Coloured photo of Implement Shed at rear of Museum.nunawading historical society museum, farming implements

Coloured photo of North Wall Display in Museummuseum

Coloured photo of North Wall Display in Museummuseum

Coloured photo of North Wall Case in Museummuseum, display

Black and white photo of Spinning Wheel in Museummuseum

Coloured photo of members and guests at Museum openingnunawading historical society, museum

Coloured photo of members and guests at opening of Museumnunawading historical society, museum

Martin Foley at the Museums Australia (Victoria) awards.acmi, museums australia (victoria), awards, 2017, martin foley, minister, creative industries

Laurence Leunig at the Museums Australia (Victoria) Awards.acmi, museums australia (victoria), awards, 2017, lawrence leunig

Greenwich Palace no longer exists however archaeology had added greatly to our understanding of life at the Tudor Court at Greenwich. Since 1971 there have been well over 20 digs on the site. Many wonderful and intriguing items from gold coins to tiled floors and human skeletons have been found. The first major dig uncovered the structure of the royal apartments next to the river. Not only did it clarify the floor plan but finds included some rare Tudor ceiling decorations, a hoard of gold coins and many personal items such as dice used for gaming. Perhaps the most revealing excavations have been the most recent. In 2005 while monitoring the digging of a drainage trench archaeologists found brickwork and tiles that formed the floor of the east end of the Tudor Chapel Royal where the altar once stood.Photograph of interpretation information in Greenwich Chapel and Museumgreenwich, stone, museum, chapel, stone, musuem, chapel

This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. The red-and green Australian King-Parrot is seldom seen flying above the tree tops of the dense forests which it inhabits — it prefers to fly below tree level, weaving in and out through the tree trunks instead. When they are disturbed by a person, they usually fly off with a harsh screech, and often do not land until they are lost to view. Their flight is swift and strong, characterised by deep, rhythmic wing-beats and regularly punctuated with rapid twists and turns.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. Male Australian King-Parrots are the only Australian parrots with a completely red head. Females are similar to males except that they have a completely green head and breast. Both sexes have a red belly and a green back, with green wings and a long green tail. King parrots are normally encountered in pairs or family groups. This particular specimen has duller colour and appears more orange with a misshapen head Label: National Museum Victoria / King Parrot / Aprosmietus W5435 / Gris (recht) Mount: APPOSMICTUS / SCAPULARIS / King Parrottaxidermy, parrot, bird, king parrot

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: Charatome / Corning Buggy / Braise & Drag / believed to (illegible) built by Crawford and (illegible) / COBB & CO / WAGONETTE / B'WORTH MUSEUM Reverse: BEECHWORTH NOSTALGIA / BW-07(a) / B 8 / 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

This item is a bronze German MotherCross. The MotherCross was given to German mothers of pure Aryan heritage before and during World War Two. Adolf Hitler wanted to encourage population growth and keep the German mother at home. Mothers were awarded these crosses according to the number of children they had – gold crosses for eight or more children, silver for six or seven children and bronze for four or five children. The crosses were presented to mothers on 4th August, the birthday of Hitler’s mother and also on Mother’s Day. They could only be worn on special occasions around the neck on a blue cord with two white stripes. This German MotherCross is a bronze one and has on one side ‘Der Deutschen Mutter’ and on the other side ‘16 Dezember 1938’ and Adolf Hitler’s signature. The date indicates when the award was first instituted. There were at least 8 million recipients of the medal.The recipient and donor of this medal are not known but it is a very interesting and unusual memento of World War Two.This is a metal medal in the shape of a cross with a bronze ridged background in the shape of a rectangle. The cross is enamelled in blue and white and has a round bronze disc in the centre and lettering with a blue swastika on a white background. There is lettering on the back of the cross. A metal catch is attached to the top of the cross and remnants of a blue and white cloth cord are looped over the catch. One small fragment of the cord is detached. The medal is in a box which is not the original container. ‘Der Deutschen Mutter’ ‘16 Dezember 1938’ plus Adolf Hitler’s signature world war two, german mothercross

Two hand-drawn and shaded architectural plans for the remodeling of the old Museum. .1) Plan for a new facade for the former Ballarat School of Mines Museum (formerly the Ballarat Wesleyan Church) showing front elevation. .2) Detail of front of the former Ballarat School of Mines Museum.ballarat school of mines, buildings, ballarat school of mines museum, art deco, former ballarat wesleyan church, grigsby, "a" hall

Survivors from the German Auxiliary Cruiser Kormoran being marched off the Fremantle wharf under guard.historicBlack and white photograph of the side of a ship on the left, some people, a train and carriages and a small hutkormoran, german auxiliary cruiser kormoran, fremantle wharf, german survivors

DVD, with clear cover in a black plastic case, titled "GTV 9 News Item - 14 April 2018 - Melbourne Tram Museum", 1 min 44 seconds news item featuring scenes around the Melbourne Tram Museum and an interview with Museum guide, David Kemp.trams, tramways, melbourne tram museum, tv broadcasts

Exhibition panel of the Slovenian Exhibition at the Melbourne Immigration MuseumA New Beginning V novo bodocnost (in Slovenian)

Coloured photo of Group at Nunawading Historical Society Museum.martyn, laurel, arrowsmith, valda, gray, bill, nunawading historical society

Coloured photo of members and guests at lunch for opening of Museum.nunawading historical society, museum

Colour photograph of Ballarat East from the Gold Museum.ballara east

Colour photograph of the Museum of Australian Democracy at Eureka (MADE)museum of australian democracy at eureka, eureka stockade reserve, eureka centre