

Kew Historical Society Inc, Kew

One of only two fragments of the painted domed ceiling of the ballroom of Ordsall (later renamed Southesk) which once stood at the corner of Cotham Road and Charles Street, Kew. This roughly square piece of the plasterwork shows a woman's head. Given the size of the face, it is believed that this section of the fresco represents one of the four 'geographic depictions of the earth including the seasons, night and morning'.

Historical information

Ordsall, renamed Southesk in the 20th century was built for John Halfey in or before 1865. The house was rebuilt in the 1870s to designs by architect Michael Hennessy. In 1882 the house was redecorated by the firm of Culls Hill & Co., who hired the artists 'Mr Vandenbrandt' and 'Signor Rizzi" to paint the ceilings of the ballroom and the drawingroom. The artistic triumph was described in detail in The Argus, 30 October, 1882. In 1947, Southesk was purchased by the Kew City Council. For 23 years it was used as a meeting place for community groups. The house was then demolished in 1970 to make way for a new Town Hall.

Significance

The interiors of the two main reception rooms at Ordsall included some of the most outstanding domestic frescos painted in Australia in the late Victorian period. These frescos were executed by artists hired by the firm of Cullis Hill & Co. While a number of photographs were taken of the interiors prior to the house's demolition in 1970, this small fragment of the fresco is one of only three extant. The fresco allows conservators to examine and evaluate fresco techniques of the period.

Inscriptions & Markings

Label: 'This is from the Southesk Ballroom 14-7-70'

Mural [Fragment] - Ordsall [Southesk], Cotham Road, Kew, circa 1882

Kew Historical Society Inc, Kew

A fragment of the painted domed ceiling of the drawingroom of Ordsall (later renamed Southesk) which once stood at the corner of Cotham Road and Charles Street, Kew. This rectangular fragment of painted plaster is a small section of the rectangular frieze of neo-gothic scenes that were a feature of the drawingroom ceiling. The fragment differs from those remaining from the ballroom in that it includes a section of gold leaf.

Historical information

Ordsall, renamed Southesk in the 20th century was built for John Halfey in or before 1865. The house was rebuilt in the 1870s to designs by architect Michael Hennessy. In 1882 the house was redecorated by the firm of Cullis Hill & Co., who hired the artists 'Mr Vandenbrandt' and 'Signor Rizzi" to paint the ceilings of the ballroom and the drawingroom. The artistic triumph was described in detail in The Argus, 30 October, 1882. In 1947, Southesk was purchased by the Kew City Council. For 23 years it was used as a meeting place for community groups. The house was then demolished in 1970 to make way for a new Town Hall.

Significance

The interiors of the two main reception rooms at Ordsall included some of the most outstanding domestic frescos painted in Australia in the late Victorian period. These frescos were executed by artists hired by the firm of Cullis Hill & Co. While a number of photographs were taken of the interiors prior to the house's demolition in 1970, this small fragment of the fresco is one of only three extant. The fresco allows conservators to examine and evaluate fresco techniques of the period.

Inscriptions & Markings

Label: 'This is from "Southesk" drawing room'

Hat - Turban, Green Chiffon

Kew Historical Society Inc, Kew

Hat in the shape of a turban, the exterior featuring folds of green chiffon in two shades of green.

Inscriptions & Markings

Nil

Hat - Bottle Green Corduroy

Kew Historical Society Inc, Kew

Bottle green corduroy velvet hat, close fitting at the front and tapering to a bow of the same fabric at the rear.

Inscriptions & Markings

Nil

Hat - Red Velvet & Feathers

Kew Historical Society Inc, Kew

Red velvet hat with black feathers at the rear. The hat features a high crown and a narrow brim.

Inscriptions & Markings

Nil

Hat - Turban, Royal Blue Fabric

Kew Historical Society Inc, Kew

Royal blue turban shaped woman's hat. The hat has a high front tapering to a narrower back. The exterior of the hat is made of stiffened fabric that is arranged in formal bands.

Inscriptions & Markings

Nil

Hat - Beret, Green Corduroy

Kew Historical Society Inc, Kew

Olive green corduroy woman's peaked beret.

Inscriptions & Markings

Nil

Hat

Kew Historical Society Inc, Kew

Black hat featuring a low crown and a narrow brim. A decorative group of feathers is used at the rear of the hat.

Inscriptions & Markings

Nil

Women's Clothing - Coat : Maroon Velvet / by Elegance, 1950s

Kew Historical Society Inc, Kew

Maroon velvet three quarter length coat

Inscriptions & Markings

Label: Elegance Reg.

Women's Clothing - Outfit : Grey Pinstripe Wool, Theodore and Scanlan, 1980s

Kew Historical Society Inc, Kew

Black wool striped jacket with square neck and buttons in the same fabric at front. Other items in the outfit include a grey skirt and a white blouse

Historical information

Donated by Annie McIntyre

Significance

Collection Description: The McIntyre Collection of women's clothing and clothing accessories forms one of the largest single donations to the Kew Historical Society's costume collection. The Collection was assembled by Dione McIntyre, and her daughter Annie McIntyre, and donated in stages during the first decade of the 21st century. Items in the McIntyre Collection include clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. Most of the items in the McIntyre Collection were owned and worn by the Melbourne architect, and Kew resident, Dione McIntyre. These mainly date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. Examples of clothing worn by her range from a Norma Tullo mini-dress to elegant, tailored evening wear by Jinoel of Melbourne. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of high-quality evening wear among the items donated. The McIntyre Collection also includes items worn by woman in the family of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and international fashion designers such as Fiona Scanlan, Martin Grant and Vivienne Westwood. The McIntyre Collection is significant historically and artistically in that it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is particularly important in that it includes the work of a large number of Melbourne fashion designers from the 1960s to the 1980s. This work is both representative, and now often rare.

Inscriptions & Markings

Label: Theodore and Scanlan

Women's Clothing - Jacket : Dark Navy Wool / by Vivienne Westwood, 1980s

Kew Historical Society Inc, Kew

Dark navy jacket with fine pale stripes. The silk lined jacket has three external pockets with flaps and one breast pocket. The metal buttons on a pocket and for fastening at the front are a gold colour

Inscriptions & Markings

Label: Vivienne Westwood

Women's Clothing - Pants-suit : Brown Satin / by Scanlan Theodore, 1980s

Kew Historical Society Inc, Kew

Brown satin pantsuit comprising jacket and separate pants. The jacket has four buttons made of the same fabric. The matching pants of the same fabric and colour are tapered at the ankle

Historical information

Donate day Annie McIntyre

Significance

The McIntyre Collection of women's clothing and clothing accessories forms one of the largest single donations to the Kew Historical Society's costume collection. The Collection was assembled by Dione McIntyre, and her daughter Annie McIntyre, and donated in stages during the first decade of the 21st century. Items in the McIntyre Collection include clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. Most of the items in the McIntyre Collection were owned and worn by the Melbourne architect, and Kew resident, Dione McIntyre. These mainly date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. Examples of clothing worn by her range from a Norma Tullo mini-dress to elegant, tailored evening wear by Jinoel of Melbourne. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of high-quality evening wear among the items donated. The McIntyre Collection also includes items worn by woman in the family of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and international fashion designers such as Fiona Scanlan, Martin Grant and Vivienne Westwood. The McIntyre Collection is significant historically and artistically in that it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is particularly important in that it includes the work of a large number of Melbourne fashion designers from the 1960s to the 1980s. This work is both representative, and now often rare.

Inscriptions & Markings

Label: Scanlan Theodore

Women's Clothing - Outfit : Pink, Raw Silk, Jacket and Skirt, 1970s

Kew Historical Society Inc, Kew

Tailored pink raw silk jacket and dress. The long sleeve jacket has a peaked collar and double pockets at front. The jacket is fastened with buttons of the same fabric and colour. The buttoned skirt has soft pleats.

Women's Clothing - Coat Dress : Turquoise Raw Silk / by Renny, 1960s

Kew Historical Society Inc, Kew

Turquoise coloured raw silk coat dress. The dress includes a belt of the same fabric and colour

Significance

The McIntyre Collection of women's clothing and clothing accessories forms one of the largest single donations to the Kew Historical Society's costume collection. The Collection was assembled by Dione McIntyre, and her daughter Annie McIntyre, and donated in stages during the first decade of the 21st century. Items in the McIntyre Collection include clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. Most of the items in the McIntyre Collection were owned and worn by the Melbourne architect, and Kew resident, Dione McIntyre. These mainly date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. Examples of clothing worn by her range from a Norma Tullo mini-dress to elegant, tailored evening wear by Jinoel of Melbourne. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of high-quality evening wear among the items donated. The McIntyre Collection also includes items worn by woman in the family of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and international fashion designers such as Fiona Scanlan, Martin Grant and Vivienne Westwood. The McIntyre Collection is significant historically and artistically in that it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is particularly important in that it includes the work of a large number of Melbourne fashion designers from the 1960s to the 1980s. This work is both representative, and now often rare.

Inscriptions & Markings

Label: Renny

Women's Clothing - Dress : Grey & Cream Crepe / by Nouvelle, 1960s

Kew Historical Society Inc, Kew

Grey coloured crepe dress with cream coloured collar and neckline to waist. The dress has three quarter length banded sleeve and a pleated skirt

Inscriptions & Markings

Label: Nouvelle

Women's Clothing - Evening Dress : Bottle Green Self-Striped Velvet / by Papoo, 1960s

Kew Historical Society Inc, Kew

Bottle green coloured evening dress. The long sleeved dress has a v-neckline. The cotton and nylon fabric is self patterned with large diagonal stripes

Inscriptions & Markings

Label: Papoo

Women's Clothing - Cocktail Dress : Turquoise Lace, 1960s

Kew Historical Society Inc, Kew

Sleeveless three quarter length short sleeved turquoise coloured lace evening dress. Above the high waistline a fold crosses the bodice and is held by three crystal buttons

Women's Clothing - Evening Cape : Royal Blue Crushed Velvet, 1940s

Kew Historical Society Inc, Kew

Royal blue crushed velvet three-quarter length evening cape held at the front with large buttons of the same fabric and colour. The top has a wide rounded collar

Inscriptions & Markings

Nil

Women's Clothing - Cocktail Dress : Pink Lace, 1950s

Kew Historical Society Inc, Kew

Pale pink lace ballerina length dress gathered at the waist to form a full skirt. The dress includes a belt of the same colour and fabric

Inscriptions & Markings

Nil

Women's Clothing - Evening Coat : Dark Green Velvet, 1930s

Kew Historical Society Inc, Kew

Full length long sleeved dark green silk velvet evening coat buttoned to three quarter length at the front with buttons of the same colour and fabric

Significance

The McIntyre Collection of women's clothing and clothing accessories forms one of the largest single donations to the Kew Historical Society's costume collection. The Collection was assembled by Dione McIntyre, and her daughter Annie McIntyre, and donated in stages during the first decade of the 21st century. Items in the McIntyre Collection include clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. Most of the items in the McIntyre Collection were owned and worn by the Melbourne architect, and Kew resident, Dione McIntyre. These mainly date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. Examples of clothing worn by her range from a Norma Tullo mini-dress to elegant, tailored evening wear by Jinoel of Melbourne. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of high-quality evening wear among the items donated. The McIntyre Collection also includes items worn by woman in the family of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and international fashion designers such as Fiona Scanlan, Martin Grant and Vivienne Westwood. The McIntyre Collection is significant historically and artistically in that it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is particularly important in that it includes the work of a large number of Melbourne fashion designers from the 1960s to the 1980s. This work is both representative, and now often rare.

Inscriptions & Markings

Nil

Women's Clothing - Dress : Brown Crepe / by Bow+Arrow, 1970s

Kew Historical Society Inc, Kew

Long sleeve brown crepe day dress with matching belt of a contrasting colour. The round necked dress has a high waist and soft pleated skirt

Inscriptions & Markings

Label: Bow + Arrow

Women's Clothing - Dress : Grey Flannel, 1960s

Kew Historical Society Inc, Kew

Grey flannel wool dress with a wide collar and elbow length squared sleeves

Significance

The McIntyre Collection of women's clothing and clothing accessories forms one of the largest single donations to the Kew Historical Society's costume collection. The Collection was assembled by Dione McIntyre, and her daughter Annie McIntyre, and donated in stages during the first decade of the 21st century. Items in the McIntyre Collection include clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. Most of the items in the McIntyre Collection were owned and worn by the Melbourne architect, and Kew resident, Dione McIntyre. These mainly date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. Examples of clothing worn by her range from a Norma Tullo mini-dress to elegant, tailored evening wear by Jinoel of Melbourne. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of high-quality evening wear among the items donated. The McIntyre Collection also includes items worn by woman in the family of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and international fashion designers such as Fiona Scanlan, Martin Grant and Vivienne Westwood. The McIntyre Collection is significant historically and artistically in that it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is particularly important in that it includes the work of a large number of Melbourne fashion designers from the 1960s to the 1980s. This work is both representative, and now often rare.

Inscriptions & Markings

Nil

Women's Clothing - Coat : Three Quarter Length Faux Astrakhan, 1950s

Kew Historical Society Inc, Kew

Three quarter length fake fur, black astrakhan coat fastened at the front with hooks and eyelets. The coat has an unstructured wide collar