This is an example of Melbourne Legacy promotional material. Legacy invited Daryl Somers to be Personality of the Year in 1996 and again in 1997. He participated in many events to promote Legacy, including a parachute jump with Ron Barassi, a car raffle, lunches and comparing a night to remember (see 00853, 00854, 00997, 00056). The main time of year for fundraising is September when Legacy holds 'Badge Week'. Often there is a celebrity who gives his or her time as 'Personality of the Year'. Examples are Sir Weary Dunlop (1992), Clive James (1993), the Scott family (1994), The Emmanuel brothers (1995), Daryl Somers (1996 and 1997), and Patsy Adam Smith (1994?).An example of promotional material from the 1990s. Marketing material and photos were compiled and released to newspapers, also printed as brochures and sometimes as stickers and collection tin wrappers.Black and white photo of Daryl Somers and 10 negatives of the same professional photo shoot.legacy promotion, badge appeal, legacy week, daryl somers

A letter written by Norm Smith and addressed to Kem Kemsley on 21 July 1975. It outlines recollections compiled by Norm Smith about the Intermediate Legacy Club (ILC) and individual members. His letter mentions 'Looking back over those years, recalling old time, old faces and places, we as Junior Legatees have a lot to be thankful for and I, for one, have always been exceedingly grateful to you, and those like you in legacy, who helped us so much.' Graham Billiet's letter dated 23 Mar 1974, mentions taking Frank Doolan to the reunion in 1974. Graham felt the ILC was winding down and was only running on half steam. He gives ILC members' addresses. Norm Smith's letter includes: Ted Kennedy, was the first president of the ILC, he was 'tall rangy lad with fiery red hair' who worked for United Distillers Ltd for 40 years (mostly in Brisbane where he joined Brisbane Legacy). Had been a keen junior legatee and taken part in Literary and Debating group and the Dramatic group where he met his future wife, Florence Pittard - which was the first marriage between junior legatees. He had been a naval cadet in the 1928 compulsory training and later joined the CMF where he was closely associated with L/ Stan Savige. He rose to rank of Major in AIF. Jack and Tom Kennedy, his brothers were in the Lacrosse team and his sister Molly in the JLC for years. G Billiet, a first nighter, very well known to legatees of the time. Bill Johnston, a studious type, went to MHS and university, became a Solicitor. Served in the RAAF as a Flight Lieut. Frank Corrie, prominent Junior Legatee in the Literary and Debating group, a fitter and turner by trade, was on JLC cricket and lacrosse teams, joined the AIF. Fred Hollingsworth, a motor mechanic, he joined CIG. He joined the AIF and served in the Middle East, and was one of the Rats of Tobruk as a sergeant. Bert Hollingsworth (brother of Fred) also in AIF and rank of Lieut. Is a past president of ILC. Bert Wood, a past president, worked for Victorian Railways, moved to Coolangatta. Dan Fitzgerald, active in the Drama group of JLC, worked as an announcer at the ABC. Alan Davidson, keen gymnast - particularly wrestling, helped with Alan Beattie (instructor of boys classes). Roy Davidson (brother of Alan) joined the AIF, afterwards joined M&MTB as a driver, married a Junior Legacy girl. Their younger brother Arthur was also in the lacrosse team. Roy Gilbert, keen junior legatee took part in Literary and Debating group and the Dramatic group and lacrosse team. Worked for Vacuum Oil Co., a past president of ILC and also married a Junior Legatee, Miss Lil Edmunds. Served in the AIF and was a Lieutenant in the Middle East. 'Jimmy' MacGregor, a colourful and handsome Junior Legatee, born in Collingwood, was one of L/ Stan Savige original contacts. Keen JLC gymnast and member of the football team. Worked at the Ret. Soldiers Woollen Mills in Geelong and was in the Geelong ILC. Frank 'Happy' Holliday, was in the lacrosse team, foundation member of ILC and past president. Served with the RAAF as an air frame fitter. Worked for L/ Con Fahle in the printing workshop for 40 years. Howard Auterey, joined the RAAF during the war and returned work for the State Saving bank before retiring in Warrnambool. Norman Smith, was working as an apprentice with M&MTB, took interest in Literary and Debating group and was in the lacrosse team. Was ILC president in 1946. Enliseted in the RAAF as airframe fitter. Retired from M&MTB after serving 50 years, married for 40 years to a daughter of an original Anzac who has also been an active member of the Ladies ILC for many years. Background: The ILC was formed in 1929. The idea of the club sprang from those boys who had outgrown the Junior Legacy Club. In the early days it fielded a lacrosse team and it was this that mainly held the members together (formed under guidance of L/ Jimmy Downing). Enthusiasm wained after a few years as it lacked a solid objective. The answer came from one of its members and in 1938 they founded the Don Esses Club. This was a club for the children of incapacitated ex-servicemen which met every Thursday night at 7.30 run by the ILC members. The name came from the signallers' code Disabled Servicemen's Sons. During the second world war 80% of the members of the ILC enlisted in the services. Leaving only 8 members that could not join due to ill health or reserved occupations. They continued the Don Esses and whatever aid they could to Legacy. ILC members had always helped Legacy where possible including being camp leaders or camp staff, with the annual demonstrations, and coffee stalls at the ANZAC dawn service. Post second world war some ILC members were nominated into Legacy, others drifted away in civil occupations. It was found difficult to recruit new blood into the ILC and eventually membership waned when the boys from the Don Esses clubs found other youth activities to join. The ILC ceased to meet regularly in the mid fifties. However a strong comradeship still existed between members and they would meet in one anothers homes. Members were always ready to help the senior Legacy Club in any way in their power and still helped at Christmas parties and summer camps. ILC was a service rendering organisation and was self governing. Non-sectarian and non-political, the members were ex-junior legatees over 18 years of age. After serving in World War 2 members were eligible to become members of Legacy. Was in a folder of material collated about the ILC by an early archive committee. A record of a Junior Legatee recording what he knew about ILC members and their life outside of Legacy in response to a request from L/ Kem Kemsley. It could have been part of the early archive committee working to capture Legacy history.White note paper x 18 pages handwritten by Norm Smith about the ILC members and a handwritten letter x 3 pages from Graham Billiet about ILC members with addresses.ilc, membership, junior legatee

A photo of Legatee Larkin and a flag with a kangaroo and the words 'Hop In, You're Welcome'. The banner appears to have been signed by people. It is possibly from a military deployment though the details are not known. Appears to be a 'Dugout Night' where Legatees gather for a comradeship event close to Anzac Day in April. The date is approximately 1991 as it was stored with a lot of items from 1990 and 1991. Legatee Larkin is wearing a serviceman's cap and there was a Legatee event at some stage with a display of military hats at Legacy house and could be of the same time.A record of an event at Legacy House with war memorabilia.Colour photo of Legatee Larkin and a kangaroo banner.legatee event, legatee, dugout

Photos of an event at Legacy House for the Legatees approximately 1992 or 1993.There are flags including the Union Jack, Australian flag, the Navy flag and possibly a French flag. There is a display of military hats as well. Likely to be a 'Dugout Night' where Legatees have a comradeship event around the time of Anzac Day in April. As well as flags there are signs such as 'Tiger Balm, Arrack, Jack Juice, Rice Wine, Suez Canal Water'. Identifiable legatees include John Stevenson (President in 1992), Fred Holdsworth (in airforce cap), Don Simonson (President in 1991) and Charles Munnerley who was chairman of the widows committee for many year to 1993. Also a legatee playing piano. A record of the comradeship of the Legatees.Colour photo x 8 of a legatee event with flags and military hats.legatee event, comradeship, dugout

Photo from a book compiled about the Legacy children's residence called Stanhope. The photo was taken at a Stanhope reunion held at Kooyong Tennis Club on 3 November 1984. Names aren't labeled but Matron Dorrie Vines appears third from right. The documents include a letter sent to former residents on 27 September with details of the night signed Bill Saggers on behalf of the committee of Alison Ball, Frank Bury, Ron Dennis, John McBain, Bill Saggers. Two pages are a list of names of attendees, including their maiden names and Legatees that were attending. There is also an overseas telegram from Ken Clarke to the Legatee Robertson expressing apologies that he would not be able to attend the reunion. Stanhope was supervised by Matron Dorothy (Dorrie) Vines from the time it opened in 1946 until she retired in December 1966. It is likely she compiled this notebook as she is referred to as 'self' in one photo. Individual pages of photos or newspaper clippings have been added separately. Items 01817 to 01837. Blamey House (purchased 1947) , Stanhope (purchased 1945) and Harelands (purchased 1950) were residences run by Melbourne Legacy to take care of children whose fathers were servicemen, and who may have been left orphans, or whose mother may have been unable to care for them herself, or they needed to stay in Melbourne for further education. The children were cared for until they were old enough to become independent. A photo of a reunion showing how past residents kept in touch with each other an enjoyed reunions.Colour photo of a reunion of Stanhope residents in 1984 and four pages containing details and list of names.stanhope, residences, reunion

The newsletter from December 1958. The cover featured Mr Geoffrey Armstrong making a donation to President Rob Allison. The president's page featured a photo of office staff on the phones during Legacy Week and promoted the Christmas party. There were articles from the boys classes, including a photo of Ron Barassi playing basketball with the South Melbourne class. There was an article profiling Legatee Norman Harris and his achievements. An article about the Girls classes showed there number of classes was increasing - with new Tuesday night classes. Plus Miss Domec Carre was full time, after 23 years part-time as she was giving up her other work commitments. The ILC was recruiting new members. On page 7 there were updates from the Residences with numbers of children in each house mentioned as well as many of the past residents' names. Photos of the demonstrations were published as well. A newsletter published by Legacy in this format for many years from 1942. It mentions "Issued from time to time for Private Circulation among the Sons and Daughters of Deceased Service men and Merchant Seamen who served their Country during the War of 1914-18, or the present War" Many articles on the work of Legacy, including features on boys classes, girls classes, camps, the residences and where their past residents ended up. There are some suggestion for careers and some general interest articles. Some very interesting photos.Newsletter outlining news of Junior Legatee activities.Black and white printed newsletter x 10 pages from December 1958. Volume 11 Number 2boys classes, activities, girls classes, norman harris

This is an image of the Warrnambool Lighthouse Complex on Middle Island in 1854. The Store, Lighthouse Keeper's Quarters, Lighthouse and Flagstaff are in the background. The foreground shows a covered buggy drawn by two horses and a person in attendance, and another wheeled vehicle behind it with a figure nearby. There is a saddled horse to the right with two males in conversation nearby. The ground is soft, perhaps the riverbed or sandy shore. THE LIGHTHOUSE KEEPERS Lighthouse Keepers were responsible for keeping their Lighthouse’s lights shining at night. They kept a lookout for passing vessels and changes in weather. They were expected to clean, polish and maintain the equipment and buildings. They kept regular and detailed records of who was on watch, and the time the light was lit, trimmed and extinguished. They kept a journal about other events that occurred. They keep regular, accurate Meteorological Logs. It was expected that they were competent in Morse code signalling. They would be called to help in times of disasters and shipwrecks and to give official statements about these events. Many Lighthouse Keepers also volunteered as members of the lifeboat crew. The Lady Bay lighthouses were officially classified as small, so the Keepers had the official titles of Senior Assistant Lighthouse Keeper and Assistant Lighthouse Keeper. They were employed by the Public Service and paid rent to live in the Lighthouse Quarters. They were compulsorily retired at the age of 60, with most receiving a superannuation payment. Despite their time-consuming duties, there was time to follow hobbies and crafts such as growing vegetables, playing musical instruments, making models of buildings including lighthouses, and crafting furniture pieces. An example of a keeper’s skills is the carved fire screen made by /assistant Keeper Thomas Hope in the late 19th century and displayed in the Lighthouse Keeper’s cottage at Flagstaff Hill. Both Alexander and Farncombe had served under Senior Keeper Robert Deverell, who was the first and only Senior Lighthouse Keeper at the Middle Island Complex. John Alexander was the Assistant Keeper in the 1850s. Andrew Farncombe was the last Assistant Keeper at Middle Island, serving there with his family from 1864 to 1871. During 1871 and 1872 the Lighthouse Complex was moved to Flagstaff Hill on Merri Street. Farncombe and Deverell then became the first Keepers and occupants of the Lady Bay Lighthouse Complex at Flagstaff Hill. They continued their service together; overall, Deverell served from 1859 to 1885 and Farncombe from 1864 to 1974. WARRNAMBOOL'S LADY BAY LIGHTHOUSE COMPLEX - The original Lighthouse Complex was built on Middle Island in 1858-1859 then transferred stone-by-stone to Flagstaff Hill in 1871. The Complex comprised the Lighthouse, the Lighthouse Keepers’ Quarters and a Privy. The bluestone Keeper’s Quarters was a cottage divided into two compartments, one for the Senior Keeper and his family, the other for the Assistant Keeper and his family. The bluestone Store was divided into three; a store, a workshop, and an oil store (or office). The Privy comprised a small building also divided into two separate, back-to-back toilets, one for each Keeper and his family. In the 1970s the Flagstaff Hill Planning Board was set up under the chairmanship of John Lindsay. The Board was to make recommendations to the Warrnambool City Council regarding the use of the buildings and the rest of the Crown Land on the site. The Flagstaff Hill Maritime Village opened in 1975 and began renovating the Cottage in stages, during which time evidence of a 1920s fire was found in the eastern section of the cottage. Additions of a porch on the west and a washroom on the east were made in the 1980s. The western part of the building is now a Shipwreck Museum and the east has returned to a late 19th-century Lighthouse Keeper’s cottage and includes the screen made by Assistant Lighthouse Keeper Thomas Hope in the late 19th century. Hope served two periods of time at the Lighthouse. This photograph is significant as a visual record of the original Warrnambool Lighthouse Complex on Middle Island, the origin of what is now the Lady Bay Lighthouse Complex. The photograph is significant for its connection to the Complex, which is now listed on the Victorian Heritage Register, H1520, for being of historical, scientific (technological) and architectural significance to the State of Victoria. The Complex is significant as an example of early colonial development. The photograph is significant for its connection with the important navigational function of the Lighthouses, a function still being performed to this day. The photograph is also significant as it shows an example of buildings organised by the Public Works Department in Victoria in the mid-to-late 19th century. The structures tare still stand strong. Photograph of horses, a buggy and three gentlemen in the foreground and the background shows a lighthouse and accompanying buildings. Printed in black and white. (Another two horse-drawn vehicles are partially visible). The subject is the Lighthouse Complex on Middle Island, Warrnambool, dated between 1854 and 1871.An inscription is handwritten in black pen on the back of the mounting board."The lighthouse and accompanying buildings were / established on Middle Island in 1854, as this / picture shows. In 1871 they were moved to their / present site on Flagstaff Hill."flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, warrnambool, maritime museum, shipwreck coast, lighthouse keeper's cottage, lighthouse residence, lighthouse, chart room, quarters, privy, middle island, beach lighthouse, obelisk, lighthouse complex, lady bay complex, warrnambool port, warrnambool harbour, lady bay, keepers, lighthouse keeper, upper lighthouse, lower lighthouse, assistant keeper, ports and harbours, cottage, meteorological record, 1854, 1871

Quartz Hill is situated on the Sheephead line of reef and is situated just south of where the Red, White and Blue Consolidated Gold Mine operated. Two newspaper cuttings affixed to lemon backing sheet. Written on top in black pen: 'Quartz Hill Working Bee, Bdgo Adv. 11.12.67' Cutting one, 'Working Bee on Mine Site' with 7.12.67 written across the top, describes an appeal to get volunteers to clear the site of former mines on Quartz Hill. This is anticipated to 'clear the site of accumulated debris and clean out the two large adits driven into the hill and thus make the site a 'tourist visiting spot'. Cutting two, 'Many Miss Mine Working Bee' dated 11.12.67, describes the poor response to the working bee. ' Members of the Tourist Development Association and the Town Clerk, Mr. A.J. Watts, cleared 175 feet of the Northern tunnel and cut an entrance way and steps in the Southern tunnel of the New Blue Mine area in the first stage of the mining project. Mr. J. Stanistreet said last night he was most disappointed. He said: 'apparently we picked the wrong time of the year'.mining, sandhurst, new blue consolidated gold mine, red white and blue consolidated gold mine, quartz hill, sheepshead reef line, a.j. watts, j. stanistreet, bob long

Captain John E D White, Australian Army Training Team in Vietnam (AATTV) took over command of 11 Mobile Strike Force (Mike Force) Company in Da Nang, Vietnam, in February 1968. He was 26 years old. The 2 NVA Division was moving from Laos into South Vietnam and his mission was to establish contact with the division and trace its movements south. In mid-March the company was air lifted to the Special Forces camp of Kham Duc, near the Laotian border. They used an old French Foreign Legion fort as a temporary base from which patrols could be sent out. White called it Ngok Tavak after a nearby mountain. Initially, patrols failed to find the enemy, but in late April a patrol clashed with the enemy. At the same time, White received intelligence that the NVA division was closing in. At night they could hear explosions in the distance heading toward them. White decided their best chance was to leave the fort and take to the jungle to adopt guerrilla tactics. However, in the meantime a platoon of United States Marine Corps artillery arrived bringing with them two howitzers and a stockpile of ammunition. To abandon the fort was to abandon the guns. White contacted Da Nang, explaining the predicament, and was ordered to remain where he was. A Civilian Irregular Defense Group (CIDG) platoon was sent to reinforce his numbers. This was a para military force comprised mainly of indigenous highlanders, trained by United States Special Forces. They also brought with them two mortars and their crews. At 3.15am on 10 May 1968 some members of the CIDG chose to assist the NVA to attack the fort instead of supporting Mike Force, and close hand to hand fighting followed, along with grenade attacks and heavy machine gun fire. Air support offered a brief respite from the NVA attack, and some NVA forces were pushed back outside the perimeter by counter attacks, but at 9am White contacted Da Nang to advise that his position was untenable. A second attack was imminent and they could not withstand it, so they would have to withdraw. The wounded were evacuated by helicopter (under orders from Major Mai, the NVA had not attacked the previous medical helicopters that collected the wounded under the cover of air strikes) and at 1pm the rest of the force evacuated east, into the jungle. The NVA did not notice their withdrawal, and continued mortar attacks on the fort for another ninety minutes. Seven kilometres from the fort White called for a helicopter withdrawal of his forces. The force was successfully lifted to Kham Duc and then Da Nang. (Credit AWM)Coloured image of 7 soldiers (5 shirtless) posed on the edge of a foxhole with jungle in background. L-R Willie Swicegood (USA), John White (AATTV-Aus), Ken Benway (USA), Frank Lucas (Aust), Clay Aitkins (USA), Glenn Miller (USA), Don Cameron (Aust)john white, aattv, battle of ngok tavak

Shaun Tan is best known for his illustrated books and short films that deal with social, political and historical subjects through dream-like imagery and fantastic creatures. In addition to his book and film work, Tan is a respected and prolific painter. Tan’s paintings capture a sense of place and atmosphere, even when the specific location is not made explicit. Tan says of his practice: “Often I don’t know why I need to paint a certain scene, only that I do, as if to stop it from drifting away too quickly, to just allow a little more time to think about it. Or to just say ‘I saw this’”.

ABOUT THE ‘FALLS OF HALLADALE’ (1886 - 1908) Built: in1886 by Russell & Co., Greenock shipyards, River Clyde, Scotland, UK. The company was founded in 1870 (or 1873) as a partnership between Joseph Russell (1834-1917), Anderson Rodger and William Todd Lithgow. During the period 1882-92 Russell & Co., they standardised designs, which sped up their building process so much that they were able to build 271 ships over that time. In 1886 they introduced a 3000 ton class of sailing vessel with auxiliary engines and brace halyard winches. In 1890 they broke the world output record. Owner: Falls Line, Wright, Breakenridge & Co, 111 Union Street, Glasgow, Scotland. Configuration: Four masted sailing ship; iron-hulled barque; iron masts, wire rigging, fore & aft lifting bridges. Size: Length 83.87m x Breadth 12.6m x Depth 7.23m, Gross tonnage 2085 ton Wrecked: the night of 14th November 1908, Curdies Inlet, Peterborough southwest Victoria Crew: 29 The Falls of Halladale was a four-masted sailing ship built-in 1886 in Glasgow, Scotland, for the long-distance cargo trade and was mostly used for Pacific grain trade. She was owned by Wright, Breakenridge & Co of Glasgow and was one of several Falls Line ships, all of which were named after waterfalls in Scotland. The lines flag was of red, blue and white vertical stripes. The Falls of Halladale had a sturdy construction built to carry maximum cargo and able to maintain full sail in heavy gales, one of the last of the ‘windjammers’ that sailed the Trade Route. She and her sister ship, the Falls of Garry, were the first ships in the world to include fore and aft lifting bridges. Previous to this, heavily loaded vessels could have heavy seas break along the full length of the deck, causing serious injury or even death to those on deck. The new, raised catwalk-type decking allowed the crew to move above the deck stormy conditions. This idea is still used today in the most modern tankers and cargo vessels and has proved to be an important step forward in the safety of men at sea. On 4th August 1908, with new sails, 29 crew, and 2800 tons of cargo, the Falls of Halladale left New York, bound for Melbourne and Sydney via the Cape of Good Hope. The cargo on board was valued at £35,000 and included 56,763 tiles of American slate roofing tiles (roof slates), 5,673 coils of barbed wire, 600 stoves, 500 sewing machines, 6,500 gallons of oil, 14,400 gallons of benzene, plumbing iron, 117 cases of crockery and glassware and many other manufactured items. The Falls of Halladale had been at sail for 102 days when, at 3 am on the night of 14th November 1908, under full sail in calm seas with a six knots breeze behind and misleading fog along the coast, the great vessel rose upon an ocean swell and settled on top of a submerged reef near Peterborough on south-west Victoria’s coast. The ship was jammed on the rocks and began filling with water. The crew launched the two lifeboats and all 29 crew landed safely on the beach over 4 miles away at the Bay of Islands. The postmistress at Peterborough, who kept a watch for vessels in distress, saw the stranding and sent out an alert to the local people. A rescue party went to the aid of the sailors and the Port Campbell rocket crew was dispatched, but the crew had all managed to reach shore safely by the time help arrived. The ship stayed in full sail on the rocky shelf for nearly two months, attracting hundreds of sightseers who watched her slowly disintegrate until the pounding seas and dynamiting by salvagers finally broke her back, and her remains disappeared back into deeper water. The valuable cargo was largely lost, despite two salvage attempts in 1908-09 and 1910. Further salvage operations were made from 1974-1986, during which time 22,000 slate tiles were recovered with the help of 14 oil drums to float them, plus personal artefacts, ship fittings, reams of paper and other items. The Court of Marine Inquiry in Melbourne ruled that the foundering of the ship was entirely due to Captain David Wood Thomson’s navigational error, not too technical failure of the Clyde-built ship. The shipwreck is a popular site for divers, about 300m offshore and in 3 – 15m of water. Some of the original cargo can be seen at the site, including pieces of roof slate and coils of barbed wire. These 5 postcards have photographic images taken while the Falls of Halladale was stuck on the reef near Peterborough. They are not stamped or dated but four of the images show the ship still in fairly good condition with her stern very low in the water so can be dated to around late November 1908 to January 1909 and the fifth image shows the ship beginning to disintegrate soon after. The image on Postcard 8658.3 was taken by Joseph Jordan (a well-known Warrnambool photographer who had his own studio in Liebig Street, Warrnambool). The other four images were supposedly taken by the sender (Bob) and converted to postcards. Amateur photography in Australia in the early 1900's was becoming very popular (and accessible) to the average person. Many newspapers published advertisements and articles about photography and photographic supplies. In 1903 in America, George Eastman designed and marketed the "Model 3A Folding Pocket Kodak" which used postcard-size negatives and provided the average person with a camera with which to make real photo postcards. As they became popular, George Eastman was able to develop and market a wide range of supplies for the amateur photographer to develop and print their own photographs onto a postcard backing at home. Four of the postcards were addressed to "Miss M. Kerr, Leura, Camperdown". Mary Agnes Kerr (1888 - 1943) was the daughter of William and Mary Ann Kerr (nee Spence) who owned "Leura Farm" at Camperdown. Mary Agnes Kerr went on to marry James Young Caldwell (a local tailor and mercer) in 1917. James Yong Caldwell came to Camperdown around 1908 and was employed as a draper. The postcards were signed "Bob". On postcard 5658.2 he has written his name with quotation marks around it - suggesting "Bob" is a nickname. He writes about the weather, meeting a friend, sending fish to Mary Agnes' family and the cargo expected to be washed up on the beach. On postcard 8658.4 he wrote about being busy after the wreck and supplying the shipwrecked crew with boots and pants which suggests "Bob" may be James Caldwell (the mercer and tailor).The Falls of Halladale shipwreck is listed on the Victorian Heritage Register (No. S255). She was one of the last ships to sail the Trade Routes. She is one of the first vessels to have fore and aft lifting bridges. She is an example of the remains of an International Cargo Ship and also represents aspects of Victoria’s shipping industry. The wreck is protected as a Historic Shipwreck under the Commonwealth Historic Shipwrecks Act (1976). These postcards are significant as examples of the continued interest the locals around the district of Peterborough showed towards the Falls of Halladale wreck and its disintegration during the next few months. Four of the postcards are also significant examples of the new hobby of photography that was available to the average person during the beginning of the 20th century.Set of 5 postcards showing different images of the Falls of Halladale sailing ship after it became stuck on a reef near Peterborough. None of the postcards are dated or stamped. Postcard 8658.1 has a sepia toned image of the Falls of Halladale, with its stern sitting very low in the water. It has many of its sails unfurled and there is a rocky headland in the foreground. A very small figure appears to be on the edge of the cliff. The back of the postcard has a handwritten message addressed to "Miss M Kerr, Leura, Camperdown" and is signed "Love Bob". Postcard 8658.2 has a sepia image of the Falls of Halladale taken some months after it had been stuck on the reef. Its sails are missing and only two broken masts remain. A large rock is visible in the front right hand side of the photo. There is a handwritten message on the back signed by "Bob". Postcard 8658.3 has a black and white image of the Falls of Halladale showing her almost side on with her stern very low in the water and still in full sail. The words "Falls of Halladale. No 1" are printed on the lower left side of the image. The back is labelled "Jordan Series". There is no message written on the back. Postcard 8658.4 has a sepia toned image of the Falls of Halladale facing two rocky headlands. She is showing full sail and the sea appears calm. There is a handwritten note on the back addressed to "Miss M Kerr" from "Bob". Postcard 8658.5 has a sepia image of a side view of the Falls of Halladale with her stern very low in the water and her sails are all up. The sea is calm and a rocky reef can be seen in the foreground. It has a handwritten note on the back from "Bob" to "Miss M Kerr" of Leura, Camperdown.Back of postcard 8658.1- "POST" "EMPIRE" "CARD" "FOR CORRESPONDENCE" "FOR ADDRESS ONLY" "STAMP" "Miss M Kerr / Leura / Camperdown" "Looking forward to letter today" "Hope fish arrived / allright. Don't / know for sure / what day I will / be going to Town / to buy. Some day / this week / Love Bob Back of postcard 8658.2 - "POST CARD"/ "CORRESPONDENCE" "ADDRESS ONLY" "93"/ "Friday / This is a contrast to the first/ I sent you. Having glorious weather / Saw Saw (Saul)? on Thursday at Peterborough / He is having a grand holiday / Expecting letter on /Tuesday Fondest Love / "Bob" Front of postcard 8658.3 - "Falls of Halladale. No 1" Back of postcard 8658.3 -"Post" "Card"/ Printed in Great Britain" /"This space may be used for Communication" "The Address to be written / here" "Jordan Series" Back of postcard 8658.4 -"POST" "EMPIRE" "CARD"/ "FOR CORRESPONDENCE" "FOR ADDRESS ONLY" / "STAMP" "Miss M Kerr/ Leura / Camperdown"/ "We are/ very busy. The / wreck is about / 11/2 other side of / Peterborough./ Fondest Love, Bob "Had to supply sailors with Boots Pants etc/ 25 pairs Boots, good order ah!" Back of postcard 8658.5 - "POST" "EMPIRE" "CARD" / "FOR CORRESPONDENCE" "FOR ADDRESS ONLY" / "STAMP"/ "Miss M Kerr / Leura / Camperdown" "Tuesday / Her estimated / value cargo included/ is (pounds)100,000. When / she breaks up the coast / will be strewn with / wreckage as the cargo / includes Rolls Paper./all sorts machinery thousands / cases Benzine etc/ love Bob flagstaff hill maritime museum and village, warrnambool, peterborough, great ocean road, falls of halladale, shipwreck, postcards, photographic images, mary agnes kerr, leura farm, camperdown, jordan series, handwritten notes, photographs, george eastman, 3a folding pocket kodak camera

The Golden King Mine poppet-head stands at the school’s Yan Yean Road exit gate. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p23 Early Yarambat - Tanck's Corner Its early settlers, who in the 1840s were amongst the first non-Aboriginal people in the area, found life tough as they grazed their sheep and cattle. Yarrambat was then known as Tanck’s Corner or Reynolds Corner, after wood carter, Frederick Tanck, who owned land north of Ironbark Road, at the corner of Yan Yean Road, and Thomas Reynolds, owner of the opposite property. After Reynolds sold his land, the corner became known as Tanck’s Corner. In 1929 the district’s name was changed to Yarrambat, believed to mean ‘high hill’ in the Wurundjeri language. Tanck’s Corner was in the centre of gold-bearing country and the district is honeycombed with old tunnels and shafts. However although gold played a dominant role for decades, there was insufficient to develop a substantial township. Meat and agricultural produce made a greater impact. Until the mid-20th century the only substantial building was the primary school. The first gold rush occurred around 1860, the second after 1900; then during the Depression, the Government paid men to pan for gold. The first rush attracted hundreds of Chinese people to Smugglers Gully, who constructed round diggings to keep away spirits. Alluvial miners lived along the Plenty River in tents or humpies - some fenced with gardens - and some miners distilled their own ‘plonk’. It was a wild time and bushrangers - and later gangster Squizzy Taylor - were said to hide4 in the old Pioneer Tunnel in Dunne’s Gully between Heard Avenue and Pioneer Road. Mines opposite Tanck’s Corner included Beer’s Line, Golden Crown and Golden Stairs. Some of the big mines had batteries and stampers to process quartz. At first there was plenty of alluvial gold, as much as two ounces to the ton. At times gold was exposed after heavy rains so fossickers panned for gold around orchard irrigation trenches. Gold was mined until 1984 when Yarrambat’s last operating goldmine, the Golden King Mine, in North Oatlands Road, closed. The Clayton family operated it full-time, making a comfortable living and in the 1960s it was the only private family gold mine in Victoria.5 Gold was such an important part of Yarrambat’s history that a gold poppet-head is the Yarrambat Primary School’s logo. The Golden King Mine poppet-head stands at the school’s Yan Yean Road exit gate. However this school was built in 1988. The original school No 2054, at the corner of Ironbark and Yan Yean Roads, was opened in 1878 and modified to its present form in the 1920s. In 2000 it was relocated to the Heritage Museum at Yarrambat Park.7 The school, whose first head teacher was Charles Planner, consisted of one room with a three-roomed residence. The school was also the community centre. On Saturday nights it was crammed for dances or euchre parties, community singing or other social events. On Sundays, services for different denominations took turns each week. However the school had its teething problems. Parents accused Charles Planner of neglecting his duties and the school closed several times. When it closed in 1892, only church services continued. Social activities moved elsewhere, such as the tennis club to the Stuchbery tennis court opposite. A sports day and woodchop on Boxing Day around 1900 was held at the Evelyn Hill Hotel, also called Evelyn Arms and Tunnel Hill Hotel, on the Greensborough–Diamond Creek Road. An annual agricultural show in Diamond Creek paraded through the town, and New Year’s Day picnics at the Yan Yean Reservoir included highland dancing and competitions. Also popular were the Indian hawkers who visited every three months, selling trinkets, clothing and other items. One called Jimmy ‘Allem dem Bedi’, gave presents and told stories, played draughts and sold delicious curries he cooked over his camp fire at night.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, golden king mine, tanck's corner, yarrambat primary school

This object has been made in 1978 to commemorate the 100th anniversary of the sinking of the ship 'Loch Ard'. This ship was wrecked on Mutton Bird Island near Port Campbell, Victoria in June 1878 with the loss of 52 lives and with two survivors. The story of the two survivors, passenger Eva Carmichael and seaman Tom Pearce has become part of the local folklore and has been retold in poetry, stage and T.V. drama and prose works. and is the subject of one of the night laser shows at Flagstaff Hill Maritime Museum in Warrnambool. Port Campbell Information Centre and Flagstaff Hill Maritime Museum also house many significant shipwreck items from the 'Loch Ard' including the nationally-important Loch Ard Minton Peacock. One of the commemorative events that took place in 1978 was the raising of the anchor from the wreck and its display at Port Campbell. This anchor item was probably made at the time and given to one of those connected to the recovery of the anchor. This souvenir is of interest as an object made to commemorate the most significant shipwreck in Western VictoriaThis is a souvenir of a shipwreck. It has a rectangular-shaped wooden base with a wooden piece with one curved edge standing upright at a slight angle on the top of the base. The wooden piece has four metal strips and has a metal anchor slotted into it so that the anchor is raised from the base. The wooden piece and the end of the anchor are glued to the base. The base has a silver-coloured metal name piece. The wooden sections have been slightly varnished. On the bottom of the base there are four rubber pads at each corner. Loch Ard Commemoration 1978loch ard wreck, loch ard commemoration 1978, flagstaff hill maritime museum, port campbell information centre, tom pearce & eva carmichael

George Shirling arrived in Falls Creek in 1962. He engaged Phil Nowell to build the original Koki Alpine Lodge which opened in 1965 with 14 beds. George operated the lodge with Michael “Baldy” Blackwell as manager. He also graduated in sport psychology in 1981 and was invited to become team psychologist for the Australian Winter Olympic team which went to Albertville, France, in 1992. He later owned the Red Onion Chalet. George credited the success of Koki to “Baldy” Blackwell. “Baldy” and Phil Nowell started the Trackers Mountain Lodge in partnership during the 1980s. In 1971 George sold Koki Lodge to Sigi Doerr. Sigi was a long time resident of Falls Creek, owning and operating Koki Lodge for many years with his wife, Lee. He was Falls Creek CFA Captain from 1995 until 1998 although he served in the Fire Brigade for much longer. Sigi had many involvements in the community. In 2023 the renamed Koki Alpine resort remains a highly popular destination in Falls Creek.This item is significant because it shows an entertainment event at a well-loved Falls Creek Lodge.A framed black and white photograph of guests enjoying "Tom Jones Night" at Koki Lodge in 1968. Guests include:- Foretable - George Shirling, Geoff Henke, Gweneth Henke (Maloney) who competed in figure skating in the Oslo Winter Olympics 1952, Sigi Haberzetti, Phyllis Bridgford, Bill Bridgford (back to camera)koki lodge, george shirling, sigi doerr

Part of yearly marketing and information material promoting the Falls Creek Ski School. This publication includes detailed information about the Falls Creek Ski School and its wide range of programs for 1994. Activities include Kids Ski Land, NASTAR Recreational racing, Ski School Race program as well as an extensive snowboarding program. Family night skiing was available for the first time. Special events included the Ski School International Ball, a TELEMARK and Powderhound Women's program as well as a Kangaroo Hoppet Preparation Clinic.This item is important because it documents seasonal activities at Falls Creek Alpine Resort across all age groups.A glossy booklet featuring images and information about programs to be offered at Falls Creek in the 1994 winter season. The front cover features a photo of two downhill skiers at Falls Creek Ski School. Coloured images are included throughout the booklet. Each page has a different coloured background and black or white text.On Cover: 1994 Falls Creek Ski School SSS FALLS CREEK SKI SCHOOL INFORMATIONfalls creek marketing, falls creek ski school, falls creek ski academy, falls creek race club

Antoinetta COVINO-BEEHRE born Avellino, Italy arrived Australia 1968 This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.This work was exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection. lls '2/36' lc 'Shadow of the Night' lrs ''Antoinetta Covino-Beehre'artist, artwork, antoinetta cravino-beehre, printmaking, parallel prints

Built by artist and cartoonist Percy Leason in 1927 in what was then New Street but renamed Lavender Park Road in the late 1950s/early 1960s. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p121 Said to be a genius, cartoonist Percy Leason’s career was at its peak when in 1925 to 1926 he built his home at New Street (now Lavender Park Road) Eltham. The Herald newspaper owner, Sir Keith Murdoch, had hired Leason for his newly acquired Melbourne Punch magazine at a salary of £1750, making him ‘one of the highest paid cartoonists in the world’.1 With this salary and financial help from Murdoch, Leason was able to build his lovely home in Eltham. At the crest of a sweeping drive, the home now two-storey in white brick with a gabled grey slate roof and dormer windows is flanked by an extension built by another owner in the 1980s. Leason lived in the home with his wife, Isabel and children, until 1937, when he left for the United States of America, where he lived until his death in 1959. The four-bedroom house and garden would have been well-suited to bringing up his family and to entertaining their friends in style. Large airy rooms have high ceilings with moulded plaster, timber floors and several are brightened with bay windows. Leason made friends with many of the artists and personalities who gravitated to Eltham. Around 1931 Justus Jörgensen, founder of the Montsalvat Artists’ Colony, helped Leason build his large studio at the back of the house. Another friend was journalist Mervyn Skipper, father of jeweller and sculptor Matcham, and artists Helen and Sonia. Leason’s teacher, artist Max Meldrum, also visited and rented accommodation in Eltham, opposite Wingrove Park. Punch folded in 1925, but Leason continued as cartoonist for Table Talk. In 1926 Leason began the cartoons of a mythical Australian town Wiregrass, which were inspired by Kaniva, his home town. The art gallery in Main Road Eltham was named Wiregrass in Leason’s honour. Leason completed 1000 drawings from 1919 to 1937, which author Garrie Hutchinson claimed, were technically unsurpassed and had regional and universal interest. Leason’s acute observations of country life stemmed from his childhood in Kaniva in Victoria’s western Wimmera, where he was born, the son of a selector, in 1889. Meldrum claimed that Leason could name every plant and the habits of every animal.2 Leason also painted 28 portraits of the last full-blooded aboriginals in Victoria at Lake Tyers in Gippsland, most of which are in a private collection. In Sydney Leason illustrated Henry Lawson’s Selected Poems and worked for The Bulletin. Leason had begun his career at 13 as an apprentice lithographic artist at Sands and MacDougall. He attended night classes at the National Gallery and the Victorian Artists Society. Leason first visited Eltham in 1910 to paint with fellow artist William ‘Jock’ Frater. They camped near Bible and Pitt Streets and along the Diamond Creek on the site of the present Eltham Retirement Centre. Despite his success as a cartoonist, Leason wanted to be recognised as a serious painter and for his anthropological work.3 He was also conservative and felt uncomfortable with the modern art scene in Melbourne.4 So he left for the United States of America to work as a painter. Ironically his time in New York saw the burgeoning of modern art, notably by artists such as Jackson Pollock. But Leason found his niche by running an art school, painting society portraits and illustrating books and magazines.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, landscape, lavender park road, percy leason, new street

Sculture in bronze of Alan Marshall by Marcus Skipper, 1995 Alan Marshall, AM., O.B.E., Hon.LL,D. (1902-1984) was born at Noorat, Victoria and became one of Australia's most famous authors. His association with the Eltham area began in 1920 when he started his first job as a junior clerk at the Eltham Shire Offices, Kangaroo Ground. In the 1940's he spent some time living at Research. From 1955 he lived in Eltham for nearly 20 years. Disabilities resulting from polio as a young child did not prevent a wide range of experiences. Alan's occupations have been listed as clerk, night watchman, fortune teller, freelance journalist and author. He has been patron of many disadvantaged Children's Societies. Alan's books are numerous and include novels, short stories, children's books, history and travel. Among the best known are his autobiographies "I Can Jump Puddles" and "This is the Grass". Others include "These are My People", "Ourselves Writ Strange", "People of the Dreamtime"; "The Gay Provider" and "Wild Red Horses". In 1971 he wrote the Centenary History of the Shire of Eltham, "Pioneers and Painters". Covered under National Trust of Australia (Victoria), State significance. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p159 Outside the Eltham Library a bronze figure of a short one-legged man with a crutch invites people to the world of literature. The bronze statue, by Marcus Skipper, is of author Alan Marshall, who is famed for his autobiography I Can Jump Puddles, about growing up and overcoming the effects of polio. That plucky little boy later lived in the Nillumbik district for more than 50 years, and on his death in 1984, was buried in the Nillumbik Cemetery at Diamond Creek. Although a hugely successful author, his grave is modest with only a tiny boulder and simple bronze plaque on a grassed plot. From 1955 to 1972 Marshall lived in a tiny fibro-cement bungalow at the rear of a house at Park West Road, Eltham, owned by his older sister, Elsie McConnell. It was there that he wrote most of his autobiographical trilogy and his history of the former Eltham Shire, Pioneers and Painters. His long association with Eltham Shire began in 1918 when his family moved to Diamond Creek. Then in 1920 he began work as a junior clerk at the Eltham Shire Offices on Main Road, Kangaroo Ground near the Yarra Glen Road, while boarding at the hotel next door. Marshall later bought a block of land in Research, which had three bark huts. In one of these he wrote his first book These Are My People. He later sold the land but lived in a caravan there and in 1955 wrote I Can Jump Puddles.1 Proud of its citizen, the Eltham Shire named a park after Marshall at the corner of Main Road and Leanne Drive, Eltham. In 1985 the Shire initiated the Alan Marshall Short Story Award. It was Marshall’s early life in the country that taught him to live courageously in spite of his crippling polio, and he inspired many. This informed his writing – full of courage, championing the battler and love of the bush. Alan Marshall was born in 1902 at Noorat in Western Victoria, as the only son of Billy a drover, horse breaker, hawker and then general store owner. At the age of six, Marshall contracted infantile paralysis and was later hospitalised in Colac for 18 months. With his father’s encouragement, Marshall learnt to swim, wrestle and box, ride a bicycle (downhill), ride a horse and drive a car. Marshall won a scholarship to Stott’s Correspondence College to study accountancy. To help him continue his studies and find employment, his family bought 12 acres (4.8ha), in Ryans Road, Diamond Creek, opposite Windmill Court. There they ran cows, some poultry and an orchard. But life with a disability and during the Depression was hard for Marshall, who for 20 years, endured long periods of unemployment and loneliness and was often exploited at work.2 However, life improved in the 1930s, when he published short stories and articles in newspapers and magazines, including a column of advice to the lovelorn, which he wrote for nearly 20 years. At age 42 Marshall published his first book and in the next 30 years he published more than 20. His most successful book was I Can Jump Puddles, which sold more than three million copies internationally. It was made into a film, released in 1971, by Czechoslovakian director Karel Kachyna. Marshall was one of the first Australians to write about Aborigines who called him Gurrawilla - teller of tales - when he lived with them in Arnhem Land for eight months.3 In 1941 Marshall married Olive Dixon, with whom he had two daughters, Catherine and Jennifer. Marshall and Olive divorced in 1957. In 1972 Marshall was awarded an OBE for his work with the handicapped. He was also awarded an Honorary Doctor of Laws by Melbourne University, an Order of Australia for services to literature and the Soviet Order of Friendship of Peoples.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, alan marshall, art in public places, eltham, eltham library, marcus skipper, panther place, public art, sculpture

A black and white postcard of Marysville Chalet that was produced by the Valentine Publishing Co Pty. Ltd. as a souvenir of Marysville.A black and white postcard of Marysville Chalet that was produced by the Valentine Publishing Co Pty. Ltd. as a souvenir of Marysville.V.6. VALENTINE'S/ POST CARD A GENUINE PHOTOGRAPH The Chalet/ Tues 3rd Dear Jean + Lloyd/ This is where Bev & I have got to/ we are staying at this place & having a great old/ time, especially Bev. She was out riding all the afternoon/ yesterday with a crowd of young folk. At night they/ make whoop-ee & dance & everything & all the old dears/ including yours truly sit by the fire & knit & listen/ We have been two trips in the bus one all day/ trip staying for dinner on the way. Anyway I'll be/ tellling you all about it when I see you again if/ ever says you. I hope you all well including/ Mrs Mac. We are going home on Sunday, so I'll be/ seeing you as soon after as I can./ Your loving cousin Mgrt XXmarysville, victoria, australia, the marysville chalet, guest house, poontawan, steavenson hotel, albert harrison, margaret harrison, elise ackerman, ralph ackerman, john van ranglerooy, joe keithard, kathy keithard, louisa goding, accommodation, valentine publishing co pty ltd, postcard, souvenir, v.6.

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: B'WORTH NEWTOWN / OLD HOUSE / E MARCUSE Reverse: B 11/ 023 / BEECHWORTH NOSTALGIA / BW - 04 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: Reverse: CHILTERN ? / (SAME (illegible), SAME PAPER + COLOURS AS CHILTERN PHARMACY / BOTH MAY HAVE BEEN 1981 WHEN IN YACKANDANDAH? / ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: YACKANDANDAH / MARCUSE / 83 Reverse: YACKANDANDAH / Y 911/ 022 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: Reverse: YACKANDANDAH / Y 9 / 021 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: Marcuse / YACKANDANDAH / Reverse: YACKANDANDAH / Y 8 / 020 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: CHILTERN PHARMACY / Reverse: 025 / ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Portriats of Alan Marshall, and some with his secretary, Pat Wiltshire, at work in his Park Road, Eltham home and garden, c.1970 at the time he was writing "Pioneers and Painters". Alan Marshall, A.M., O.B.E., HON., LL. D. (1902-1984) was born at Noorat, Victoria and became one of Australia’s most famous authors. His association with the Eltham area began in 1920 when he started his first job as a junior clerk at the Eltham Shire Offices, Kangaroo Ground. In the 1940’s he spent sometime living in Research. From 1955 he lived in Eltham for nearly 20 years. Disabilities resulting from polio as a young child did not prevent a wide range of experiences. Alan’s occupations have been listed as clerk, night watchman, fortune teller, freelance journalist and author. He has been patron of many disadvantaged children’s societies. Alan’s books are numerous and include novel, short stories, children’s books, history and travel. Among the best known are his autobiographies “I can jump puddles” and “This is The Grass”. Others include “These are my people”, “Ourselves Writ Strange” and “Wild Red Horses”. In 1971 he wrote the centenary history of the Shire of Eltham, “Pioneers and Painters”. Black and white photographs of Alan Marshall at his home.pioneers and painters, alan marshall, pat wiltshire, park road

Page 1 - postcards and notes on the Alf Twentyman's preserved cars. 2 - VR tram 41 at Bendigo 2001 and two VR tram tickets 3 - VR 41 at Sandringham station - night photo 4 & 5 - VR 41 at Bendigo 6 & 7 - VR 41 at Bendigo 8 & 9 - photo copies of VR railway - tram tickets 10 - 11 - photo copies of VR railway - tram tickets and photo of VR 41 at North Bendigo. 12 - Photo of David Frost selling a ticket to David Vendy, Mayor of Ballarat at the time - July 2002 13 & 14 Two Melbourne tram postcards and tram tickets 15 - 18 - Four Peter Gerasimon greeting cards featuring Melbourne trams, 19 - Ballarat tramway postcard and cable saloon trailer 171 being loaded for Portland - July 2002. 20 - three photos of David Frost at Bylands rear cover - photos of VR 41 and VR 53 at Bendigo.Illustrates the work of David Frost and his interest in VR trams.Photo Album - 10 heavy card sheets with plastic sheets over each, white plastic ring bound, covered with a large photograph of Alf Twentyman's cable cars at Northcote. See 3086 for an unused version.cable cars, vr trams, alf twentyman, david frost, vr 41, bendigo, tickets, postcards, peter gerasimon, trams, tramways

Contents: • Next meeting, Film Night featuring film on Alan Marshall and other subjects of local and historical interest • Montmorency, France • 150th Anniversary events • Society bus tour • Records and research • Other brief items • Time Capsule – suggestions for contents The Shire of Eltham Historical Society was formed in October 1967. The first newsletter of the Society was issued May 1978 and has been published continuously ever since on a bi-monthly basis. With the cessation of the Shire of Eltham in late 1994, the Society's name was revised to Eltham District Historical Society and this name first appeared with issue No. 103, July 1995. The collection of the Society's newsletters provides a valuable resource on the history of the Society's activities, office bearers and committee members, guest speakers and subjects of historical interest pertinent to the former Shire of Eltham and the Eltham District.A4 photocopied newsletter distributed to membersnewsletter, eltham district historical society, shire of eltham historical society

The Kangaroo Hoppet is Australia’s premier long distance cross country ski race, and a member of the Worldloppet series of international cross country ski events. The first race at Falls Creek was held in 1979 under the name of “Australian Birkebeiner”. It was a 21km race with about 80 participants organised by the Birkebeiner Nordic Ski Club of Mount Beauty. The course started and finished at Falls Creek Alpine Resort and took participants out into the Bogong High Plains. After running the event for 10 years, it was decided they should become part of the Worldloppet series of marathon ski races. Representatives from the Birkebeiner Nordic Ski Club and the Australian Ski Federation attended the Worldloppet Annual Meeting in Finland in June 1990 to put the case for the acceptance of an Australian event into the Worldloppet series. Before being admitted, they had to demonstrate that the Birkebeiner Club could run a world class event, so three months later in August 1990 a 42km event named the Australian International Ski Marathon was held at Falls Creek together with a 21km Birkebeiner race and a 7km event called the Birkebeiner Lite. The event was approved by delegates from USA, Norway and Austria, in 1991 Australia became the 12th member of Worldloppet, with the condition that there had to be a name change. After some late night discussion allegedly involving red wine from North East Victoria the main event became the 42km Kangaroo Hoppet, with the minor events being the 21km Australian Birkebeiner, and 7km Joey Hoppet. In the winter of 1991, the first Kangaroo Hoppet was held. It was a great success and has been a regular fixture on the international ski calendar ever since. It features the main 42km event as well as a 21km event and a 7km event. The Hoppet brings the Australian snowfields to an international audience. In 2014 the Men's Winner was Valerio Leccardi from Switzerland in a time of 1:20:03. The winner of the Women's event was Valentina Shevchenko of Ukraine in a time of 1:31:01. This poster is significant because it documents an event which brings international attention to Falls Creek and the surrounding region.A poster two skiers wearing red vests passing a line of yellow markers in snow. The lake and mountain are in the background. Logos of AGL, Falls Creek All Season Alpine Resort, Alpine Shire, Tourism Victoria, Parks Victoria, the Birkebeiner Nordic Ski Club and the Worldloppet are along the bottom of the poster.Towards top: Kangaroo Hoppet /23RD AUGUST 2014 42KM 21KM 7KM FALLS CREEK VICTORIA AUSTRALIA www.hoppet.com.au kangaroo hoppet, worldloppet events, falls creek, mt. beauty