Charles Wallace Gordon Graydon the First came out to Victoria on the S.S. Almora, the same ship on which Eliza Richardson and her family arrived on New Years Day 1875. Evidently C.W.G.G.1st. must have retained fond memories of a young fourteen-year-old girl named Elizabeth Richardson who travelled from Scotland with her mother and family (her father had arrived earlier) because three years later at Kyneton they were married. It was December 26th 1860, and Elizabeth was just seventeen. As the bridegroom’s age is written as 24 years on the wedding certificate, he certainly must have been more than eighteen when he sailed on the "Almora" in 1856. The newly married couple went to live at Taradale, Victoria, and they made a good life for themselves in that town which had then a thriving gold mine. They lived in a large two-storied house in Survey Paddock, and it was there that four daughters - Susan Emily (1861-1906), Elizabeth Constance (1863-1945), Amelia Amy (1865 -1952, Ada Mary Maude (1867-1901), and one son Newenham Edward Eustace (1869-1945) named after his Irish Grandfather, were born. On his wedding certificate C.W.G. Graydon, is described as a foreman. His father-in-law, Robert Richardson was employed as a time-keeper on the Melbourne to Bendigo Railway works, and he and his family lived first in Prahran, then Kyneton, and then Taradale. Perhaps Charles Graydon worked on the railway with him. In Taradale however, he worked for a gold mining company in a surveying capacity. C.W.G.G.1st was to become Shire President of the Shire of Metcalfe. That particular year the Graydon Family entertained the visiting English cricket Eleven at their home in Taradale. He was certainly regarded as an important man in the district when he was requested by a great number of the residents to nominate for the Legislative Assembly election. About 1876 the Graydons left Taradale, and went to live at Sandhurst, now Bendigo, at Barkly Place East. The Richardsons had also left Taradale to go into the grocery business in the same town. Charles Wallace Gordon Graydon the First became a legal manager of mines, and a well-known and popular resident. Sad to say he became ill with a lung infection, and on June 4th. 1885 he died, and was buried at Sandhurst, now Bendigo Cemetery, Back Creek Rd. Eliza Richardson's brother was Mr. James Richardson, the well-known grocer, of Pall Mall and Golden-square, who died at his residence, "Balgownie," Short street, on Thursday 22 Jan 1914. James Richardson was a native of Scotland. He was born at Glasgow in1849 and was only eight years of age when his parents sailed for Australia in the ship Balmoral. The family arrived in Melbourne in 1857 and went to Taradale, where Mr. Richardson, senr., acted as inspector of works during the construction of the Taradale Viaduct. James Richardson, who had commenced his educationin Glasgow, attended school at Taradale until the family removed to Bendigo at the time the railway was being built from Bendigo to Echuca. The contractors for this work engaged Mr Richardson, senr., as their timekeeper. When he left school James Richardson applied himself to learn the grocery business, and he gained a thorough knowledge of it with different employers at Bendigo, Taradale, and Daylesford. In 1872 he opened a grocery store on his own account in High-Street, Bendigo, but within a few months he had the great misfortune to be burnt out. The fire originated in an adjoining building early one morning and both places were burnt to the ground. In spite of his loss, Mr. Richardson was not discouraged, for he soon made another start. His trade improved and he extended his business, opening the Eclipse Cash Store at Golden Square. A little later another branch was opened at the Oddfellows' Hall, and subsequently this business was transferred to the Eureka Cash Store, in Pall Mall, which was the head depot. In addition to the retail trade, Mr. Richardson had, for many years carried on an extensive wholesale business with the Northern District, and had made a specialty of fodder seeds. James was a man of probity and sincerity in business, and as a citizen he was highly esteemed and respected. He was a prominent member of the Bendigo Caledonian Society in the earlier days of his citizenship. He was a staunch member of St Andrew's Presbyterian Church, and was a member of the board of management. In the Easter Fair procession, Mr Richardson's display was always a prominent and attractive one. Mr. Richardson was a member of the Masonic Order, and was a life member of the Bendigo Art Gallery and the old Mechanics Institute. He was married at Daylesford in 1871. Mr James Richardson was interred in the Presbyterian section of the Bendigo Cemetery.Digital Image. Copy of photograph of three of the four Graydon girls. Ada, Lizzie and Amelia Graydon. B&W photo of three women - two seated and one standing - Studio portrait.Lizzie (Elizabeth Constance 1863-1945) standing. Amelia (Amelia Amy 1865 - 1952) Seated on right. Ada (Ada Mary Maude 1867-1901) seated left.graydon girls., graydon collection, graydon richardson, james richardson grocer, bendigo history

Charles Wallace Gordon Graydon the First came out to Victoria on the S.S. Almora, the same ship on which Eliza Richardson and her family arrived on New Years Day 1875. Evidently C.W.G.G.1st. must have retained fond memories of a young fourteen-year-old girl named Elizabeth Richardson who travelled from Scotland with her mother and family (her father had arrived earlier) because three years later at Kyneton they were married. It was December 26th 1860, and Elizabeth was just seventeen. As the bridegroom’s age is written as 24 years on the wedding certificate, he certainly must have been more than eighteen when he sailed on the "Almora" in 1856. The newly married couple went to live at Taradale, Victoria, and they made a good life for themselves in that town which had then a thriving gold mine. They lived in a large two-storied house in Survey Paddock, and it was there that four daughters - Susan Emily (1861-1906), Elizabeth Constance (1863-1945), Amelia Amy (1865 -1952, Ada Mary Maude (1867-1901), and one son Newenham Edward Eustace (1869-1945) named after his Irish Grandfather, were born. On his wedding certificate C.W.G. Graydon, is described as a foreman. His father-in-law, Robert Richardson was employed as a time-keeper on the Melbourne to Bendigo Railway works, and he and his family lived first in Prahran, then Kyneton, and then Taradale. Perhaps Charles Graydon worked on the railway with him. In Taradale however, he worked for a gold mining company in a surveying capacity. C.W.G.G.1st was to become Shire President of the Shire of Metcalfe. That particular year the Graydon Family entertained the visiting English cricket Eleven at their home in Taradale. He was certainly regarded as an important man in the district when he was requested by a great number of the residents to nominate for the Legislative Assembly election. About 1876 the Graydons left Taradale, and went to live at Sandhurst, now Bendigo, at Barkly Place East. The Richardsons had also left Taradale to go into the grocery business in the same town. Charles Wallace Gordon Graydon the First became a legal manager of mines, and a well-known and popular resident. Sad to say he became ill with a lung infection, and on June 4th. 1885 he died, and was buried at Sandhurst, now Bendigo Cemetery, Back Creek Rd. Eliza Richardson's brother was Mr. James Richardson, the well-known grocer, of Pall Mall and Golden-square, who died at his residence, "Balgownie," Short street, on Thursday 22 Jan 1914. James Richardson was a native of Scotland. He was born at Glasgow in1849 and was only eight years of age when his parents sailed for Australia in the ship Balmoral. The family arrived in Melbourne in 1857 and went to Taradale, where Mr. Richardson, senr., acted as inspector of works during the construction of the Taradale Viaduct. James Richardson, who had commenced his educationin Glasgow, attended school at Taradale until the family removed to Bendigo at the time the railway was being built from Bendigo to Echuca. The contractors for this work engaged Mr Richardson, senr., as their timekeeper. When he left school James Richardson applied himself to learn the grocery business, and he gained a thorough knowledge of it with different employers at Bendigo, Taradale, and Daylesford. In 1872 he opened a grocery store on his own account in High-Street, Bendigo, but within a few months he had the great misfortune to be burnt out. The fire originated in an adjoining building early one morning and both places were burnt to the ground. In spite of his loss, Mr. Richardson was not discouraged, for he soon made another start. His trade improved and he extended his business, opening the Eclipse Cash Store at Golden Square. A little later another branch was opened at the Oddfellows' Hall, and subsequently this business was transferred to the Eureka Cash Store, in Pall Mall, which was the head depot. In addition to the retail trade, Mr. Richardson had, for many years carried on an extensive wholesale business with the Northern District, and had made a specialty of fodder seeds. James was a man of probity and sincerity in business, and as a citizen he was highly esteemed and respected. He was a prominent member of the Bendigo Caledonian Society in the earlier days of his citizenship. He was a staunch member of St Andrew's Presbyterian Church, and was a member of the board of management. In the Easter Fair procession, Mr Richardson's display was always a prominent and attractive one. Mr. Richardson was a member of the Masonic Order, and was a life member of the Bendigo Art Gallery and the old Mechanics Institute. He was married at Daylesford in 1871. Mr James Richardson was interred in the Presbyterian section of the Bendigo Cemetery.A selection of black and white Graydon and Richardson family photographs taken by Bendigo photographers. All photos unnamed. Mounted as Cabinet cards. Photographers - D. Mendelfson, Bartlett Bros., The Studio - Chuck, Eden Society Studios, Alan Spicer, R. Bloomfield Rees,graydon, richardson, cabinet card

Charles Wallace Gordon Graydon the First came out to Victoria on the S.S. Almora, the same ship on which Eliza Richardson and her family arrived on New Years Day 1875. Evidently C.W.G.G.1st. must have retained fond memories of a young fourteen-year-old girl named Elizabeth Richardson who travelled from Scotland with her mother and family (her father had arrived earlier) because three years later at Kyneton they were married. It was December 26th 1860, and Elizabeth was just seventeen. As the bridegroom’s age is written as 24 years on the wedding certificate, he certainly must have been more than eighteen when he sailed on the "Almora" in 1856. The newly married couple went to live at Taradale, Victoria, and they made a good life for themselves in that town which had then a thriving gold mine. They lived in a large two-storied house in Survey Paddock, and it was there that four daughters - Susan Emily (1861-1906), Elizabeth Constance (1863-1945), Amelia Amy (1865 -1952, Ada Mary Maude (1867-1901), and one son Newenham Edward Eustace (1869-1945) named after his Irish Grandfather, were born. On his wedding certificate C.W.G. Graydon, is described as a foreman. His father-in-law, Robert Richardson was employed as a time-keeper on the Melbourne to Bendigo Railway works, and he and his family lived first in Prahran, then Kyneton, and then Taradale. Perhaps Charles Graydon worked on the railway with him. In Taradale however, he worked for a gold mining company in a surveying capacity. C.W.G.G.1st was to become Shire President of the Shire of Metcalfe. That particular year the Graydon Family entertained the visiting English cricket Eleven at their home in Taradale. He was certainly regarded as an important man in the district when he was requested by a great number of the residents to nominate for the Legislative Assembly election. About 1876 the Graydons left Taradale, and went to live at Sandhurst, now Bendigo, at Barkly Place East. The Richardsons had also left Taradale to go into the grocery business in the same town. Charles Wallace Gordon Graydon the First became a legal manager of mines, and a well-known and popular resident. Sad to say he became ill with a lung infection, and on June 4th. 1885 he died, and was buried at Sandhurst, now Bendigo Cemetery, Back Creek Rd. Eliza Richardson's brother was Mr. James Richardson, the well-known grocer, of Pall Mall and Golden-square, who died at his residence, "Balgownie," Short street, on Thursday 22 Jan 1914. James Richardson was a native of Scotland. He was born at Glasgow in1849 and was only eight years of age when his parents sailed for Australia in the ship Balmoral. The family arrived in Melbourne in 1857 and went to Taradale, where Mr. Richardson, senr., acted as inspector of works during the construction of the Taradale Viaduct. James Richardson, who had commenced his educationin Glasgow, attended school at Taradale until the family removed to Bendigo at the time the railway was being built from Bendigo to Echuca. The contractors for this work engaged Mr Richardson, senr., as their timekeeper. When he left school James Richardson applied himself to learn the grocery business, and he gained a thorough knowledge of it with different employers at Bendigo, Taradale, and Daylesford. In 1872 he opened a grocery store on his own account in High-Street, Bendigo, but within a few months he had the great misfortune to be burnt out. The fire originated in an adjoining building early one morning and both places were burnt to the ground. In spite of his loss, Mr. Richardson was not discouraged, for he soon made another start. His trade improved and he extended his business, opening the Eclipse Cash Store at Golden Square. A little later another branch was opened at the Oddfellows' Hall, and subsequently this business was transferred to the Eureka Cash Store, in Pall Mall, which was the head depot. In addition to the retail trade, Mr. Richardson had, for many years carried on an extensive wholesale business with the Northern District, and had made a specialty of fodder seeds. James was a man of probity and sincerity in business, and as a citizen he was highly esteemed and respected. He was a prominent member of the Bendigo Caledonian Society in the earlier days of his citizenship. He was a staunch member of St Andrew's Presbyterian Church, and was a member of the board of management. In the Easter Fair procession, Mr Richardson's display was always a prominent and attractive one. Mr. Richardson was a member of the Masonic Order, and was a life member of the Bendigo Art Gallery and the old Mechanics Institute. He was married at Daylesford in 1871. Mr James Richardson was interred in the Presbyterian section of the Bendigo Cemetery.Seventeen black and white Graydon and Richardson family photographs taken by Bendigo photographers. All photos unnamed. Mounted as Cartes de Visite. Photographers - The Studio - Chuck, , M. Bent, F. de Kock and Co., N. White, Bartlett Bros., Chevalier.graydon, richardson, carte de visite

Charles Wallace Gordon Graydon the First came out to Victoria on the S.S. Almora, the same ship on which Eliza Richardson and her family arrived on New Years Day 1875. Evidently C.W.G.G.1st. must have retained fond memories of a young fourteen-year-old girl named Elizabeth Richardson who travelled from Scotland with her mother and family (her father had arrived earlier) because three years later at Kyneton they were married. It was December 26th 1860, and Elizabeth was just seventeen. As the bridegroom’s age is written as 24 years on the wedding certificate, he certainly must have been more than eighteen when he sailed on the "Almora" in 1856. The newly married couple went to live at Taradale, Victoria, and they made a good life for themselves in that town which had then a thriving gold mine. They lived in a large two-storied house in Survey Paddock, and it was there that four daughters - Susan Emily (1861-1906), Elizabeth Constance (1863-1945), Amelia Amy (1865 -1952, Ada Mary Maude (1867-1901), and one son Newenham Edward Eustace (1869-1945) named after his Irish Grandfather, were born. On his wedding certificate C.W.G. Graydon, is described as a foreman. His father-in-law, Robert Richardson was employed as a time-keeper on the Melbourne to Bendigo Railway works, and he and his family lived first in Prahran, then Kyneton, and then Taradale. Perhaps Charles Graydon worked on the railway with him. In Taradale however, he worked for a gold mining company in a surveying capacity. C.W.G.G.1st was to become Shire President of the Shire of Metcalfe. That particular year the Graydon Family entertained the visiting English cricket Eleven at their home in Taradale. He was certainly regarded as an important man in the district when he was requested by a great number of the residents to nominate for the Legislative Assembly election. About 1876 the Graydons left Taradale, and went to live at Sandhurst, now Bendigo, at Barkly Place East. The Richardsons had also left Taradale to go into the grocery business in the same town. Charles Wallace Gordon Graydon the First became a legal manager of mines, and a well-known and popular resident. Sad to say he became ill with a lung infection, and on June 4th. 1885 he died, and was buried at Sandhurst, now Bendigo Cemetery, Back Creek Rd. Eliza Richardson's brother was Mr. James Richardson, the well-known grocer, of Pall Mall and Golden-square, who died at his residence, "Balgownie," Short street, on Thursday 22 Jan 1914. James Richardson was a native of Scotland. He was born at Glasgow in1849 and was only eight years of age when his parents sailed for Australia in the ship Balmoral. The family arrived in Melbourne in 1857 and went to Taradale, where Mr. Richardson, senr., acted as inspector of works during the construction of the Taradale Viaduct. James Richardson, who had commenced his educationin Glasgow, attended school at Taradale until the family removed to Bendigo at the time the railway was being built from Bendigo to Echuca. The contractors for this work engaged Mr Richardson, senr., as their timekeeper. When he left school James Richardson applied himself to learn the grocery business, and he gained a thorough knowledge of it with different employers at Bendigo, Taradale, and Daylesford. In 1872 he opened a grocery store on his own account in High-Street, Bendigo, but within a few months he had the great misfortune to be burnt out. The fire originated in an adjoining building early one morning and both places were burnt to the ground. In spite of his loss, Mr. Richardson was not discouraged, for he soon made another start. His trade improved and he extended his business, opening the Eclipse Cash Store at Golden Square. A little later another branch was opened at the Oddfellows' Hall, and subsequently this business was transferred to the Eureka Cash Store, in Pall Mall, which was the head depot. In addition to the retail trade, Mr. Richardson had, for many years carried on an extensive wholesale business with the Northern District, and had made a specialty of fodder seeds. James was a man of probity and sincerity in business, and as a citizen he was highly esteemed and respected. He was a prominent member of the Bendigo Caledonian Society in the earlier days of his citizenship. He was a staunch member of St Andrew's Presbyterian Church, and was a member of the board of management. In the Easter Fair procession, Mr Richardson's display was always a prominent and attractive one. Mr. Richardson was a member of the Masonic Order, and was a life member of the Bendigo Art Gallery and the old Mechanics Institute. He was married at Daylesford in 1871. Mr James Richardson was interred in the Presbyterian section of the Bendigo Cemetery.A selection of Graydon and Richardson family photographs taken by Bendigo photograpers. all photos unnamed.photograph, person, graydon and richardson families.

The original house was built around 1850 was one of Kangaroo Ground's earliest homes, part of which remains today. Built by Scottish farmer Andrew Harkness who acquired the property in 1849 at the top of the hill with magnificent panoramic views as far as Kinglake, the same year he married Sarah Oswin. The property was known as Garden Hill from at least 1865. Andrew and Sarah had four sons and five daughters. Harkness was a founder of the Kangaroo Ground School and one of the first to suggest establishing the Eltham District Road Board (1858-71) of which he was a member, the pre-cursor to the Shire of Eltham (1871-1994). He was also a Trustee of the Kangaroo Ground Cemetery. His daughter Fanny married farmer Alexander White who purchased the property in 1893. Alexander White died in 1906 and ownership transferred to Fanny White. Son, Robert White was a Councillor of the Shire of Eltham at the time the Shire acquired two acres of land on the adjacent property from the Mess brothers for the creation of the Shire of Eltham Memorial Park (1921) in which the Shire of Eltham War Memoirial tower was erected (1926). Fanny White donated a small section of land from the Garden Hill property to facilitate entry access to the park. The White family sold the property to Sir Herbert Gepp in 1925. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p29 Garden Hill, on Yarra Glen Road, Kangaroo Ground, near the War Memorial is well named. The old house and gardens overlook a magnificent panorama extending to Kinglake. The original house, built around 1850, was one of Kangaroo Ground’s earliest, and part of it remains in today’s timber house. The house was built by the early and prominent settler Andrew Harkness. Later it was occupied for a long time by Sir Herbert Gepp, renowned Australia wide.1 Harkness and Gepp are buried in the Kangaroo Ground Cemetery. Scottish farmer Harkness, who was born in 1817, acquired this property in 18492 and he and his family occupied it until the early 1920s. Harkness cleared its 152 acres (61.4 ha), fenced it and grazed sheep and cattle. Harkness proved a valuable community member. When only ten families lived in the district, he and other settlers set up a school in 1852, with Andrew Ross as the first teacher. Harkness was also one of the first to suggest establishing the Eltham District Road Board, of which he was a member for around 15 years. He was also a trustee of the Kangaroo Ground Cemetery. Harkness married in 1854 and had four sons and five daughters. The first part of the timber house he built included a kitchen-living room and a parlor. The living room’s large fireplace was bricked-in and modernised in 1940. Beside it is the old baker’s oven with its original iron door replaced by a wooden one. It is thought two wattle-and-daub huts, used for a bedroom and bathroom, were built to the west. Harkness’ son-in-law, farmer Alexander White, who had seven sons, bought the property in 1893. Harkness’ grand-daughter Flora married Ewen Cameron who became Minister for Health and was later knighted; he was not related to Ewen Hugh Cameron, a Member of the Legislative Assembly. In 1923 the White family sold the property, called Kilby Park, to Sir Herbert Gepp, who renamed it Garden Hill. Gepp used the property, which was still on the original New South Wales title, as a hobby farm. Robert White stayed on to manage the farm for a while, living in a house on the property. Gepp was born in 1877 and at 16 years began working as a junior chemist with the Australian Explosives and Chemical Company at Deer Park near Melbourne. Gepp was a pioneer in applying enlightened labour policies in industry. He initiated the Broken Hill Progress Association, to improve living conditions. It laid the ground work for the welfare schemes pursued by companies after World War One. During the mid 20th century Gepp was the most prominent liberal thinker associated with conservative politics. As a friend of Prime Minister John Curtin, he contributed to post-war reconstruction. Gepp returned to private industry and retired in 1950. Gepp made significant contributions to the solution of the great metallurgical problems of the mining industry. He was an advocate of the role of science in industry, government and the economy and helped to establish several organizations including the CSIR and the Institute of Public Affairs.3 After Sir Herbert died in 1954 his son Orwell continued to farm the property part-time. When Lady Gepp died in 1963, the land was divided among the five children, although Orwell continued to farm it as a hobby. In 1966, a daughter, Mardi Gething, now married, settled in the house. Another daughter, Kathleen, built her house close by on the property. After the Board of Works designated the property as part of a reserve for a possible reservoir, the family sold all, except the minimum 20 acres allowed, to the Board in the 1970s. Orwell then leased what was the family property from the Board to continue grazing. The two sisters and brother continued to live on the property.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, kangaroo ground

Built c.1868, St Andrew’s Anglican Church is Nillumbik Shire’s oldest timber church and is historically, socially, and spiritually significant to the Shire of Nillumbik. The church is historically significant because it may have given its name 'St Andrews' to the town (another suggestion is that the name came from the local hotel), it is also historically significant as one of only four buildings that remain from the Caledonian goldfields era of Queenstown (now St Andrews) and one of only a handful of buildings that survived the 1960s bushfires. The church is historically, socially, and spiritually significant because it has played an important part in community life for more than 150 years; a proposal to move the church in 1984 met with strenuous opposition. Much of the fires on Black Saturday 2009 were the north of the town. The town itself remained intact - as did this heritage building. Covered under Heritage Overlay, Nillumbik Planning Scheme. National Trust of Australia (Victoria) Local significance Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p69 The St Andrews Anglican Church and former St Andrews Primary School, are two reminders of the district’s early days, when it was founded on gold. St Andrews, then called Queenstown, was the earliest goldfield in the Caledonia Diggings.1 It was the Upper Diamond Gold Mining and Administrative Centre, with 3000 miners. Queenstown was also the seat of the Court of Petty Sessions. The church and school then stood close to European and Chinese stores, three hotels, a brewery and a quartz mill.2 In 1861, Queenstown was officially proclaimed a township. From 1865, the name Queenstown was interchangeable with St Andrews, until 1952, when the town was officially named St Andrews. As gold declined from the early 1880s, Queenstown changed dramatically into a settlement of small farms. St Andrew’s Anglican Church, built in 1868, is the Shire’s oldest timber church and possibly gave its name to the township.3 The small timber church was opened on November 1, 1869, by the Dean of Melbourne. Anniversary tea meetings helped raise funds, and in 1889, a three-bedroom parsonage was built alongside. In 1910, the vicar, the Rev Selwyn Chase (and friend of the Scouting Movement’s founder, Baden Powell), established the 1st Queenstown Scout Troop, only two years after Scouting began in Australia. The church was important to the lives of many local residents who were baptised, married and had funeral services there. But by the 1950s the population had decreased and so did the weekly attendances. Around the mid-1960s the church closed, then fell into disrepair. So in the mid 1980s it was sold to the Education Department and was under threat of relocation or demolition. However this caused such opposition from locals,4 that instead, the Anglican church leased it as part of the Panton Hill parish5 and it was reconsecrated in 1987. Queenstown’s first school was held in a tent after transferring from Andersons Creek, Warrandyte.6 From 1858 a church school, Caledonia Diggings, stood west of the main road, a quarter of a mile (0.4km) before Buttermans Track. In 1882 the school was moved from a leased building, owned by headmaster Robert Harris, into a larger building on the corner of the School and the Heidelberg-Kinglake Roads. It had been moved from Smiths Gully and included a teacher’s three-roomed residence.7 In 1887 the school was replaced by the Queenstown State School No 128, although it was also called Caledonia Diggings until 1891. In 1956 it was renamed St Andrews. Still standing, this building is now used as the St Andrews Community Centre and the residence is leased for private use. The original timber-lined room remains alongside the extensions, and is distinctive with its high ceiling and tall small-paned windows. In 1984 a new school was built 500 metres west of the old school. Many residents have contributed much to St Andrews but one family that has done so for several generations is the Harris family. Robert Harris was an active member of the St Andrew’s Anglican Church, and worked hard at improving the town’s amenities until his death in 1887. He was a signatory to the successful 1863 petition to the Chief Commissioner of Police, against the proposed removal of the Court of Petty Sessions and police station at the Caledonia Diggings. The police station stayed in the town until 1917. Harris was Head Teacher of Queenstown State School from 1864 to 1874, then of the Smiths Gully school until it closed in 1882, and he continued teaching at Panton Hill until his death. His son, Robert Charles Harris, was editor and printer of the local newspaper, The Evelyn Observer, from 1873 until 1915. Robert’s son, William Shelley Harris, served in the Boer War and in World War One. In 1928 he became Kinglake National Park’s first park ranger. Robert’s daughter Elizabeth, taught needlework at Queenstown State School, and later ran the post office in Kinglake.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, st andrews, st andrews anglican church

The c1860 St Andrews Hotel, with the c1930 additions, and the Canary Island Palm, and the surrounding site to the title boundaries are historically, socially and aesthetically significant to the Shire of Nillumbik. The St Andrews Hotel is historically significant because it may have given its name 'St Andrews' to the town (another suggestion is that the name came from St Andrews church) and for its connection to Ewen Hugh Cameron (1831-1915) the prosperous local farmer, member of the Eltham Roads Board/Shire Council and local MP. It is also significant as the oldest hotel building in the former Shire of Eltham, as one of the few surviving buildings connected with the Caledonian goldfields era and as one of a handful of early structures to have survived the 1960s bushfires; the additions and alterations to the hotel reflect its long life. The hotel is socially significant because it has served as an important meeting place for more than 160 years. The Canary Island Palm is historically significant as a rare example of exotic tree planting in this rural area. The tree is aesthetically and historically significant as a local landmark and for its contribution to the streetscape and landscape value. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p71 Built around 1860, St Andrews Hotel has changed little since it first welcomed thirsty gold diggers from the Caledonia Goldfields. The timber building, with gabled roof, beamed ceilings and a massive fireplace, is Nillumbik Shire’s oldest hotel and has always been an important community centre, particularly in its early days. Fortunately, the hotel and the near-by Canary Island Palm Tree, which is quite rare in this area, survived the 1960s bushfires, along with a few other early buildings. St Andrews (formerly Queenstown) was founded on gold, as were Panton Hill (formerly Kingstown), Research and Diamond Creek, from the mid-1850s to the 1860s. But by the early 20th century common use changed the name Queenstown to St Andrews, possibly after this hotel or after the church or the mining district.1 The Caledonia Diggings were probably named by Scottish settlers after the Roman name for Scotland, despite this land bearing little similarity to their homeland.2 Queenstown, which was proclaimed as a township in 1861, was the gold-mining centre on the Upper Diamond and in the 1850s had up to 600 European inhabitants and a small camp of Chinese on the flats along the creek. Queenstown was the administrative centre of the Upper Diamond with three hotels, a brewery and a slaughterhouse.3 It is unclear which hotel was the district’s first, as distinct from the earliest unlicensed grog shops, some of which operated in tents. John Corke Knell was one of eight unlicensed storekeepers supplying drink to miners at Caledonia in 1857, named by Sgt. McNamara of the Caledonia Police Station.4 In February 1859, Knell apparently bought most of the present hotel’s site at the first township land sales. As he was a local storekeeper, he might have first established a store there.5 Knell and his wife Eliza were early licensees of the St Andrews Hotel. The hotel had eight bedrooms – including three for public use – and the dining-room seated 30 people. It is thought they named the hotel St Andrews after Eliza’s hometown of St Andrews in Scotland. St Andrews Hotel was an important local centre in several ways. In the same building the Knells also operated a post office and general store. In 1867 Mrs Knell was appointed Deputy Registrar of Births and Deaths for Queenstown. The hotel was also used to hold inquests into people’s deaths when the police residence became too small.6 The hotel also became a fashionable destination at Christmas for parties from Melbourne. In 1868, possibly following her husband’s death, Mrs Knell applied for a temporary licence, which was then transferred to Robert Smith after their marriage in 1869. But then, possibly after Robert’s death, Mrs Smith operated the hotel until 1892. This contradicts a report in The Evelyn Observer 1882 that JC Knells of the St Andrews Hotel was granted a publican’s licence in the Queenstown Police Court. At that time he was supposed to have been dead for around 14 years! Although Mrs Smith was a respected citizen, known for her geniality and as an ideal hostess, she had a minor brush with the law when she was fined ten shillings for not lighting a lamp outside her licensed premises.7 From 1892 several publicans owned the hotel including W Atkins, from 1895. In 1909 the licensee was apparently Mrs Smith’s son, Walter Knell, who held the licence until at least the 1920s. Not surprisingly, this old hotel has attracted romantic stories. Mrs Smith is said to be seen roaming the pub in her nightdress – even though she was buried in the Queenstown Cemetery in 1911.8 A musical The Hero of Queenstown, set in the hotel, was written and produced by local actor Reg Evans in the 1970s.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, st andrews hotel

Charles Wallace Gordon Graydon the First came out to Victoria on the S.S. Almora, the same ship on which Eliza Richardson and her family arrived on New Years Day 1875. Evidently C.W.G.G.1st. must have retained fond memories of a young fourteen-year-old girl named Elizabeth Richardson who travelled from Scotland with her mother and family (her father had arrived earlier) because three years later at Kyneton they were married. It was December 26th, 1860, and Elizabeth was just seventeen. As the bridegroom’s age is written as 24 years on the wedding certificate, he certainly must have been more than eighteen when he sailed on the "Almora" in 1856. The newly married couple went to live at Taradale, Victoria, and they made a good life for themselves in that town which had then a thriving gold mine. They lived in a large two-storied house in Survey Paddock, and it was there that four daughters - Susan Emily (1861-1906), Elizabeth Constance (1863-1945), Amelia Amy (1865 -1952, Ada Mary Maude (1867-1901), and one son Newenham Edward Eustace (1869-1945) named after his Irish Grandfather, were born. On his wedding certificate C.W.G. Graydon, is described as a foreman. His father-in-law, Robert Richardson was employed as a timekeeper on the Melbourne to Bendigo Railway works, and he and his family lived first in Prahran, then Kyneton, and then Taradale. Perhaps Charles Graydon worked on the railway with him. In Taradale however, he worked for a gold mining company in a surveying capacity. C.W.G.G.1st was to become Shire President of the Shire of Metcalfe. That particular year the Graydon Family entertained the visiting English cricket Eleven at their home in Taradale. He was certainly regarded as an important man in the district when he was requested by a great number of the residents to nominate for the Legislative Assembly election. About 1876 the Graydons left Taradale, and went to live at Sandhurst, now Bendigo, at Barkly Place East. The Richardsons had also left Taradale to go into the grocery business in the same town. Charles Wallace Gordon Graydon the First became a legal manager of mines, and a well-known and popular resident. Sad to say he became ill with a lung infection, and on June 4th. 1885 he died, and was buried at Sandhurst, now Bendigo Cemetery, Back Creek Rd. Eliza Richardson's brother was Mr. James Richardson, the well-known grocer, of Pall Mall and Golden-square, who died at his residence, "Balgownie," Short Street, on Thursday 22 Jan 1914. James Richardson was a native of Scotland. He was born at Glasgow in1849 and was only eight years of age when his parents sailed for Australia in the ship Balmoral. The family arrived in Melbourne in 1857 and went to Taradale, where Mr. Richardson, senior., acted as inspector of works during the construction of the Taradale Viaduct. James Richardson, who had commenced his education in Glasgow, attended school at Taradale until the family removed to Bendigo at the time the railway was being built from Bendigo to Echuca. The contractors for this work engaged Mr. Richardson, as their timekeeper. When he left school James Richardson applied himself to learn the grocery business, and he gained a thorough knowledge of it with different employers at Bendigo, Taradale, and Daylesford. In 1872 he opened a grocery store on his own account in High-Street, Bendigo, but within a few months he had the great misfortune to be burnt out. The fire originated in an adjoining building early one morning and both places were burnt to the ground. In spite of his loss, Mr. Richardson was not discouraged, for he soon made another start. His trade improved and he extended his business, opening the Eclipse Cash Store at Golden Square. A little later another branch was opened at the Oddfellows' Hall, and subsequently this business was transferred to the Eureka Cash Store, in Pall Mall, which was the head depot. In addition to the retail trade, Mr. Richardson had, for many years carried on an extensive wholesale business with the Northern District and had made a specialty of fodder seeds. James was a man of probity and sincerity in business, and as a citizen he was highly esteemed and respected. He was a prominent member of the Bendigo Caledonian Society in the earlier days of his citizenship. He was a staunch member of St Andrew's Presbyterian Church, and was a member of the board of management. In the Easter Fair procession, Mr. Richardson's display was always a prominent and attractive one. Mr. Richardson was a member of the Masonic Order and was a life member of the Bendigo Art Gallery and the old Mechanics Institute. He was married at Daylesford in 1871. Mr James Richardson was interred in the Presbyterian section of the Bendigo Cemetery.DVD A selection of Graydon and Richardson family photographs taken by Bendigo photographers, and family history notesphotograph, person, graydon and richardson families.

ESCo Employee Hours Work Record book that has been used by an ESCo/SEC inspector, H. P. James as a record / note book for his personal collection or papers or journal titled "In Other Days". Book sewn with string in 36 page sections, blank end papers, board covers with stipple paper out sides and Rexene cloth binding. Comprising plain paper end papers and 104 printed pages (52 leaves), with each sheet printed in black on feint ruled paper for recording the hours worked and other details of drivers and conductors employed by ESCo. Printed for daily use, with Day and date page headings - made out for the 1930's. Text generically printed feint ruled paper. Images: Book - i1 Inside front cover - i2 Members Certificate - i3 Photo of H.P. James and index page - i4 Has been used to gather mementos such as photos, articles, newspaper clippings, letters and other miscellaneous documents on Ballarat local history. Newspaper cuttings etc often have side notes written by Mr. James. Inside front cover has certificate recording Mr. James membership to the Ballarat Historical Society (on Australasian Historical Record Society paper) for 1937 - 1938. A side note records Mr. James elected as Vice President in 1939. Receipt signed by Edward Crimmins (See Reg. Item 2486) Has a table of contents for pages 1 to 65. Opposite is a photograph of Mr. James dressed for the Ballarat Tramways Social Club function - See Reg. Item No. 506 Primary items are: 1 - Newspaper cutting "A stroll along Bridge St. 50 years ago" - Nathan F. Speilvogel. 3 - Newspaper cutting "What I Remember of Early Ballarat" - James Sainsberry. 4 - Newspaper cutting "Magnet that Made Ballarat - New Monument Marks Gold Discovery" 7 - Newspaper cutting "Romance of a Ballarat Street Block" - Speilvogel 9 - Newspaper cutting "Sixty years of Dana St. School"- Speilvogel 11 - Newspaper cutting "The White Flat - its Transitions of Service - Historical Review" - J. Hargreaves 15 - Newspaper cutting "Memories of Russell Square - Fireman's Carnivals" - James 16 - Notes on the Alfred Hall 17 - Newspaper cutting - "Alfred Hall" - James 21 - Letter re Russell Square dated 24/2/38, J. McLeish 23 - Newspaper cutting "The First Train to Ballarat" 25 - Newspaper cutting "Story of Ballarat's Horse Trams 1887 to 1913", James - see Reg. Item 2489. 27 - Photos and Newspaper cutting of items re horse trams, and photo of ESCo No. 18 - See Reg. Items 2490, 2491 and 2492. 28 - ESCo opening ticket (See other Reg. Items 608 for examples of this) ticket No. 1595. 29 - Newspaper cutting "Story of Ballarat's Electric Trams", James, See Reg. Item 2493. 30 - Poster - SEC - Ballarat "The New System of Fares and Sections" - 3/10/1997 - See Reg. Item 2494. SEC - Tourist Ticket - See Reg. Item 2495 ESCo - 3d check ticket - See Reg. Item 2496 31 - Tickets and handwritten notes - with reference to page 51 ESCo 1d - See Reg. Item 2497 (2 No.) ESCo/SEC? - lunch hour weekly ticket - See Reg. Item 2498 ESCo/SEC? - Morning and evening weekly ticket - See Reg. Item 2499 ESCo/SEC? - 3d Adult Transfer - See Reg. Item 2500 ESCo/SEC? - 2d child Transfer - See Reg. Item 2501 ESCo - 1.1/2 child ticket - See Reg. Item 2502 ESCo - 3d Adult ticket - See Reg. Item 2503 Extract of an item titled "History of Ballarat Tramways", SEC Magazine, Feb. 1939 - See Reg. Item 2504 2d ESCo token (See other reg items 1794 and 1943 for details of this object) - sewn into page. 33 - Handwritten notes "Alfred Hall" 35 - Handwritten notes "Russell Square" 36, 37 - miscellaneous cuttings from the Courier for 1939 and 1940 39 - Newspaper cutting "South Street Band Contests" - cutting dated 27/10/1932. (See images - i5 to 41, 43, - ditto - contest results 44 - Photo of the Tramway Shelter in Sturt Street being removed - Courier dated 18/12/1923 - see Reg Item 2523. 45 - Extract of April 1938 from SEC Magazine, photos of the launch of the illuminated Ballarat Centenary tram - see Reg Item 2524. 47 - Newspaper cutting "Peeps into the Past" 48 - Listing of "Members of Returned Soldiers Band", Ballarat, dated 18/11/1919. 49 - Newspaper cutting "Ballarat, The Home of the Band Contests", dated 27/10/1932. 51 - Handwritten notes - "Tram Fares methods of collection" - See Reg. Item 2505. 53 - Newspaper cutting "100 years ago", Port Phillip Herald for 1840. 54 - Black and white photo of a gathering of people (tramway?) at the Showgrounds - See Reg. Item 2506 55 - Six black and white photos with handwritten notes ESCo 19 or 20 - See Reg. Item 2507 Group of ESCo employees by ESCo tram - See Reg. Item 2508 Photo of ESCo employee, Si Barker - See Reg. Item 2509 Photo of ESCo company bus - See Reg. Item 2510 (See also Reg Item 3813) Photo of No. 25 - Barkly St - See Reg. Item 2511 Photo of two ESCo employees - See Reg. Item 2512 56 - Loose newspaper cutting "San Francisco Struggle Buggies" - cable trams - The Age 15/3/1947 57 - Letter from Mr. Pringle of ESCo to Inspector James and Handwritten notes on ESCo management - See Reg. Item 2513 Handwritten notes on the token systems - See Reg. Item 2514 59 - Page titled "Bundy clocks and meters" but no notes 61 - Hand drawn map of Ballarat tramways with notes on tracks - horse, SEC and ESCo and loops - See Reg. Item 2515. 63 - Miscellaneous newspaper cuttings and photo of the Arch of Victory 64 - Photo of W. J.K. Dunstan ??? (has notes written on back, but difficult to read)* - Notes on rear of photo p64. "49 years in service W.J.K. Dunstan Office Manager Ballarat Branch Retired 18/3/46" 65 - Newspaper cutting "Old Victorian Schooldays, letters and reminiscences by past scholars". 67 - Newspaper cuttings - photo of Ballarat Choral Union and Urquhart St. school 69 - Newspaper cutting "Saint with a top hat" 71, 73 - Newspaper cutting "District Mining Disasters of By-Gone Days" - John Hargreaves 75 - Newspaper cutting "The Ballarat Courier" banners for 2/9/1939 - outbreak of World War Two - normal and a special edition. 77, 79 - Newspaper cutting "My Youth in Ballarat" - T.P. Long. 81 - Two photos and handwritten notes showing trams in Sturt St and the line up of horse trams - See Reg Item 2516. 83 - Newspaper cutting "Theatrical History - The Charlie Napier" - Speilvogel 85, 87 - Newspaper cutting "Story of the Eureka Stockade Monument" - Speilvogel 89 - Newspaper cutting "The Beginning of Buninyong" - Speilvogel 91 - Newspaper cutting "St. David's Day" 93, 95 - Newspaper cutting "From 1856 to 1894, Ballarat's Foremost Citizen Major (William Collard) Smith Recalled - J. Hargreaves. 97 - Newspaper cutting "All Electrical Exhibition / Ballarat's Electric Supply, its development" - 1936, See Reg. Item 2517. 98 - Loose photo of the ESCo Power station chimney and steeplejacks - See Reg. Item 2518. 98 - Loose sheet of paper about the origin of the ESCo trams - See Reg. Item 2525. 99 - Newspaper cutting - about Electricity in Ballarat and tramway services, and handwritten notes on ESCo Inspectors - See Reg. Item 2519 100, 101 - Newspaper cuttings - "Mr. Melbourne Day by Day" cartoon series and the artist's death notice dated 22/8/1939. 102 - Poster - Dana Street School Jubilee Re-union, has N. Speilvogel and H. James as joint secretaries. 103 - Newspaper cutting of various photos and a scene of a gold train at Bendigo 104 - Newspaper cuttings - Bob Menzies and Adolph Hitler and backs of Melbourne tram tickets - "School Boy Howlers". 105 - Letter in an envelope to H.P. James dated 11/10/1937, by a person about the building of the tram sheds at Wendouree - See Reg. Item 2520. Newspaper cutting of the opening of the tramway to Lydiard St. North from Gregory St. - See Reg. Item 2521 Loose item - 1/- SEC Tourist Ticket No. A2676 - See Reg. Item 2522.Many in pencil and inktrams, tramways, h.p. james, esco, horse trams, ballarat, civic history

The Work “The Birds of Australia; containing over 300 full-page illustrations, with a descriptive account of the life and characteristic habits of over 700 species” by Gracius J. [Joseph] Broinowski – Australian author, artist and ornithologist - was created in 40 parts for subscribers and sold for 10s [shillings]., These parts were later published in six volumes, which were later published and bound in pairs to make three volumes, each of which contain two of the six original volumes, numbered volumes, “I”, “III” and “V” on their fly page, but numbered “Vols. I-II”, “Vols. III-IV” and “Vols. V-VI” on their respective spines. The volumes were all published by Charles Stuart & Co. (Melbourne, Sydney, Adelaide, Brisbane, New Zealand, and Tasmania). All of the beautifully drawn and coloured illustrations in The Birds of Australia were illustrated by Broinowski. They were printed using a new 19th century method called chromolithography. This is the art of making multi-coloured prints. The skilled lithographer would work from an original coloured painting and create a copy for every one of the many layers of colour used to build the painting. These layers were then printed carefully over each other to re-build the picture. Gracius J. Broinowski’s Work “The Birds of Australia” was described by Jean.Anker as “a semi-popular but comprehensive treatment of the subject” in the book “Bird Books and Bird Art: an outline of the Literary History and Iconology of Descriptive Ornithology” 1979. It may be that these books were donated to, or ordered specifically for, the Warrnambool Public Museum, due to the embossing on the spine “WARRNAMBOOL PUBLIC LIBRARY”. The acquisition of these books would most likely to have made 1891-1910, between the date the books were published and the date that the Museum amalgamated with the Mechanics Institute, which then became part of The Museum and Art Gallery. These three books were part of the collection of books belonging to the Warrnambool Public Museum, established 1873 by Joseph Archibald. The Museum moved into the back of the Mechanics’ Institute in 1885, along with the Art Gallery and School of Dancing. In 1886 it was officially opened as The Warrnambool Museum and Art Gallery, with Joseph Archibald as its curator. In 1887 the Museum section was moved to the former court house in Timor Street, with Joseph Archibald as Curator until 1897. In 1910 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. In 1935 Ralph Pattison was appointed as City Librarian. He developed his own sorting and cataloguing system and organised the collection of books accordingly. In the 1960’s the Warrnambool City Council closed down the Museum and Art Gallery and the books and artefacts were redistributed to other organisations in Warrnambool. Each spine of this book set, The Birds of Australia by Gracius Broinowski, shows a space on which a previous cataloguing label may have been affixed. The volumes are amongst the many books at Flagstaff Hill Maritime Village that display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. Some other Australian Libraries also include these books in their collections; Australian National University, University of NSW, University of Western Australia, State Library of Western Australia, Deakin University, Queen Victoria Museum and Art Gallery, University of Adelaide, University of Queensland, University of Tasmania. The Library of Congress and the University of British Columbia also have sets of these volumes. These books are considered as Rare Book; a set of Broinowski’s 3 volumes was advertised in Melbourne’s Rare Book Fair 2012, “for ornithological collectors”. (See the more detailed information below in “Warrnambool Public Museum and Mechanics Institute” and the “Pattison Collection”.) GRACIUS JOSEP BROINOWSKI Gracius Joseph Broinowski (7/3/1837 – 11/4/1913), artist and ornithologist, was born in Walichnowy, Poland, son of a landowner and military officer of the same name. He was educated privately then later, at the Munich University, he was a student of languages, classics and art. To avoid conscription into the Russian army, he migrated to Germany. At the age of about 20 years he migrated to Portland (Victoria, Australia), working his passage as part of the crew of a windjammer. Broinowski worked in the country for a few years then found employment working for a Melbourne publisher and later sold his own paintings. In about 1863, while on one of his many travels in eastern Australia painting landscapes and scenes, he married Jane Smith in Richmond, Victoria (her father was captain of a whaler). In 1880 he settled in Sydney where his work involved teaching painting, lecturing on art and exhibiting his own work at showings of the Royal Art Society. Also in the 1880s he began to publish illustrated works on Australian natural history, including; - illustrations of the birds and mammals of Australia, commissioned by the Department of Public Instruction, New South Wales, and mounted, varnished and hung on walls in many classrooms - "The Birds and Mammals of Australia"; a bound collection of illustrations with appropriated text - 1888 "The Cockatoos and Nestors of Australia and New Zealand" - 1890-1891, "The Birds of Australia" Broinowski died in 1913 at Mosman, Sydney, survived by his wife, six sons and a daughter. His son, Leopold, became a significant political journalist in Tasmania. WARRNAMBOOL PUBLIC MUSEUM & MECHANICS INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in December 1854 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year, 1873, Joseph Archibald established the Warrnambool Public Museum [Warrnambool Museum], however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established and he served as Curator 1882-1897. In 1885 a new building was added to the back of the Mechanics’ Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. It was officially opened as the Warrnambool Museum and Art Gallery on 26th July 1886 with Mr Joseph Archibald as Curator. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished). In 1910 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until 1963 when the Museum and Art Gallery was closed and the contents removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. The Museum has never been re-opened. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historic books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historic Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library (which included books from the Warrnambool Public Museum), ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. THE PATTISON COLLECTION These books “The Birds of Australia” by Broinowsky, are also listed as part of the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library, as the Warrnambool Mechanics’ Institute was then called. When the Warrnambool Mechanics’ Institute building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the Warrnambool Mechanics’ Institute. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the Warrnambool Mechanics’ Institute were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. References: Archibald Street, Discover the History of Warrnambool Streets, https://www.warrnambool.vic.gov.au/sites/warrnambool.vic.gov.au/files/images/Property/roads/The%20story%20of%20Warrnambool's%20streets.pdf Broinowski, Bird Books and Bird Art etc, Jean Anker 1979, https://books.google.com.au/books?id=B5TpCAAAQBAJ&pg=PA66&lpg=PA66&dq=the+birds+of+australia,+broinowski,+bird+books+and+bird+art&source=bl&ots=nQroxqePdY&sig=a3lnn-_FqB-ZcFAwqRYVK6Y7ZeM&hl=en&sa=X&ved=0ahUKEwj5sL7-2JTSAhWIyLwKHaCHAJcQ6AEIUTAN#v=onepage&q=the%20birds%20of%20australia%2C%20broinowski%2C%20bird%20books%20and%20bird%20art&f=false Broinowski, Gracius Joseph, by A.H. Chisholm, Australian Dictionary of Biography http://adb.anu.edu.au/biography/broinowski-gracius-joseph-3061 Chromolithography, Wikipedia https://en.wikipedia.org/wiki/Chromolithography Document, Flagstaff Hill, ‘Mechanics’ Institute Collection’: Books on Dean, Melbourne Rare Book Fare 2015, BookFare Newsletter #5, www.anzaab.com/newsletters/BookFare_1207.pdf Flagstaff Hill archives; document “Re: Ralph Eric Pattison”] Gracius Broinowski, Wikipedia https://en.wikipedia.org/wiki/Gracius_Broinowski Gracius Joseph Broinowski, Design & Art Australia online, https://www.daao.org.au/bio/gracius-joseph-broinowski/biography/ Mechanics' Institutes of Victoria Pg ix, 283; Significance Assessment, Warrnambool Mechanics’ Institute Books, FHMV, 2010 The Birds of Australia by Gracius J. Broinowski, Libraries of Australia, Trove http://trove.nla.gov.au/work/12425131?q&sort=holdings+desc&_=1487246530281&versionId=210683608 The Birds of Australia, Broinowski; www.Librarything.com The History of Warrnambool, R. Osburne, 1887, p.72, p. 283 The Warrnambool Mechanics’ Institute – FHMV datasheet Warrnambool Art Gallery History, Warrnambool Art Gallery Foundation Information Booklet, http://www.wagf.com.au/cms/downloads/WAGF-Information-Booklet.pdf Warrnambool Museum and Art Gallery, The Argus, 29th July 1886 Web; The Birds of Australia (Broinowski), Wikipedia The Birds of Australia by Gracius J. Broinowski is a respected source of scientific information. It is also significant for its rarity and as an early Australian Work. The book is significant for its association with the Warrnambool Public Museum, which played an important educational and social role in the early settlement of Warrnambool and District. The book is also significant for its association with the Warrnambool Mechanics' Institute Library book collection, which is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The book is also significant for its inclusion in the Pattison Collection, a collection that as a whole shows a snapshot of the types of reading material offered to the local public at that point in time. The Birds of Australia Vol 3 - 4 Author and Illustrator: Gracius J Broinowski Publisher: Charles Stuart & Co Date: 1890Label on spine cover with typed text RA 598.2 BRO Pastedown front endpaper has sticker from Warrnambool Mechanics Institute and Free Library Embossing added to spine “WARRNAMBOOL PUBLIC MUSEUM” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, the birds of australia, gracius joseph broinowski, charles stuart & co, joseph archibald, warrnambool public museum, warrnambool museum, warrnambool library, warrnambool art gallery, warrnambool city librarian, pattison collection, ralph eric pattison, samuel hannaford, warrnambool mechanics’ institute and free library, mechanics’ institute library, victorian library board, warrnambool books and records, rare books, australian bird illustrations, australian bird text, australian natural history, the birds of australia vol 3 - 4

The Work “The Birds of Australia; containing over 300 full-page illustrations, with a descriptive account of the life and characteristic habits of over 700 species” by Gracius J. [Joseph] Broinowski – Australian author, artist and ornithologist - was created in 40 parts for subscribers and sold for 10s [shillings]., These parts were later published in six volumes, which were later published and bound in pairs to make three volumes, each of which contain two of the six original volumes, numbered volumes, “I”, “III” and “V” on their fly page, but numbered “Vols. I-II”, “Vols. III-IV” and “Vols. V-VI” on their respective spines. The volumes were all published by Charles Stuart & Co. (Melbourne, Sydney, Adelaide, Brisbane, New Zealand, and Tasmania). All of the beautifully drawn and coloured illustrations in The Birds of Australia were illustrated by Broinowski. They were printed using a new 19th century method called chromolithography. This is the art of making multi-coloured prints. The skilled lithographer would work from an original coloured painting and create a copy for every one of the many layers of colour used to build the painting. These layers were then printed carefully over each other to re-build the picture. Gracius J. Broinowski’s Work “The Birds of Australia” was described by Jean.Anker as “a semi-popular but comprehensive treatment of the subject” in the book “Bird Books and Bird Art: an outline of the Literary History and Iconology of Descriptive Ornithology” 1979. It may be that these books were donated to, or ordered specifically for, the Warrnambool Public Museum, due to the embossing on the spine “WARRNAMBOOL PUBLIC LIBRARY”. The acquisition of these books would most likely to have made 1891-1910, between the date the books were published and the date that the Museum amalgamated with the Mechanics Institute, which then became part of The Museum and Art Gallery. These three books were part of the collection of books belonging to the Warrnambool Public Museum, established 1873 by Joseph Archibald. The Museum moved into the back of the Mechanics’ Institute in 1885, along with the Art Gallery and School of Dancing. In 1886 it was officially opened as The Warrnambool Museum and Art Gallery, with Joseph Archibald as its curator. In 1887 the Museum section was moved to the former court house in Timor Street, with Joseph Archibald as Curator until 1897. In 1910 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. In 1935 Ralph Pattison was appointed as City Librarian. He developed his own sorting and cataloguing system and organised the collection of books accordingly. In the 1960’s the Warrnambool City Council closed down the Museum and Art Gallery and the books and artefacts were redistributed to other organisations in Warrnambool. Each spine of this book set, The Birds of Australia by Gracius Broinowski, shows a space on which a previous cataloguing label may have been affixed. The volumes are amongst the many books at Flagstaff Hill Maritime Village that display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. Some other Australian Libraries also include these books in their collections; Australian National University, University of NSW, University of Western Australia, State Library of Western Australia, Deakin University, Queen Victoria Museum and Art Gallery, University of Adelaide, University of Queensland, University of Tasmania. The Library of Congress and the University of British Columbia also have sets of these volumes. These books are considered as Rare Book; a set of Broinowski’s 3 volumes was advertised in Melbourne’s Rare Book Fair 2012, “for ornithological collectors”. (See the more detailed information below in “Warrnambool Public Museum and Mechanics Institute” and the “Pattison Collection”.) GRACIUS JOSEP BROINOWSKI Gracius Joseph Broinowski (7/3/1837 – 11/4/1913), artist and ornithologist, was born in Walichnowy, Poland, son of a landowner and military officer of the same name. He was educated privately then later, at the Munich University, he was a student of languages, classics and art. To avoid conscription into the Russian army, he migrated to Germany. At the age of about 20 years he migrated to Portland (Victoria, Australia), working his passage as part of the crew of a windjammer. Broinowski worked in the country for a few years then found employment working for a Melbourne publisher and later sold his own paintings. In about 1863, while on one of his many travels in eastern Australia painting landscapes and scenes, he married Jane Smith in Richmond, Victoria (her father was captain of a whaler). In 1880 he settled in Sydney where his work involved teaching painting, lecturing on art and exhibiting his own work at showings of the Royal Art Society. Also in the 1880s he began to publish illustrated works on Australian natural history, including; - illustrations of the birds and mammals of Australia, commissioned by the Department of Public Instruction, New South Wales, and mounted, varnished and hung on walls in many classrooms - "The Birds and Mammals of Australia"; a bound collection of illustrations with appropriated text - 1888 "The Cockatoos and Nestors of Australia and New Zealand" - 1890-1891, "The Birds of Australia" Broinowski died in 1913 at Mosman, Sydney, survived by his wife, six sons and a daughter. His son, Leopold, became a significant political journalist in Tasmania. WARRNAMBOOL PUBLIC MUSEUM & MECHANICS INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in December 1854 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year, 1873, Joseph Archibald established the Warrnambool Public Museum [Warrnambool Museum], however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established and he served as Curator 1882-1897. In 1885 a new building was added to the back of the Mechanics’ Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. It was officially opened as the Warrnambool Museum and Art Gallery on 26th July 1886 with Mr Joseph Archibald as Curator. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished). In 1910 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until 1963 when the Museum and Art Gallery was closed and the contents removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. The Museum has never been re-opened. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historic books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historic Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library (which included books from the Warrnambool Public Museum), ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. THE PATTISON COLLECTION These books “The Birds of Australia” by Broinowsky, are also listed as part of the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library, as the Warrnambool Mechanics’ Institute was then called. When the Warrnambool Mechanics’ Institute building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the Warrnambool Mechanics’ Institute. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the Warrnambool Mechanics’ Institute were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. References: Archibald Street, Discover the History of Warrnambool Streets, https://www.warrnambool.vic.gov.au/sites/warrnambool.vic.gov.au/files/images/Property/roads/The%20story%20of%20Warrnambool's%20streets.pdf Broinowski, Bird Books and Bird Art etc, Jean Anker 1979, https://books.google.com.au/books?id=B5TpCAAAQBAJ&pg=PA66&lpg=PA66&dq=the+birds+of+australia,+broinowski,+bird+books+and+bird+art&source=bl&ots=nQroxqePdY&sig=a3lnn-_FqB-ZcFAwqRYVK6Y7ZeM&hl=en&sa=X&ved=0ahUKEwj5sL7-2JTSAhWIyLwKHaCHAJcQ6AEIUTAN#v=onepage&q=the%20birds%20of%20australia%2C%20broinowski%2C%20bird%20books%20and%20bird%20art&f=false Broinowski, Gracius Joseph, by A.H. Chisholm, Australian Dictionary of Biography http://adb.anu.edu.au/biography/broinowski-gracius-joseph-3061 Chromolithography, Wikipedia https://en.wikipedia.org/wiki/Chromolithography Document, Flagstaff Hill, ‘Mechanics’ Institute Collection’: Books on Dean, Melbourne Rare Book Fare 2015, BookFare Newsletter #5, www.anzaab.com/newsletters/BookFare_1207.pdf Flagstaff Hill archives; document “Re: Ralph Eric Pattison”] Gracius Broinowski, Wikipedia https://en.wikipedia.org/wiki/Gracius_Broinowski Gracius Joseph Broinowski, Design & Art Australia online, https://www.daao.org.au/bio/gracius-joseph-broinowski/biography/ Mechanics' Institutes of Victoria Pg ix, 283; Significance Assessment, Warrnambool Mechanics’ Institute Books, FHMV, 2010 The Birds of Australia by Gracius J. Broinowski, Libraries of Australia, Trove http://trove.nla.gov.au/work/12425131?q&sort=holdings+desc&_=1487246530281&versionId=210683608 The Birds of Australia, Broinowski; www.Librarything.com The History of Warrnambool, R. Osburne, 1887, p.72, p. 283 The Warrnambool Mechanics’ Institute – FHMV datasheet Warrnambool Art Gallery History, Warrnambool Art Gallery Foundation Information Booklet, http://www.wagf.com.au/cms/downloads/WAGF-Information-Booklet.pdf Warrnambool Museum and Art Gallery, The Argus, 29th July 1886 Web; The Birds of Australia (Broinowski), Wikipedia The Birds of Australia by Gracius J. Broinowski is a respected source of scientific information. It is also significant for its rarity and as an early Australian Work. The book is significant for its association with the Warrnambool Public Museum, which played an important educational and social role in the early settlement of Warrnambool and District. The book is also significant for its association with the Warrnambool Mechanics' Institute Library book collection, which is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The book is also significant for its inclusion in the Pattison Collection, a collection that as a whole shows a snapshot of the types of reading material offered to the local public at that point in time. The Birds of Australia Vol 5 - 6 Author and Illustrator: Gracius J Broinowski Publisher: Charles Stuart & Co Date: 1891 Label on spine cover with typed text RA 598.2 BRO Pastedown front endpaper has sticker from Warrnambool Mechanics Institute and Free Library Embossing added to spine “WARRNAMBOOL PUBLIC MUSEUM” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, the birds of australia, gracius joseph broinowski, charles stuart & co, joseph archibald, warrnambool public museum, warrnambool museum, warrnambool library, warrnambool art gallery, warrnambool city librarian, pattison collection, ralph eric pattison, samuel hannaford, warrnambool mechanics’ institute and free library, mechanics’ institute library, victorian library board, warrnambool books and records, rare books, australian bird illustrations, australian bird text, australian natural history, the birds of australia vol 5 - 6

The Work “The Birds of Australia; containing over 300 full-page illustrations, with a descriptive account of the life and characteristic habits of over 700 species” by Gracius J. [Joseph] Broinowski – Australian author, artist and ornithologist - was created in 40 parts for subscribers and sold for 10s [shillings]., These parts were later published in six volumes, which were later published and bound in pairs to make three volumes, each of which contain two of the six original volumes, numbered volumes, “I”, “III” and “V” on their fly page, but numbered “Vols. I-II”, “Vols. III-IV” and “Vols. V-VI” on their respective spines. The volumes were all published by Charles Stuart & Co. (Melbourne, Sydney, Adelaide, Brisbane, New Zealand, and Tasmania). All of the beautifully drawn and coloured illustrations in The Birds of Australia were illustrated by Broinowski. They were printed using a new 19th century method called chromolithography. This is the art of making multi-coloured prints. The skilled lithographer would work from an original coloured painting and create a copy for every one of the many layers of colour used to build the painting. These layers were then printed carefully over each other to re-build the picture. Gracius J. Broinowski’s Work “The Birds of Australia” was described by Jean.Anker as “a semi-popular but comprehensive treatment of the subject” in the book “Bird Books and Bird Art: an outline of the Literary History and Iconology of Descriptive Ornithology” 1979. It may be that these books were donated to, or ordered specifically for, the Warrnambool Public Museum, due to the embossing on the spine “WARRNAMBOOL PUBLIC LIBRARY”. The acquisition of these books would most likely to have made 1891-1910, between the date the books were published and the date that the Museum amalgamated with the Mechanics Institute, which then became part of The Museum and Art Gallery. These three books were part of the collection of books belonging to the Warrnambool Public Museum, established 1873 by Joseph Archibald. The Museum moved into the back of the Mechanics’ Institute in 1885, along with the Art Gallery and School of Dancing. In 1886 it was officially opened as The Warrnambool Museum and Art Gallery, with Joseph Archibald as its curator. In 1887 the Museum section was moved to the former court house in Timor Street, with Joseph Archibald as Curator until 1897. In 1910 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. In 1935 Ralph Pattison was appointed as City Librarian. He developed his own sorting and cataloguing system and organised the collection of books accordingly. In the 1960’s the Warrnambool City Council closed down the Museum and Art Gallery and the books and artefacts were redistributed to other organisations in Warrnambool. Each spine of this book set, The Birds of Australia by Gracius Broinowski, shows a space on which a previous cataloguing label may have been affixed. The volumes are amongst the many books at Flagstaff Hill Maritime Village that display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. Some other Australian Libraries also include these books in their collections; Australian National University, University of NSW, University of Western Australia, State Library of Western Australia, Deakin University, Queen Victoria Museum and Art Gallery, University of Adelaide, University of Queensland, University of Tasmania. The Library of Congress and the University of British Columbia also have sets of these volumes. These books are considered as Rare Book; a set of Broinowski’s 3 volumes was advertised in Melbourne’s Rare Book Fair 2012, “for ornithological collectors”. (See the more detailed information below in “Warrnambool Public Museum and Mechanics Institute” and the “Pattison Collection”.) GRACIUS JOSEP BROINOWSKI Gracius Joseph Broinowski (7/3/1837 – 11/4/1913), artist and ornithologist, was born in Walichnowy, Poland, son of a landowner and military officer of the same name. He was educated privately then later, at the Munich University, he was a student of languages, classics and art. To avoid conscription into the Russian army, he migrated to Germany. At the age of about 20 years he migrated to Portland (Victoria, Australia), working his passage as part of the crew of a windjammer. Broinowski worked in the country for a few years then found employment working for a Melbourne publisher and later sold his own paintings. In about 1863, while on one of his many travels in eastern Australia painting landscapes and scenes, he married Jane Smith in Richmond, Victoria (her father was captain of a whaler). In 1880 he settled in Sydney where his work involved teaching painting, lecturing on art and exhibiting his own work at showings of the Royal Art Society. Also in the 1880s he began to publish illustrated works on Australian natural history, including; - illustrations of the birds and mammals of Australia, commissioned by the Department of Public Instruction, New South Wales, and mounted, varnished and hung on walls in many classrooms - "The Birds and Mammals of Australia"; a bound collection of illustrations with appropriated text - 1888 "The Cockatoos and Nestors of Australia and New Zealand" - 1890-1891, "The Birds of Australia" Broinowski died in 1913 at Mosman, Sydney, survived by his wife, six sons and a daughter. His son, Leopold, became a significant political journalist in Tasmania. WARRNAMBOOL PUBLIC MUSEUM & MECHANICS INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in December 1854 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year, 1873, Joseph Archibald established the Warrnambool Public Museum [Warrnambool Museum], however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established and he served as Curator 1882-1897. In 1885 a new building was added to the back of the Mechanics’ Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. It was officially opened as the Warrnambool Museum and Art Gallery on 26th July 1886 with Mr Joseph Archibald as Curator. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished). In 1910 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until 1963 when the Museum and Art Gallery was closed and the contents removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. The Museum has never been re-opened. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historic books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historic Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library (which included books from the Warrnambool Public Museum), ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. THE PATTISON COLLECTION These books “The Birds of Australia” by Broinowsky, are also listed as part of the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library, as the Warrnambool Mechanics’ Institute was then called. When the Warrnambool Mechanics’ Institute building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the Warrnambool Mechanics’ Institute. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the Warrnambool Mechanics’ Institute were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. References: Archibald Street, Discover the History of Warrnambool Streets, https://www.warrnambool.vic.gov.au/sites/warrnambool.vic.gov.au/files/images/Property/roads/The%20story%20of%20Warrnambool's%20streets.pdf Broinowski, Bird Books and Bird Art etc, Jean Anker 1979, https://books.google.com.au/books?id=B5TpCAAAQBAJ&pg=PA66&lpg=PA66&dq=the+birds+of+australia,+broinowski,+bird+books+and+bird+art&source=bl&ots=nQroxqePdY&sig=a3lnn-_FqB-ZcFAwqRYVK6Y7ZeM&hl=en&sa=X&ved=0ahUKEwj5sL7-2JTSAhWIyLwKHaCHAJcQ6AEIUTAN#v=onepage&q=the%20birds%20of%20australia%2C%20broinowski%2C%20bird%20books%20and%20bird%20art&f=false Broinowski, Gracius Joseph, by A.H. Chisholm, Australian Dictionary of Biography http://adb.anu.edu.au/biography/broinowski-gracius-joseph-3061 Chromolithography, Wikipedia https://en.wikipedia.org/wiki/Chromolithography Document, Flagstaff Hill, ‘Mechanics’ Institute Collection’: Books on Dean, Melbourne Rare Book Fare 2015, BookFare Newsletter #5, www.anzaab.com/newsletters/BookFare_1207.pdf Flagstaff Hill archives; document “Re: Ralph Eric Pattison”] Gracius Broinowski, Wikipedia https://en.wikipedia.org/wiki/Gracius_Broinowski Gracius Joseph Broinowski, Design & Art Australia online, https://www.daao.org.au/bio/gracius-joseph-broinowski/biography/ Mechanics' Institutes of Victoria Pg ix, 283; Significance Assessment, Warrnambool Mechanics’ Institute Books, FHMV, 2010 The Birds of Australia by Gracius J. Broinowski, Libraries of Australia, Trove http://trove.nla.gov.au/work/12425131?q&sort=holdings+desc&_=1487246530281&versionId=210683608 The Birds of Australia, Broinowski; www.Librarything.com The History of Warrnambool, R. Osburne, 1887, p.72, p. 283 The Warrnambool Mechanics’ Institute – FHMV datasheet Warrnambool Art Gallery History, Warrnambool Art Gallery Foundation Information Booklet, http://www.wagf.com.au/cms/downloads/WAGF-Information-Booklet.pdf Warrnambool Museum and Art Gallery, The Argus, 29th July 1886 Web; The Birds of Australia (Broinowski), Wikipedia The Birds of Australia by Gracius J. Broinowski is a respected source of scientific information. It is also significant for its rarity and as an early Australian Work. The book is significant for its association with the Warrnambool Public Museum, which played an important educational and social role in the early settlement of Warrnambool and District. The book is also significant for its association with the Warrnambool Mechanics' Institute Library book collection, which is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The book is also significant for its inclusion in the Pattison Collection, a collection that as a whole shows a snapshot of the types of reading material offered to the local public at that point in time The Birds of Australia Vol 1-2 Author and Illustrator: Gracius J Broinowski Publisher: Charles Stuart & Co Date: 1890 - 1891Label on spine cover with typed text RA 598.2 BRO Embossing added to spine “WARRNAMBOOL PUBLIC MUSEUM" Pastedown front endpaper has sticker from Warrnambool Mechanics Institute and Free Librarythe birds of australia vol 1-2, flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, the birds of australia, gracius joseph broinowski, charles stuart & co, joseph archibald, warrnambool public museum, warrnambool museum, warrnambool library, warrnambool art gallery, warrnambool city librarian, pattison collection, ralph eric pattison, samuel hannaford, warrnambool mechanics’ institute and free library, mechanics’ institute library, victorian library board, warrnambool books and records, rare books, australian bird illustrations, australian bird text, australian natural history

This collection of papers have come from the offices of William Ardlie a local solicitor. He was born in Moonee Ponds in 1843 and was admitted as an attorney and solicitor of the supreme Court in 1865. From 1867 to 1878 he was in partnership with George Barber and then continued to practise until his late eighties which made him the oldest practising lawyer in Australia. He was involved in local councils and organisations such as the Hospital and Anglican Church.He was associated with several large homes in Warrnambool including Wyton presently the home of Emmanual College Warrnambool. He died in 1933.His son E L Ardlie also practised as a solicitor from the same offices from 1893. A number of the invoices included relate to the Estate of James drought who was a local policeman and owner of a number of properties and operated in various trades such as George Ramsay manufacturer of stoves and chimneys, J Rogers plumber & gas fitter and Christian & Dodds who were carpenters and joiners. There are a number of documents which relate to the Chinese, many of whom operated market gardens along the Merri River. They were a familiar part of Warrnambool from around 1872 until around 1940. The names mentioned in these documents include Ah Foo,Charles Quing Bow, Andrew Quing Bow Ah Bing Ah Jing Ah Moon and Ah Seong. They were reknown for their supply of fresh vegetables to the people of the town. They leased land from John Moore. These documents are a cross section of the types of documents which were used and are still used in the operation of businesses. They provide a social snapshot of people and the business which they conducted with their solicitors in this case William and E L Ardlie who were a long standing legal firm in the district. Another interesting aspect of some of these documents is the leases signed by the Chinese market gardeners who played an important but often overlooked aspect of Warrnambool's aspect.A total of 27 documents which relate to William Ardlie Solicitors 001133.1Policy from The Victoria Insurance Company for office effects, 001133.1.2 Receipt for 11/1 for policy. 001133.2 Renewal Receipt from Messrs Hammond & Richards as agents for Victoria Insurance Co. 001133.3 Renewal Receipt from Messrs Hammond & Richards as agents for Victoria Insurance Co. 001133.4 General rates receipt . City of Warrnmbool. 001133.5 Water rates receipt . City of Warrnmbool. 001133.6 Camperdown Chronicle , Letter re overdue payment 001133.7 Camperdown Chronicle Statement 31/12/1948 001133.8 Transfer of land notice Ben Rogers Mepunga 001133.9 W H Philpott Account for rent Estate R P Thomas 001133.10 George Ramsay account for Mr Walters for stove setting. 001133.11 Archibald Macfarlane & Co account for Estate James Drought for advertising. 001133.12 Letter to E L Ardlie re deed of Keane family arrangements 21/10/1910 001133.13 Letter to E L Ardlie re charges of Keane Estate 14/12/1910 001133.14 Account to E L Ardlie from J Rogers re estate Mr Drought , repairs.1/08/1906 001133.15 Account to EL Ardlie from J Rogers re estate Mr Drought1/10/1907 001133.16 Account to William Ardlie from J Rogers re estate Mr Drought 01/07/1908 001133.17 Account to William Ardlie from J Rogers re estate Mr Drought 01/07/1908 001133.18 State Savings Bank Victoria passbook of Margaret Molan 1/02/1937 001133.19 Account to E L Ardlie from Christian & Dodds repairs to Droughts house 01/07/1905 001133.20 Account to E L Ardlie from Christian & Dodds for Estate of Drought for house repairs Darling St1/10/1905 001133.21 Estimate to A A Briggs from Christian & Dodds for Estate of Drought 06/04/1908 001133.22 Receipt to E L Ardlie from Christian & Dodds for Estate of Drought for house repairs 01/05/1906 001133.23 Lease Indenture 02/06/1922 between William Ardlie andAH Foo re Crown Allotment 144 Wangoom for 70 pounds. 001133.24 Agreement 18/06/1929 Messrs Quing Bow & Sons to Messrs Ah Bing Ah Jing Ah Moon and Ah Seong witnessed John Moore. 001133.25 Lease indenture made 18/06/1929 betweenWilliam Ardlie to messrs Ah Bing Ah Jing Ah Moon and Ah Seong. 001133.26 Agreement 18/06/1929 Messrs Quing Bow & Sons to Messrs Ah Bing Ah Jing Ah Moon and Ah Seong witnessed John Moore 001133.27.1 Notification to Creditor of issue of stay order farmers Debts adjustment Act 1935 to Ellen C McGinness and Estate of john McGinness 001133.27.2Note re monthly inst of interest Estate McGinness1942 001133.27.3 Estate of j A Bromfield re Estate of McGinness Arrears of Interest1943 001133.27.4 Letter to W Ardlie from The Trustees Executors & Agency Co Ltd24/02/1944 re interest on J A Bromfield's trust re McGinness mortgage. 001133.27.5 Letter to W Ardlie from The Trustees Executors & Agency Co Ltd 25/02/1944 re interest on J A Bromfield's trust re McGinness mortgage. 001133.27.6 William Ardlie to The Trustees Executors & Agency Co Ltd re Bromfield & McGinness 24/02/1944 001133.27.7 The Trustees Executors & Agency Co Ltd to William Ardlie re receipts 16/03/1944 001133.27.8 The Trustees Executors & Agency Co Ltd to William Ardlie re Bromfield & McGinness18/03/1944 Unable to complete enquiries. 001133.27.9 The Trustees Executors & Agency Co Ltd to William Ardlie 27/03/1944 001133.27.10 The Trustees Executors & Agency Co Ltd to William Ardlie29/04/1944 001133.27.11 Estate Sarah Donaldson re accrued Interest 1933-1961 001133.28.1 Indenture between Emily Maria Briggs,Mary Jane Briggs, Frederick William Briggs, Fanny Alethea Briggs, James Alfred Briggs,Lucy Annie Briggs, Arthur Albert Briggs , and Mary Ann Briggs 001133.28.2 Letter re estate of Mary Ann Briggs 001133.1 No 590911 001133.1.2 Signed G Begley 001133.2 Hammond & Richards 43/5 Kepler St Warrnambool 001133.3 Hammond & Richards 43/5 Kepler St Warrnambool 03/03/1934 001133.4 W Ardlie 18/06/1929 Thomas Beattie collector 001133.5 W Ardlie 18/06/1929 Thomas Beattie collector 001133.6 Wm Ardlie signed W A Donald10/08/1949 001133.7 Wm Ardlie 31/12/1948 001133.8 Alexander Ben Rogers 26/05/1950 001133.9 Estate R P Thomas 28/061955. Phone 124 001133.10 .Mr Walters Drought A Ramsay 01/05/1906 001133.11 Estate of the late James Drought 24/05/1906 001133.12 W F Molesworth Re Thomas Keane. Phone 81. 21/10/1910 001133.13 W F Molesworth Phone 81 Thomas Keane14/12/1910 001133.14 E L Ardlie Joseph Rogers 13/08/1906 001133.15 E L Ardlie Joseph Rogers 01/10/1907 001133.16 E L Ardlie 01/07/1908 001133.17 Estate Late Mr Drought 01/07/1908 001133.18 Miss Margaret Molan 001133.29 L Ardlie 01/07/1905 001133.20 E L Ardlie 01/10/1905 001133.21 Mr A A Briggs Christian & Dodds 06/04/1908 001133.22 L Ardlie W Christian 01/05/1906 001133.23 Stamp duty 04/061926 Signed William Ardlie Est Conway Ah Foo 001133.24 Signed John Moore, Charles Quing Bow, Andrew Quing Bow, Ah Bing, Ah Jing, Ah Moon, Ah Seong. 001133.25 Signed William Ardlie, E H Conway, Ah Bing, Ah Jing, Ah Moon, Ah Seong, John Moore. 001133.26 Signed John Moore, Charles Quing Bow, Andrew Quing Bow, Ah Bing, Ah Jing, Ah Moon, Ah Seong. 001133.27.1 Ellen C McGinness and Estate of John McGinness James Dickson R R Macfarlane Richard Vincent McGinness, Abraham McGinness, John Ambrose McGinness 14/07/1936 001133.27.2 Note re monthly inst of interest Estate McGinness 1942 001133.27.3 J A Bromfield McGinness 001133.27.4 W Ardlie, The Trustees Executors & Agency Co Ltd 24/02/1944 J A Bromfield's trust re McGinness mortgage. Syd Jackson 001133.27.5 W Ardlie ,The Trustees Executors & Agency Co Ltd 25/02/1944 J A Bromfield's trust re McGinness mortgage.Syd Jackson 001133.27.6 William Ardlie The Trustees Executors & Agency Co Ltd re Bromfield & McGinness 24/02/1944 001133.27.7 The Trustees Executors & Agency Co Ltd William Ardlie 16/03/1944 001133.27.8 The Trustees Executors & Agency Co Ltd William Ardlie Bromfield & McGinness 18/03/1944 001133.27.9 The Trustees Executors & Agency Co Ltd William Ardlie 27/03/1944 001133.27.10 The Trustees Executors & Agency Co Ltd William Ardlie 29/04/1944 001133.27.11 Estate Sarah Donaldson 1933-1961 001133.28.1 Miss Emily m Briggs to Mrs Mary Ann Briggs Assignment . Stamped William Ardlie Solicitor Warrnambool. warrnambool,, william ardlie, james drought, christian & dodds, chinese of warrnambool, james a bromfield

Three issues of "Tram Tracks - The Electric Traction Monthly" of the Australian Electric Traction Association. Each issue has a standard cover, of the magazine name etc, and featuring a front end photo of Victorian Railways tram No. 52 with the destination of Elwood but are in different colours, all have been saddled stapled with a single staple. The Volume and date details have been over printed. Back covers inside covers have the same advertisements. The three issues contain advertisements for the Wee Folks productions, Wattle Park, G&R model railway parts, Richard Noble model electric motors, Hobbyco, Fleet scale model railway equipment, Masseys Sports, Lloyd's Hobbycraft, John Martin Ltd, Johnson's Variety Store, the ARLHS, Barnes Tennis Centre, The Model Dockyard, the American Subscription Agency, Robilt Models, Meadmore Model Engineering and Austral Bronze Pty Ltd, Hearns Hobbies, Christie Scale Model Railway Products and Traction Publications. 2466.1 - Vol. 3 No. 10 - 20 pages, Oct. 1948, with cover printed in red ink. Has articles on anti-tram propaganda, Alphington - Heidelberg duplication and Sydney's early electric trams - C and D class. Also has news items on Brisbane, Newcastle, Sydney, Melbourne, Sandringham - Black Rock, Hobart, Launceston, Perth, Sydney and Melbourne electric trains, Launceston Trolley Buses, AETA notes, and a caricature of the Editor, Jack Richardson. 2466.2 - Vol. 3 No. 11 - 24 pages, Nov. 1948, with cover printed in blue ink. Has articles on construction of tram track in Melbourne (Victoria Parade), Bourke St., tram-bus controversy, (Reg Ansett, Noel Gipps and USNR Commander Quinby), Sydney's early electric trams - C and D class continued. Also news items on Last tram to Mayfield, Sydney, Latrobe St. Melbourne, Adelaide, opening to Alamein, Melbourne show traffic, VR Trams and AETA notes. 2466.3 - Vol. 3 No. 12 - 16 pages, Dec. 1948, with cover printed in green ink. Has articles on Sydney's electric railways, Brisbane Tramways and an AETA Melbourne tour. News items cover Sydney, Newcastle, Melbourne, Geelong, Bendigo, Kalgoorlie, Melbourne and Sydney trains and AETA news. 2466.4 - Vol 3 - No. 7 - 20 pages - July 1948 with cover printed in red ink. Has articles on cost of building trams for Brisbane, Sydney and Melbourne, abandonment of VR trams, Newcastle, Sydney, centre page photo of Y1 611, Sydney Electric train system including map and AETA news. 2466.5 - Vol 3 - No. 9 - 20 pages - Sep 1948 with cover printed in blue ink. Has articles on Mr. T. G. Patterson, Acting Director of Commonwealth Road Transport and Chairman of Federal Road Safety Council (very anti tram), news from Brisbane, Launceston, Sydney, Newcastle, Burwood, cost of trams, impressions of transport in Europe and North America, Melbourne and Sydney electric trains, tramways of Newcastle and model notes and AETA news. 2466.6 - Vol. 3, No. 1 - Jan 1948 - 16 pages with photo of Brisbane 407, political news, direct Melbourne to Footscray line proposal, new trams, bogie trams in Ballarat, article on Melbourne cable trams, electric trains, AETA outing in Melbourne and various adverts for model railways. 2466.7 - Vol 3 No. 2 - Feb. 1948 - 16 pages - political news, Ballarat news, traffic in Sturt St and new bogie cars, Christchurch closure, cartoon by Mercier on Sydney Honesty box, Brisbane suburban electrification, general tramway and electric railway news and various adverts for model railways. 2466.8 - Vol. 3 No. 3 - March 1948, with photo of VR 52 on front cover, 16 pages, political news, closures, Reg Ansett offer to buy the Melbourne bus system, Newcastle News, SEC Transfer of cars between the three systems, tramways in the Maribyrnong area, map of Melbourne trams, cartoon by Mercier, Brisbane train electrification and general news. 2466.9 - Vol. 3 No. 6 - June 1948 - 12 pages - MMTB political news, new trams for Sydney, tramways of Newcastle, Invercargill, Sydney Suburban trains, and AETA General news. .6 to .9 added 24-3-18 - from consolidation of Melbourne Tram Museum and BTM collections - ex AETA. trams, tramways, electric traction, aeta, models, australian tramways, melbourne, sydney, brisbane, newcastle, costs, ballarat, footscray

Yields information through movie films of the 1960's of Ballarat trams operating in the streets of Ballarat and has a strong association with the maker - National Film and Sound Archives and Chris Long.Video cassette in a plastic case, titled "Living Ballarat - 1901 - 1941, National Film and Sound Archive (1990)". See Reg item 4519 for the DVD version. The DVD was made by Peter Winspur using this tape. Transferred to the Hard Drive 11/1/2010- AV Files - dB text/AV Files/Reg Item 4519/Video_TS (at 12/1/2010) Copyright provisions - National Film and Sound Archive - segments may not be used without their permission, viewing only. Synopsis: based on time - 0.00 - intro, 1901 film, Melbourne, first film in Ballarat, Royal visit to Ballarat, Boer War Monument, first feature length film in Ballarat. 2.50 - Bridge St and Sturt St scenes, filmed from a flat truck pushed by an electric tram, including No. 11 going to City Oval to Lydiard St. 5.00 - Sturt St Military parade, with trams in background and tram running alongside. 6.54 - scene of Alfred Hall and films. 7.32 - scene on Lake Wendouree and paddle steamer - Living Ballarat film - Pathe's Ballarat Gazette local film unit, football ground scene. a children's beauty competition, tree planting at Macarthur St state school, 1911 Ballarat Show, unveiling of the Boer War statue name plates, Lake Wendouree 1912. 13.22 - St Patricks David Pde with trams in the background. 14.24 - Ballarat Kennel club dog show. 15.50 - Royal visit in 1920, Arch of victory opening 17.48 - Day at Macarthur St state school and tree plantation 20.55 - Bakery Hill - Stones Corner with tram tracks, cars, little trams, Sturt St with a tram leaving Grenville St, ESCo 9 turning from Lydiard St to run down to Grenville St. 22.15 - Ballarat Show, Coliseum Hall, 1925, races, machinery shows, boxing troupe. 25.20 - Botanic Gardens Gates, Lake Wendouree area. 25.30 - Gem Picture travelling show - film 26.16 - Formal visit of English pressman to Ballarat, 1925, Botanic Gardens, Eureka Stockade, Avenue of Honor, Moorabool Reservoir. 29.15 - 1927 Fed Govt doco of Ballarat, Black Hill, 1927 Home to Ballarat Festival, Ballarat Commemorative song, Craigs Hotel, Ballarat Post Office, tram centre poles in Lydiard St, tram climbing Sturt St, Town Hall, tram at Lydiard St terminus coursing, 8, Sturt St, view of ESCo Sebastopol car leaving Grenville St, Selkirks Brickworks, the Welcome nugget, Peter Lalor statue, Eureka stockade, sewerage plant, modern housing, Sturt St west, water supply - golf club, the High School, the orphanage, fine homesteads around Ballarat, Lake Wendouree. 41.00 Opening of the Ballarat Aerodrome. 43.11 - Depression work and leading into radio broadcasting - 3BA open 1930, typewriters, radio transmission equipment, radio aerials, boys listening to crystal sets 47.50 - Bluebirds Children session tour to the Gardens, mentions the BTPS, trams 13, 3? and 14 carrying visitors arriving and getting off and picnic. 48.50 - expansion of 3BA transmitter capacity 51.30 - 1934 visit of the Duke of Gloucester - visit to the Lucas factory, views of the work floor and the factory history and then South St band competition at the Showgrounds. 55.10 - South St Music Festivals, Coliseum and fire. 56.25 - Ballarat Floral Festival March 1938 - Victorian Railways arch of welcome. 57.25 - segment in the shot of 12 and 19? in Sturt St 57.45 - colour segment of the festival, 58.39 - Grenville St tram shelter, Bridge St, Sturt St, arches, Main Road, Council Road Roller, Victoria St, Eureka Stockade Reserve, Botanic Gardens, setting up the flowers, wax papers. 1.01.48 - decorated tram, north side of Sturt St, details of the materials used, Crockers. 1.03.20 - Hospital Fund Raising Gala Day - March 1938, special trains arriving Ballarat Railway Station, fund raising procession, pageant at the Showgrounds, fly past. 1.07.35 - 1939 Summer, motor cycle races at Learmonth, City Oval fire brigade demonstrations, Ballarat (East) Fire Station decorated for the 1939 Floral Festival with tram in the background and No. 29, Floral Tram and others. 1.09.25 - July 1914 - Ballarat at War parade, troops. 1.10.10 - credits. Box has images of a tram and town hall on the front and details of the contents on the rear and who made it etc. See images for details. ballarat, 3ba, floral tram, royal visit, buildings, esco

This item is from the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. By 1886 the Warrnambool Mechanics’ Institute (WMI) had grown to have a Library, Museum and Fine Arts Gallery, with a collection of “… choice productions of art, and valuable specimens in almost every branch and many wonderful national curiosities are now to be seen there, including historic relics of the town and district.” It later included a School of Design. Although it was very well patronised, the lack of financial support led the WMI in 1911 to ask the City Council to take it over. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library as it was then called. When the WMI building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the WMI. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the WMI were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. WARRNAMBOOL'S MECHANICS' INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in November1884 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year Joseph Archibald established a Museum; however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established, and in 1885 a new building was built at the back of the Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished)). In 1911 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until the contents of the Museum and Art Gallery were removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historic books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historic Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library, ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. The Warrnambool Mechanics' Institute Library book collection is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. Jules Verne (1828–1905) Jules Verne pursued his writing career after finishing law school in 1849, during this time he was writing poetry and short stories. He began to hit his stride after meeting publisher Pierre-Jules Hetzel in1862, who nurtured many of the works that would later comprise the author's 54 novels the (Voyages Extraordinaires). Often referred to as the "Father of Science Fiction," Verne wrote books about a variety of innovations and technological advancements years before they were practical realities. In 1856, Verne met and fell in love with Honorine de Viane, a young widow with two daughters. They married in 1857, and in 1861, the couple's only child, Michel Jean Pierre Verne, was born. Realizing he needed a stronger financial foundation, Verne began working as a stockbroker. However, he refused to abandon his writing career, and that year he published his first book, The 1857 Salon (Le Salon de 1857). In all Verne authored more than 60 books as well as dozens of plays, short stories and librettos. He conjured hundreds of memorable characters and imagined countless innovations years before their time, including stories about submarine and space travel, terrestrial flight and deep-sea exploration. Jules Verne died in 1905, at his residence in the French city of Amiens, stricken with diabetes, on March 24, 1905. Verne had many memorable novels, his most famous being Five Weeks in a Balloon, Journey to the Centre of the Earth, From the Earth to the Moon, Around the World in Eighty Days, In Search of the Castaways and Twenty Thousand Leagues under the Sea Additional works surfaced decades later. Backwards to Britain based on his many trips to the United Kingdom was finally printed in 1989, 130 years after it was written. Also Paris in the Twentieth Century, originally considered too far-fetched with its depictions of skyscrapers, gas-fuelled cars and mass transit systems, followed in 1994. Citation Information Biography.com Editors Jules Verne Biography: https://www.biography.com/writer/jules-verne The Pattison Collection, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institute’s collection. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance. Abandoned Author: Jules Verne Publisher: Samson Low, Marston, Searle & Rivington Date: 1892Label on spine cover with typed text PAT 843 VER Front loose endpaper has sticker from Warrnambool Public Library covered by a sticker from Corangamite Regional Library Service Inside front loose endpaper has a stamp from Warrnambool Mechanics Institutewarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, great ocean road, abandoned, jules verne

Captain Robilliard: James Arthur Robilliard was a sea captain and tentmaker, born on the 19th April 1843 at Saint Helier, Jersey. He trained there in his father's sail loft as a sailmaker. His first job as a sailor was in Liverpool, England and 1875 James Robilliard migrated to Australia as mate on the "E.M. Young". James Robilliard and his family were amongst the early settlers that arrived along the Curdies River in the Heytesbury district of Western Victoria. In 1877 he became a Captain and would have used his compass from ship to ship. On 28th May 1877 in that same district a small 3-masted, schooner the "Young Australian" was wrecked. This schooner had been built 1864 at Jervis Bay, NSW. She had been on her way from Maryborough Queensland to Adelaide, under the command of Captain Whitfield, when she lost her mainmast in a heavy gale. She was beached at Curdies Inlet in Peterborough, Victoria, Captain Robilliard was placed in charge of the salvaging operation and recovered a good portion of the cargo. Not long after this incident a Warrnambool shop owner David Evans found employment for James Robilliard with Evan Evans, who produced tents, sails, tarpaulins and similar goods; James already had the necessary skills for this work. Evan Evans was the same sailor rescued from the “Young Australian” soon after his rescue Evan recalled he had a relative in Australia in a town called Warrnambool and while walking in Timor Street, Warrnambool, he saw a sign over a shop that said “David Evans” and once the two men met, Evan was warmly welcomed. David then helped his relative to establish a tent and tarpaulin-making business there. Evan later transferred his successful business to a shop in Elizabeth St, Melbourne, under the name Evan Evans Pty. Ltd.) James Robilliard, a committed Christian, and accredited Lay Preacher with the Methodist Church. He travelled around the local district leading the settlers in worship. On 14th November 1879, Captain Robilliard married Helen Beckett. Alfred and Selina Beckett and their family all attended the church at Brucknell where Captain Robilliard preached. He was said to have been taken by their young daughter Helen. James and Helen had ten children; James Arthur (Jnr), Henry William, Nellie Jessie, Alfred Albert, Rubena Nellie, De Jersy Norman, Clifford Beckett, Olive Ida, Frances Ridley Havergal and Nellie Elvie, all born in Victoria. In the 1880s James Robilliard captained the cutter "Hannah Thompson" into Port Campbell, Victoria. This vessel was the first coastal trader to operate between Melbourne and Port Campbell. At one time Captain Robilliard had to beach the "Hannah Thompson" for repairs. In 1923 she was blown ashore in a gale and wrecked at Oberon Bay, at Wilson's Promontory. In 1889 the compass was saved by Captain James Arthur Robilliard from his sinking brigantine "Mary Campbell" in 1889. This vessel was used to carry equipment for the Sydney Sugar Refinery's Mill in Southgate, NSW. The ship had been built in 1869 and traded for the next 20 years between Australian ports and rivers along the east coast as well as regular ports in New Zealand. She was recognised by the Sydney Morning Herald as one of the best "carrying vessel in the timber trade". She had several owners over this time, the last one being Captain James A. Robilliard. On 29th April 1889 the "Mary Campbell", with Captain James A Robilliard as captain and owner, was on her way from Clarence River, NSW to Melbourne, Victoria with a cargo of railway girders for the Melbourne Harbour Trust. Captain Robilliard encountered a storm off Port Macquarie. He sailed the vessel south to about 40km east of Cape Hawke, near Tuncurry. At around 7 pm, he discovered that the cargo had shifted during the storm and the heavy girders had damaged the hull, causing a leak. The pumps were inadequate to stem the fast-flowing leak water soon filled the hull during the next two hours. Some of the crew began throwing the cargo overboard to lighten the vessel, hoping to keep it afloat until daylight. When the water reached over 2 meters in the hull they realised their efforts were in vain. On the 30th April 1889, the crew left the vessel the ship was sinking fast, so they made for the shore. While still miles off Cape Hawke all seven crew members, including the Captain, were rescued by the Government Tug "Rhea" and taken to Port Macquarie Hospital and later returned to Sydney in the vessel "Wellington". No cargo had been saved and the consignment had been under-insured, only covered for half its value. The name of the last ship Captain Robilliard sailed is currently unknown, however, he sailed that ship from the port of Marlborough, Queensland, carting steel railway girders for the Geelong-to-Camperdown railway line. On this trip the ship hit a storm, the cargo shifted and the ship was wrecked along the NSW coast. After this, Captain Robilliard retired from the sea and began farming in Peterborough. In about 1897, verging on retirement, Capt. Robilliard superintended the Melbourne Sailors’ Home in Spencer Street, Melbourne, before being asked to leave this position in 1902 for trying to shut down a local hotel. On 6th May 1917 Captain James Arthur Robilliard J.P. died at Blackwood Park, in the Cobden district of Brucknell, the first Robilliard family homestead in Australia. He was buried in the Melbourne General Cemetery, Victoria. His wife Helen passed away in 1947. This compass, once belonging to Captain James Arthur Robilliard, is of local and state historical significance for its use by the Captain with his vessel the "Mary Campbell", a trading vessel that was bringing railway girders to the Melbourne Harbour Trust. He also used this compass on the "Hannah Thompson", listed on the Victorian Heritage Register and known as being the first coastal trader to operate between Melbourne and Port Campbell. The compass is also a very fine example of maritime navigational instruments manufactured and used in the mid-19th century. Marine compass, brass, in wooden box with separate, fitted lid. The compass card has sixteen points. The four principal points are marked; North with a star shaped, South with an “S”, East with and “E” and West with an “O” (French word OUEST). Each quadrant of the circle is numbered from 0 – 90 degrees. The card is floating in a liquid. The compass gimbal is attached to the sides of the box and to the front and back of the compass’ cylindrical brass frame. The mahogany coloured timber storage box is joined with brass nails. The centre of the lid has a folding decorative brass handle. The lid fits over base and closes with a brass screw and hook on both front and back. Maker; Dubas Watchmaker Optician, Nantes, France, c 1860-1870. Compass came from the ship “Mary Campbell”, which sank off the NSW coast in 1889, near Forster. The compass, as well as the ship, belonged to Captain James Arthur Robilliard and was donated by his family. “DUBAS MANTES” stamped into side of gimbal. “DUBAS HORLOGER OPTICIEN. NANTES.” printed around centre of card. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, marine compass, navigation instrument 19th century, marine instruments, dubas mantes, captain james arthur robilliard, j.a. robilliard, helen beckett, ship young australian, ship young australia(n), ship hannah thompson, ship mary campbell, melbourne sailors home, david evans, evan evans, curdies inlet, brucknell church, curdies railway, great lakes museum

This Gestetner Cyclostyle duplicating machine was invented and manufactured by David Gestetner. He claimed in 1922, once he had released several models, that if a Gestetner Durotype stencil was used together with his Cyclostyle machine, then 10,000 copies could be made from the one Durotype stencil, an amazing claim for office technology of that era. David Gestetner (1854-1939), was born in Csoma, Hungary. He has been called the “founder of the worldwide office copying and duplicator industry.). He moved to London and in 1879 filed his first copying patent. In 1881 he patented the Cyclostyle stylus (or pen), which was used in conjunction with his Cyclograph device for copying text and images, He established the Gestetner Cyclograph Company in England at this time (1881) to protect his inventions and to produce his products; stencils, stylos (stylus or pen) and ink rollers. HIs inventions included nail-clipper and the ball-point pen (although the latter is more commonly associated with Laszlo Biro). Gestetner’s patented Cyclograph duplicator was used with his Cyclostyle Stylus or pen to write or draw on special thin wax-coated stencil paper (originally used for kite making paper) in the following way; 1. The Cyclostyle stencil was placed on a lower, framed metal plate of the Cyclograph 2. An upper frame was clipped over the top 3. The Cyclostyle pen, with its tip being a small metal-spiked or toothed wheel, was used to write or draw on the stencil, punched small holes into the paper and removed the wax coating in those places 4. The upper frame and stencil was then removed and a piece of blank paper was placed onto the metal plate in the lower frame and the upper frame with stencil was replaced 5. A roller was given an even distribution of Cyclostyle ink and rolled by hand over the stencil in the frame. This forced the ink through the holes in the stencil to and made a copy of the stencil on the paper 6. The upper frame was raised, the printed paper removed and another blank sheet was put into place. The whole process was repeated until enough copies were made. Gestetner’s invention developed further in 1894, with a stencil that could be placed on a screen on a revolving drum. The drum was manually rotated, the stencil then wrapped around another drum and was fed between cloth-covered rollers on which ink was evenly spread. Each revolution of the drum forced ink through the holes in the stencil and transferred the ink onto paper that had been fed between rollers and pressed against the drum. The process was repeated for each page. The paper was still fed and removed manually in this earlier invention but became more automatic in later models. In 1902 Gestetner duplicator model 6 was put onto the market. This model included the improvement of an automatic paper feed that synchronised with the rotation of the stencil. The Gestetner machine was the first office printing machine. It was easily installed and it made exact copies of the sane document quickly, effectively and inexpensively. This changed the way offices operated, making information easily available to many more users. The machines were commonly used in small businesses, schools, churches, clubs and other organisations for the wide distribution of a wide variety of information in the form of worksheets, newsletters and more. In 1906 the Gestetner Works were opened in Tottenham Hale, North London, and thousands of people were employed there up until the 1970’s. Due to the fast growing success of the Gestetner Duplicator machines many international branches for sales and service centres were established. David Gestetner was succeeded by his son Sigmund, followed by his grandson’s David and Jonathan. Further advancement was made by using a manual typewriter with specifically designed stencils. The end product was a printed, typewritten copy similar to the print from newspapers and booklets. In the next few years there were further developments of this revolutionary invention. The Gestetner Cyclostyle duplicator in our Collection is dated c.1922 - 1929 and it uses Gestetner Durotype stencils The 1922 British Industries Fair’s catalogue contained advertising for the Gestetner Rotary Cyclostyle “The World’s Premier Duplicator”, demonstrated at Stand K 86.” A Notice at the foot of the advertisement’s page boasts "Important - D Gestetner's latest invention, the "Durotype" Stencil, enables you to obtain 10,000 copies from one original if desired. It contains no wax of any description, is indestructible, can be stored indefinitely and printed from as required” In 1929 the look of the Gestetner machines changed; American designer Raymond Loewy was invited by Gestetner to improve the look of his duplicators, resulting in a very streamlined appearance. Eventually, around 1960’s, offices replaced their Gestetner with small photocopying machines and printers. Gestetner took over ownership of other office machine companies over time, including Nashua, Rex Rotary, Hanimex and Savin and eventually all came under the holding company name of NRG (Nashuatech, Rex Rotary and Gestetner). In 1996 Ricoh acquired the Gestetner Company, and it was renamed the NRG Group. REFERENCES Cyclostyle, Stencil Duplicating Machines, antique Copying Machines, Early Office Museum, http://www.officemuseum.com/copy_machines.htm Duplicating machines, Wikipedia Duplicator, Collection online, Canada Science and Technology Museums Corporation http://techno-science.ca/en/collection-research/collection-item.php?id=1989.0229.001 Gestetner duplicators, Totterham-Summerhillroad.com http://tottenham-summerhillroad.com/gestetner_duplicators_tottenham.htm Gestetner Duplicator, V&A Museum http://collections.vam.ac.uk/item/O322014/gestetner-duplicator-duplicator-loewy-raymond-fernand/ Gestetner, Grace’s Guide to British Industrial History, http://www.gracesguide.co.uk/Gestetner Duplicating machines such as this one revolutionalised access to copies of printed material, changing the way that educational bodies, offices, small businesses and community clubs and charities operated.Duplicating machine, Gestetner Cyclostyle Durotype, a stencil-method duplicating machine with two rotating drums plus rollers. Hand operated, tabletop office machine. Front has folding Bakelite handle, oil filling hole, calibrating gauge with scale, and copy counting meter. Right side has printed manufacturer’s plate that slides out as a paper output tray. Left side has metal plate with protrusions and perforations, plus another similar plate that is detached. It also has a metal frame attached [that would have been used to hold a paper input board, adjusted for various sizes of paper]. Cover, metal, with folding wooden handle on top, attaches to base with metal clips. Inscriptions printed on machine, mostly in gold-coloured paint. Round metal manufacturing plate is stamped with Serial Number 95759. Made by D. Gestetner, London, c.1922-1929Maker’s plate “MANUFACTURED / BY / D. GESTETNER LTD, / No. 95759 / CYCLOSTYLE WORKS / TOTTENHAM HALE / LONDON, N” Copy counting meter shows “1 4 6 4 8 [space]“ copies. Calibrating gauge has divisions with numbers “0 1 2“, labelled “← [left arrow] “TO PRINT LOWER” and “→ [right arrow], TO PRINT HIGHER”. “The Gestetner”, “Cyclostyle”, “Gestetner” (Trade Mark), Right side print of manufacturing details includes “The / Gestetner / TRADE MARK” And “THE FOLLOWING TRAFE MARKS / - - - OF INK, STENCILS / - - - AND GUARANTEE OF PERFECT / - - - BOTH - - - AND MACHINE” and “CYCLOSTYLE / DUROTYPE / GESTETNER” and “D. Gestetner” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, office machine, copying machine, gestetner machine, duplicating machine, duplicator, stencil machine, gestetner cyclograph company, cyclograph, cyclostyle, d. gestetner ltd, gestetner durotype stencils, gestetner cyclostyle, printing machine, office technology, durotype stencils, david gestetner, raymond loewy, roneo, rotary duplicatorten, mimeo, mimeograph machine, roneograph copier

The ship “Ellis” started life as the Clementina, launched in America in 1781. The vessel was first listed in Lloyd's Register in 1784 and under this name began serving as a slave ship sailing out of Liverpool. A Lloyd’s database records of slave-trading voyages by vessels from Liverpool makes it clear that Clementina was a slave trader. The next year Captain J. Elworthy sailed her to West Central Africa and St Helena. He transported his slaves to South Carolina. Then in 1785 Elworthy gathered slaves in the Bight of Biafra and the Gulf of Guinea Islands for delivery to Jamaica. In 1786 Bent & Co. purchased the Clementina and renamed her Ellis, presumably after the then owner Ellis Bent. She remained in the slave trade and In 1788 Captain John Ford sailed the now renamed Ellis to the Bight of Biafra and the Gulf of Guinea to gather slaves. He delivered this batch of slaves to the island of Grenada. The next year, 1789 the Ellis was almost completely rebuilt, and from the change in subsequent reports of her cargo loading or (burthen), she was enlarged. In 1791, Captain Joseph Matthews became master and sailed the Ellis to the Gold Coast then delivering his consignment of slaves to the island of St Vincent. During this voyage, some misfortune may have befallen Matthews because records show the Ellis command was transferred to Thomas Given. In 1792, Given sailed to the Bight of Biafra and the Islands in the Gulf of Guinea, again collecting slaves for delivery to Jamaica. There is a parallel record, also for 1793, that the Ellis under the command of Thomas Heart, undertook the same journey and with the same itinerary and cargo. In 1793, Bent & Co. decided to use the Ellis as a privateer with John Levingston as the master. After receiving a letter of "marque” on the 3rd of June 1793, that allowed any armed vessel to commit acts on the high seas which would otherwise have constituted piracy. Thus the Ellis began to operate as a combat ship under the endorsement of the British navy. The Ellis was three times captured first by the French frigate Gracieuse, under the command of Captain Chevillard on 22 July 1793. The French took her into service and renamed her as ”Elise”. Later that summer the Spanish captured her and in November ownership returned to the French who then renamed her the “Esperance”. On the 8th of June 1794, Esperance arrived in Jacmel, Saint-Domingue (present-day Haiti), from France with the official proclamation of the abolition of slavery. Leger-Felicite Sonthonax was one of the Civil Commissioners of Saint-Domingue and he had already unilaterally proclaimed the island for the French colony the year before amid a slave rebellion and attacks from British and Spanish forces. Ironically, Esperance also brought the news to the Civil Commissioners that the National Convention of France had impeached them on 16th July 1793 and ordered them to return promptly to France. On 8 January 1795, HMS Argonaut, under the command of Captain Alexander John Ball, captured Esperance while she was on the North America station. At this time the Esperance was armed with 22 guns (4 and 6-pounders) and had a crew of 130 men. She was under the command of Lieutenant de vaisseau De St. Laurent and had been out at sea for 56 days from Rochfort, bound for the American Chesapeake Bay area.  The French ambassador to the United States registered a complaint with the President of the United States that Argonaut, by stating that by entering Lynnhaven bay, either before she captured Esperance or shortly thereafter, had violated a treaty between France and the United States. The French also accused the British of having brought the Esperance into Lynnhaven for refitting for a cruise. The British Consul replied that the capture had taken place some 10 leagues offshore as the bad weather had forced Argonaut and her prize to shelter within the Chesapeake area for some days, but that they had left as soon as practicable. Furthermore, Argonaut had paroled her French prisoners on arrival at Lynnhaven, and if she had entered American territorial waters solely to parole her French prisoners no one would have thought that objectionable. Royal Navy Service: Because the Esperance was captured in good order and sailed well, Rear Admiral George Murray, the British commander in chief of the North American station, put a British crew aboard and sent the Esperance out on patrol with HMS Lynx, under the command of John Poo Beresford, on 31st January. On 1st March the two vessels captured the Cocarde Nationale (or National Cockade), a privateer from Charleston, South Carolina, of 14 guns, six swivel cannons and a crew of 80 men. Esperance and the lynx went on to recaptured the ship Norfolk, of Belfast, and the brig George, of  Workington. On 20 July, Esperance, in company with frigates Thetis and Hussar, intercepted the American vessel Cincinnatus, of Wilmington, sailing from Ireland to Wilmington. They pressed many men on board into service, narrowly missing the Irish revolutionary Wolfe Tone, who was on his way to Philadelphia. Esperance was formally commissioned in 1795 into the Royal Navy in August under the Command of Jonas Rose. On 4 May 1796 Esperance was sailing in company with HMS Spencer and Bonetta when they sighted a suspicious vessel. Spencer set off in chase while shortly thereafter Esperance saw two vessels, a schooner and a sloop, and she and Bonetta set off after them. Spencer sailed south by south-east and the other two British vessels sailed south-west by west, with the result that they lost sight of each other. Spencer captured the French gun-brig Volcan, while Bonetta and Esperance captured the French schooner Poisson Volant.   The Esperance eventually arrived at Portsmouth on the 3rd of November 1797, the crew was paid off and on 31st May 1798 the Admiralty listed the Esperance for sale and she was sold in June 1798 for £600.The subject scrimshaw is a modern reproduction crudely done of a historic vessel and the scene is believed to be engraved onto a synthetic substance. Scrimshaw art crudely carved into non-natural material in the shape of a tooth. The line artwork is an image of a three-masted sailing ship with a poop deck, and anchors, are coloured black. Inscription is engraved into tooth.Engraved "Man o War Ellis" warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, scrimshaw, ellis, esperance, clementina, elise, hms ship, man of war, leter of marque, privateer, slave ship, slavery, ellis bent, american war of inderpendance, marine art, marine artifact, whale tooth, ivory tooth, resin, plastic, craft, engraving, carving

This pump is an Ajax Type L2 Series A model, made and sold by McPherson’s Pty Ltd of Melbourne circa 1930’s to 1940’s, is a mechanical, hand operated, constant flow pressure pump. It would have been used to pump fluids from one area to another, for example from a dam to a tank or used as a bilge pump on a small vessel, mounted on the vessel’s bulkhead, floor or deck. This type of hand pump is sometimes called a ‘Reciprocating Suction Pump’. It has a mechanical pumping action of the lever moves the piston inside the pump up and down. The water is lifted from below the pump through the inlet pipe and into the pump’s cylinder. This action causes the lower valve to close and the piston’s valve opens and the pressure within the pump forces the water out of the pump through the exit pipe. The limitation of this type of pump is that it can only raise the water a maximum of about 7 metres from beneath the ground and yields 24-26 Litres per minute. This type of pump could be used for many purposes such as pumping water or fuel. McPherson’s 1940’s advertisement proclaims “For all jobs on the land – irrigation, spraying, tank, plumbing, fire-fighting – there’s a suitable “Ajax” pump. Send us the details of you pumping problem. Our Expert’s advice will help you choose the right pump – the one that will give you most years of PROFITABLE PUMPING.” (The Australasian (Melbourne) Sat. 26th October 1940.) McPherson’s Pty Ltd, the manufacturer, advertised a similar pump to this one in The Australasian (Melbourne) in 1936, calling it the Ajax Double Acting Hand Pump. In 1942 another advertisement advised that a representative for a fire-fighting equipment supplier was visiting the western district of Victoria. The company could now supply double-action two-spray Ajax pumps at lower prices than similar pumps the district had recently purchased from Adelaide. McPHERSON’S FOUNDER and COMPANY TIMELINE 1860 – Thomas McPherson, a Scottish immigrant (c. 1853 ), founded McPherson’s in Melbourne, supplying pig iron (lead ingots imported as ballast in ships) to local manufacturers. 1882 – Thomas McPherson established a warehouse in Collins St Melbourne and included tools, steam fittings and machinery in his wares. The business expanded to include steam saw mills and became known as Thomas McPherson and Sons (William Murray and Edward). 1888 – Thomas passed away and his sons inherited the business. In 1896 William Murray became the sole proprietor after his brother Edward’s death. 1900 – The firm expanded, establishing Acme Bolt Company to manufacture nuts and bolts. 1912 – McPhersons Pty Ltd established a machinery warehouse and showroom in 554-556 Collins St Melbourne. McPherson’s went on to establish branches in Sydney (1911), Adelaide (1921) and Perth (1930) 1917 - McPherson’s supplied ‘dog spikes’ for the transcontinental railway, running from Eastern to Western Australia. 1918 – A tool works set up in Kensington, Melbourne, manufacturing Macson lathes and made machine tools that previously had to be imported. 1924 – The Bolt Works was transferred to a new building in Melbourne. McPhersons began making pumps. 1929 – McPherson retired. His son (Sir) William Edward McPherson (known as ‘WE’), was born in Hawthorne, Melbourne, in 1898. After his education he began work in his father’s Melbourne hardware and machinery business He took over as governing director when his father retired. 1929-1932 – McPherson’s supplied thousands of tons of rivets from its Richmond (Melbourne) Bolt Works for the construction of the Sydney Harbour Bridge. 1936 – McPherson’s Pty Ltd is advertising Ajax Pumps in newspapers 1934 – McPhersons purchased the property adjoining the warehouse in Collins Street, and during 1935-1936 built a new office and showrooms on the site of 546-445 Collins St. 1939 - McPherson’s acquired the Tool Equipment Co. Pty. Ltd and Associated Machine Tools Australia Pty Ltd was formed to separate McPherson’s machine-tool manufacturing and merchandising interests. 1939 – Ajax Pump Works, a foundry and pump manufacturing plant, was established in Tottenham, Melbourne, and the Ajax Bolt and Rivet Co Pty Ltd began manufacturing in New Zealand. 1944 - McPherson’s became a public company, McPherson’s Ltd. 1948 - The Ajax Pump Foundry opened at Kyneton, Victoria and in the post war years it grew to became a large manufacturer. 1980’s – Ajax Pumps brochure lists the address as 6 Buckhurst St, South Melbourne, Vic 3205 with the Telephone number 03 669 3588 1988 - Ajax Pumps acquired the Forrers Company, which was established in 1921. Manufacturing in Ipswich, Queensland, specialising in submersible sewage pumps. 1991 – KSB Ajax was formed, bringing together the companies KSB and Ajax Pumps 1993 – Manufacturing was moved to state-of-the-art premises in Tottenham, Victoria 2001 - The Forrers facility was moved to Tottenham. 2007 - Company name KSB Ajax Pumps was changed to KSB Australia Pty Ltd. 2009 - KSB Australia opened a branch in Townsville, Queensland. 2011 - KSB Australia moved to its dedicated Water and Waste Water Competence Centre in Bundamba, Queensland. DISPLAY OF THIS AJAX PUMP This pump was installed at Flagstaff Hill Maritime Village as part of a working display in the village by the Friends of Flagstaff Hill, in acknowledgement of the dedicated involvement of one of its long serving members, Bob Crossman. The display was officially opened 31st March 2018 and incorporates a restored Furphy Tank and Water Pipe Stand. The pump is used to draw water from the lake, through the water stand pipe and into the reconditioned Furphy Tank. This Ajax pump made by McPherson’s Pty Ltd is significant for its association with McPherson’s, a prominent manufacturer of hardware in Victoria. McPherson’s is famous for supplying ‘dog-spikes’ for the transcontinental railway (eastern to western Australia, 1917) and rivets for the Sydney Harbour Bridge (1929-1932). The Ajax pump is also of significance because of its association with McPherson’s Governing Director (Sir) William McPherson, former premier and treasurer in Victoria 1928-1929. The former McPherson’s Pty Ltd building in Collins Street Melbourne is now on the Victorian Heritage Register VHR H0942 This pump is representative of mechanical pumps popular in the early to mid-1900’s and still used today. Hand operated pressure pump, double acting. Cast metal case, painted red, with steel hose attachments and long metal lever. Pump is bolted to wooden plank. Model of pump is AJAX, Type L2, Series A pump. Embossed on lower section of pump "L2 - 10", "L2 - -1", "AJAX" “(?) –2-1” Embossed on lower handle “3-7” “L – 4” Embossed on attached plate “FOR SPARE PARTS / TYPE L2 / SERIES A / PUMP ASSEMBLED BY T R” Manufactured by McPherson’s Pty Ltd of Melbourne circa 1930’s - 1940’s.flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, ajax pump works tottenham melbourne, ajax pump factory kyneton, william edward mcpherson, thomas mcpherson of melbourne, mcpherson’s pty ltd melbourne, acme bolt company, tool equipment co. pty. ltd, associated machine tools australia pty ltd, ajax bolt and rivet co. pty ltd new zealand, forrers company ipswich queensland, ksb ajax pumps, ksb australia pty ltd, macson lathes, tool manufacturer early to mid- 20th century, ajax double acting hand pump, ajax type l2 series a pump, qisjax pumps, water pump 1940’s, fuel pump 1940’s, hand operated constant flow pressure pump, reciprocating suction pump, agricultural hand pump, plumber’s hand pump, portable hand pump

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

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: YACKANDANDAH / 80 Reverse: Y 5 / 018 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 / 83 Reverse: YACKANDANDAH / Y 7 / 019 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: BANK OF VICTORIA / YACKANDANDAH / Reverse: Y 6 / 017 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: BANK OF VICTORIA / YACKANDANDAH / ERNEST MARCUSE / Reverse: Y 4 / 015 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