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The Beechworth Burke Museum
Drawing, Ernest Marcuse, Yackandandah VI, c1980
... from The Argus newspaper due to his Australian government... from The Argus newspaper due to his Australian government ...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 -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Yackandandah V, c1983
... from The Argus newspaper due to his Australian government... from The Argus newspaper due to his Australian government ...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 -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Yackandandah IV, c1983
... from The Argus newspaper due to his Australian government... from The Argus newspaper due to his Australian government ...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 -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Yackandandah III, c1983
... from The Argus newspaper due to his Australian government... from The Argus newspaper due to his Australian government ...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 -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Yackandandah II, c1983
... from The Argus newspaper due to his Australian government... from The Argus newspaper due to his Australian government ...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 -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth Newtown, c1983
... from The Argus newspaper due to his Australian government... from The Argus newspaper due to his Australian government ...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 -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Chiltern, c1983
... from The Argus newspaper due to his Australian government... from The Argus newspaper due to his Australian government ...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 -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Chiltern, c1983
... from The Argus newspaper due to his Australian government... from The Argus newspaper due to his Australian government ...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 -
Unions Ballarat
Leaflets, pamphlets, periodicals, newspapers, cuttings and roneoed material retained by the Council, 1891-1962
... . Australian Labor Party. Work of the Labor government. Melbourne, 1928.... Australian Labor Party. Work of the Labor government. Melbourne, 1928 ...TBATBATwo boxes, paper. 1. Anti-Hanging Committee - regarding hanging. 1962. 2. Ballarat Banking Co. Ltd. Chairman's address and 145th report. August 1954. 3. Country Municipal Association circular regarding conference on centralisation, Ballarat. 22 November 1916. 4. Geelong Town Band's weekly performance programme. n.d. 5. Ironmasters' Association of Victoria rules and regulations agreed upon at the General Iron Trades' Conference, Melbourne. 1891. 6. Melbourne Eight Hours Anniversary programme. 1901. 7. Museum of Applied Science of Victoria, on gas from our brown coal. n.d. 8. New Australian Trade Unionist Committee regarding rally to protect shooting of Polish workers. 195-? 9. Circular from Ballarat Trades and Labour Council to Ironmoulders' Society regarding the Congress. 1891. 10. List of subjects to be discussed at Congress. 11. Circular from Melbourne Trades Hall Council regarding financial help for Congress. 1891. 12. Reports of Standing Orders Committee appointed by the Congress, 23-29 April 1891. 13. Trade Mark Committee report. 14. Committee on Federation report. 15. Draft scheme of Federation (Australasian Federation of Labor). 16. Draft scheme of Federation (Australasian Federation of Labor) to the Labour Councils and Unions of Australasia. (2 copies.) 17. Asian and Pacific Regions Peace Conference, Peking, October 1962. Report on Peking, Melbourne. 1962. (2 copies). 18. Australian Bureau of Census and Statistics. Labour and Industrial Statistics, Melbourne. 1911. 19. Australia. Laws, Statutes, etc Trade Marks Bill, 1905. Workers' Trade Marks. Melbourne, 1905. 20. Australian Council of Trade Unions. Agenda paper for ... Congress, 1953. Melbourne, 1953. 21. Australian Labor Party. Work of the Labor government. Melbourne, 1928. 22. Australian Textile Union, Victorian Branch. Wages Sheet. Melbourne, 1953? 23. Baker, W.A. The Commonwealth Basic Wage. 1907-1953. Sydney, 1953? 24. Building Workers' Industrial Union. Building Workers support your convention. n.p. 1954? 25. Carters' and Drivers' Union. Committee of Management. Important to members of Carters and Drivers' Union. Melbourne, 1936. 26. Dougherty, Tom. Santamaria unmasked. Melbourne, 1954? 27. Eight Hours' Anniversary Sports Programme, 1893. Ballarat 1893. 28. Eight Hours' Anniversary Programme, 1894. Ballarat, 1894. 29. Fadden, Arthur W. The menace of political banking. Sydney, 1945. 30. Federated Clerks' Union, Victoria Branch. The Fennessy Story. The Braun Story. n.p., 1954. 31. Federated Clerks' Union, Victoria Branch. Manifesto, n.p., 1955. 32. Greater Ballarat Association. Seventeenth annual report. Ballarat, 1954. 33. Langridge, H.E. Employers in the Labor Party. Melbourne, 1914. 34. Metal Trades Federation. National Conference of Federal Council and delegates from State branches. Sydney, 1960. 35. Municipal Association of Victoria. Arbitration aware regarding employment of members of the Municipal Officers Association of Australia. Melbourne, 1950. 36. Municipality of the Town of Ballarat East. Annual report, 1919. Ballarat, 1919. 37. Plumbers and Gasfitters Employees' Association of Australia. Melbourne Branch. Why did Menzies abdicate when he had a working majority and 18 months to go? Melbourne, 1955? 38. Plumbers and Gasfitters Employees Union of Australia, Melbourne Branch. Who are the wreckers in the Australian Labor Party? Melbourne, 1955. 39. Spence, W.G. The ethics of New Unionism. Sydney, 1892. (42 copies) 40. Trades Hall Council, Melbourne. Statement of accounts, 1959. Melbourne, 1959. 41. Universal Business Directories (Australia) Pty. Ltd. Home edition for Ballarat. Melbourne, 1954. 42. Victoria, Apprenticeship Commission. Twenty-seventh annual report. Melbourne, 1956. 43. Victorian Labor College. Labor Colleges. Melbourne 191? (3 copies) 44. W.F. Williams. An appeal to the workers of Victoria. n.p., 19?? 45. Workers' Industrial Union of Australia. Preamble, classification and rules. Melbourne 1919? 46. ACTU Bulletin, 1955, Vol 2, No. 2 47. Amalgamated Engineering Union monthly journal, 1954, No. 3. March 48. American Economist, (New York), 1893, Vol 12, No 12, September 49. Australian Worker, (Sydney), 1955, Vol 64, No. 10, May; No. 15, September (held by ANU and at Trove online) 50. Building Workers' Organiser, official organ of the Building Trades Federation, 1954, June 51. Bulletin issued by the Economic Information Service, Melbourne. No. 2 1954, Nos. 10, September; 13 August; 1956, No 14, January 52. Ballarat Courier, 1890, Vol 46, No. 7096, April 53. Ballarat Star, 1888, Vol 33, No. 95, April 54. The Clerk, official journal of Federated Clerks' Union, Victorian Branch, 1955, Vol 10, No. 2, February/March 55. Common Cause, official journal of the Miners' Federation of Australia 1954 Vol 19, No. 10, March; No. 12, April 1955 Vol 20, No. 12, April; No. 19, May 1955 Vol 20, No. 23, June; No 28 July 1955 Vol 20, No. 29, August 1956 Vol 21, No. 17, May 56. Evening Echo, Ballarat, 1915, No. 6673, September 57. Evening Post, Ballarat, 1889, Vol 38, No. 6326, March 58. Industrial Herald, published by Labor Press, Geelong 1952 Vol 34, No. 35, June 1954 Vol 36, No. 20, March; No. 23, April 1954 No. 36, July; No. 39 July 1958 Vol 40, No. 19, March 59. Labor Call, published by Industrial Printing and Publicity Co., Melbourne. 1953, Vol 46, No. 2417, September 60. Labor Supplement. 1952, November 1954, February; March 61. Light, Ballarat diocesan journal. 1955, September. 62. Locomotive journal, published by the Australian Federated Union of Locomotive Enginemen. 1954, Vol. 16, No. 4, January. 63. People's Tribune Supplement, ed. by E.E. Jones, Melbourne. 1886, Vol 5, No. 20, April. 64. Railways' Union Gazette, published by J.D. Michie, Melbourne. 1919, June, Frank Byett in memoriam edition. 65. Rehab News issued by Central Ex-Servicemen's Office, Melbourne. 1946, Vol 2, No. 30, May. 66. Sheet Metal Workers, official organ of the Sheet Metal Working, Agricultural Implement and Stovemaking Union of Australia, Sydney. 1954, No. 107, February. 67. Socialist Comment, Socialist Party of Australia, Melbourne. 1937, No. 2, February. 68. Tocsin, A.L.P. Victorian Branch. 1955?, No. 2, October; No. 4, December. 1956, No. 5, February. 69. Tribune, CPA Sydney. 1965, No. 958, August. 70. UN World, published by Egbert White, New York. 1948, Vol 2, No. 11, December. 71. Miscellaneous newspaper cuttings. Posters 72. Eight Hours' Anniversary, Ballarat, 22 April 1892. 73. Eight Hours' Anniversary, Ballarat, 21 April 1894. 74. Eight Hours' Anniversary, Ballarat, 21 April 1913. 75A. Eight Hours' Anniversary, Ballarat, 3 April 1922. 75B. Electoral Rolls, persons entitled to be enrolled and to vote, 1922. 76. Progress, prospectus of debentures to publish a daily Labour paper to be called "Progress". 1904, Vol 1, No. 1, December. Cards 87. Smoke night social 88. Bi-election 89. How to vote card Roneoed material 77. Circular letter regarding new morning newspaper. n.d. 78. Circular letter from Trades Hall Council, Melbourne. 21 March 1955. 79. Article, History of the recent ALP dispute. n.d. 80. Article: What is freemasonry (from Ballarat St. Patrick's Gazette, October 1854). (2 copies) 81. Information summary of HRH Duke of Edinburgh's study conference on the human problems of industrial communities. ALP Broadcasts from Station 3KZ 82. Incentive payments by Norman A. Gibbs. 17 August 1953. 83. Escalating wages by F.J. Riley. 25 February 1954. 84. Margins by F.J. Riley. 4 March 1954. 85. Freezing margins by F.J. Riley. 17 March 1954. 86. The struggle across the Ages (No. 2) by F.J. Riley. 7 May 1954. ballarat trades and labour council, ballarat trades hall, unions, anti-hanging committee, hanging, ballarat banking co. ltd., country municipal association, geelong town band, ironmasters' association of victoria, general iron trades' conference, museum of applied science of victoria, new australian trade unionist committee, ironmoulders' society, melbourne trades hall council, btlc, intercolonial trades and labor union congress, 7th., trade mark committee report, committee on federation report, australasian federation of labor, asian and pacific regions peace conference, australian bureau of census and statistics, abs, australian bureau of statistics, trade marks bill, actu, australian council of trade unions, australian labor party, alp, australian textile union, w.a. baker, building workers' industrial union, carters and drivers' union, tom dougherty, eight hours' anniversary sports programme, labour and industrial statistics, workers' trade marks, building workers, santamaria, arthur w. fadden, federated clerks' union, fennessy, braun, greater ballarat association, h.e. langridge, metal trades federation, municipal association of victoria, ballarat east, plumbers and gasfitters employees' union of australia, menzies, w.g. spence, new unionism, universal business directories, victoria apprenticeship commission, victorian labor college, w.f. williams, workers' industrial union of australia. preamble, classification and rules. melbourne, 1919?, amalgamated engineering union, american economist, australian worker, building workers' organiser, building trades federation, economic information service, the courier, ballarat star, the clerk, common cause, miners' federation of australia, evening echo, evening post, industrial herald, labor call, labor supplement, light journal, locomotive journal, australian federated union of locomotive enginemen, people's tribune supplement, railways union gazette, frank hyett, rehab news, central ex-servicemen's office, sheet metal worker, sheet metal working, agricultural implement and stovemaking union of australia, socialist comment, tocsin, tribune, un world, eight hour anniversary, electoral rolls, progress, freemasonry, st patrick's gazette, hrh duke of edinburgh, incentive payments, wages, f.j. riley -
Lara RSL Sub Branch
Photograph, Set 4 photographs. and others for Torquay Light Horse camp, 1940
... in the Australian Government’s compulsory military training programme... in the Australian Government’s compulsory military training programme ...These images capture for all time Light Horsemen travelling through Geelong on their way to camp at Torquay for the last Group meeting in Australia . information following - details obtained from .........https://torquayhistory.com/light-horse-brigade/ On Australia Day, 1997, Sir John Young unveiled this plaque on Point Danger, Torquay. Torquay history, Light Horse Training Camp, WW2 Plaque at Pt. Danger Note----- (See images to view plaque) The plaque identifies a significant event in Torquay’s history and the sentiments of ‘change’ for the Light Horse Brigade – from horses to machines. In 1940 the four Light Horse Regiments (4th, 8th, 13th and 20th), some 5000 Light Horse and 2000 horses camped and trained at Torquay. Three other regiments, formerly mounted on horses, were also at Torquay ‘mounted’ on privately owned trucks and cars. Division troops included Artillery, Engineers, Signals, Field Ambulance and other branches of the Army necessary to enable a Division to function. It wasn’t just the sheer numbers of men coming to this little town that made the event significant, it was also the fact that the men of the Light Horse were dramatic, almost glamorous figures and it is easy to see their exploits as some splendid adventure. Horses have played a special role in the story of Australia. They were the only means of transport across this huge country, so it was necessary for everyone to have the ability to ride a horse. When war broke out in 1899 between Britain and the Boers of South Africa (“Boer” was Dutch for “farmer”) Australia sent troops to fight. At first Britain was wary of using untried, unprofessional colonial cavalrymen but soon saw that the slouch-hatted Australian “bushmen” were a match for the fast-moving and unconventional mounted commandos of the Boers. The Australians proved themselves to be expert rough-riding horsemen and good shots. Bush life had hardened them to go for long periods with little food and water. They also showed remarkable ability to find their way in a strange country and use its features for cover, in both attack and defence. By 1914, when Australia joined the war against Germany, there were 23 Light Horse regiments of militia volunteers. Many men from these units joined the Light Horse regiments of the Australian Imperial Force (AIF). Men were given remounts (if not using their own horses) – army horses bought by Commonwealth purchasing officers from graziers and breeders. These were called “walers” because they were a New South Wales stockhorse type – strong, great-hearted animals with the strains of the thoroughbred and semi-draught to give them speed, strength and stamina. On 1st November, 1914, Australia’s First Infantry Division and the first four Light Horse regiments sailed for England in a fleet of transport ships. The first of the Light Horse arrived at Gallipoli in May without their horses. Back with their horses after Gallipoli, they were formidable combatants across the Sinai and Palestine. Some British commanders observed that the light horseman moved with a “lazy, slouching gait, like that of a sleepy tiger” but described how the promise of battle “changes that careless gait, into a live athletic swing that takes him over the ground much quicker than other troops”. They had Light Horse, Torquay, training campdeveloped a reputation as formidable infantrymen. The Turks called them “the White Ghurkas” – a reference to their deadly skill with the bayonet. The Arabs called them “The Kings of the Feathers”. The plume had originally been a battle honour of the Queensland Mounted Infantry for their work in the shearer’s strike of 1891. During WW1 it was adopted by almost all the Light Horse Regiments. It was the proud badge of the light horseman. The most famous of their battles was the attack on Beersheba- the charge of the 4th Light Horse Brigade. Mounted infantrymen and their superb walers had carried out one of the most successful cavalry charges in history – against what seemed impossible odds. They surprised the Turks by charging cavalry-style, when they would normally have ridden close to an objective then dismounted to fight. The fall of Beersheba swung the battle tide against the Turks in Palestine; and changed the history of the Middle East. While 19 men from the Surf Coast Shire served with the 4th Light Horse over the course of WW1, only four were involved in the charge of Beersheba- John GAYLARD, Philip QUINN.(Winchelsea); Wallace FINDLAY (Anglesea); Harry TRIGG (Bambra). After the war, Light Horse units played a key role in the Australian Government’s compulsory military training programme. The Citizen Military Forces (C.M.F.) thrived on the glamour of the wartime Light Horse tradition, ignoring the possibility that motor vehicles would soon replace the horses. When training was no longer compulsory, the C.M.F. regiments declined and horses became more of a luxury during the 1930s depression years of poverty and unemployment. Some regiments were motorised. Then, in 1939, Australia joined Britain in another world war. Training was increased for the militia at both home bases and regional training camps. The camp at Torquay in 1940, commanded by Major General Rankin, was at Divisional strength. By the end of the camp some felt that the Division was ready for active service. Gradually, over the next four years, the Australian Light Horse units were mounted on wheels and tracks and the horses were retired. Six men enlisted at the Torquay camp and another 57 men and women enlisted at Torquay for service in WW2. Those who served in the Militia provided valuable Officers and NCOs and men for the armed services during the war. Each infantry division of the 2nd AIF had a Light Horse regiment attached to it. But the day of the Australian mounted soldier hadn’t quite passed. During World War II, Australia’s 6th Cavalry Regiment formed a mounted unit they called “The Kelly Gang” which did valuable scouting work. In New Guinea, a mounted Light Horse Troop did patrol duty and helped carry supplies. Some fully equipped walers were flown into Borneo for reconnaissance in rugged mountain country. But by the end of the war, in 1945, the horse had disappeared from the Australian Army. References: Australian Light Horse Association www.lighthorse.org.au National Australia Archives Australian War Memorial Surf Coast Shire WW1 memorials www.togethertheyserved.com The Light horse- a Cavalry under Canvas Light Horse, Training Camp, Torquay, WW2 Late in 1939 it was decided to set up a Lighthorse training camp in Torquay to train both men and horses for the battles of the Second World War. Horses, men and equipment came on special trains from all over Victoria and NSW, and as you would expect horseman came from areas such as Omeo and Sale, the Wimmera and the Western District. They arrived at the Geelong racecourse for watering in the Barwon River and then were ridden across the ford at the breakwater and began their 11 mile trek to Torquay. Light Horse, Training Camp, Torquay, WW2 Tent city By the end of January 1940 the camp at Torquay accommodated some 5000 men and 2500 horses of the Second Cavalry Division. The rows of horses, tents and huts near Blackgate Road were quite a sight. While the cavalrymen engaged in exercises on the land and on the beaches, many of the troops took over the Torquay School for special training of men and officers. Mr Bob Pettit local farmer and Councillor for the Barrabool Shire, wrote about the Light horse in the Surf Coast Community News in 1985 saying “They used to travel about the district riding four abreast in one long convoy. To my annoyance they went through my property and shut all the gates behind them. I had certain gates open to let stock in to the water holes and it would take me three -quarters of an hour to follow the horsemen up and put all the gates right again” he continued “the men from the Light Horse were here when the fire went through in March 1940. He recalled an incident when early one morning, as some one blew the bugle, a soldier putting a white sheet on the line frightened the horses. They panicked and ran off in all directions. Six went over the cliff near Bird Rock, five were never found, and the rest were gathered up after nearly a fortnight in the bush around Addiscott and Anglesea" Light Horse, Training Camp, Torquay, WW2, Geelong Parade Geelong parade The training camp culminated in a parade through the streets of Geelong on March 12th 1940. The salute was given at the Town Hall and the troops continued on a route to the You Yang’s for a training exercise. Note-----(see media section for photograph) The Camp was abandoned in mid 1940 as it was deemed unsuitable for training during winter and the cost of a permanent camp could not be justified if it could not be used all year. Historic.......Rare,,,Interpretive.Sepia photographs.set of four ....post card size ....Horses &LighthorsemenNo 1, Lighthorsemen Regiment Geelong 1940......No 2 Light Horse at Breakwater Geelong 1938 to 1940....No 3 Light Horse at Breakwater Geelong 1938 to 1940.....No 4 Light Horse crossing Breakwater camped at Geelong Showgrounds. These markings are on reverse of photographs.light horsemengeelong 1940., world war 2 -
Ballarat Heritage Services
Digital photographs, L.J. Gervasoni, Prof McIntyre and Philip Slobom, c2009
... , along with the Australian Government contributing $330,000..., along with the Australian Government contributing $330,000 ...Environmental approach to preserving Kew Court House 4 June 2010 Paint stripping from older buildings can be a hazardous task. The City of Boroondara has found an environmentally sustainable solution for the works at local heritage icon, the Kew Police Station and Court House. Council used an organic based paint stripping alternative as part of the repairs to the rendering on the building facade. Over nearly three months, the damaged and unsound render was removed, the paint was stripped and the render was repainted. Usually, paint is removed via high pressure water cleaning or sandblasting. This is a harsh method and involves combining extreme high amounts of pressure, water and sand and is highly toxic. It also creates high noise levels. In this 'green' project, Council used a soy bean paint stripper. The process uses a paste-like substance, which is highly effective, non toxic and biodegradable, and applied by hand. Initially, a bandage is applied (much like a leg waxing strip) over the top of paste. It is allowed to dry and then the bandage is stripped off. Noise was kept to a minimum by using the paint stripping alternative. Scrapings and bandages are then bagged and sent to the tip as landfill, so it does not end up in our water supply. The waste and debris don’t run-off into drains, and the bags and bi-products are biodegradable. Studley Ward Councillor Phillip Healey explained that soy bean paint removal is not greatly used in Melbourne or the local government sector. "We know of special cases where it has been used, such as high profile projects like Sydney Harbour Bridge, but Boroondara is one of the first in Victoria to employ this natural plant-based paint-stripping treatment to a large-scale building," Cr Healey said. "What this means is that no harmful substances were used and no injury was caused, soy paint removal also preserves, protects and restores the heritage integrity and decorative stone masonry features of the historic building. "This is a terrific example of our commitment to 'enhancing the environment' which is one of our key directions in the 2010–15 Council Plan." The restoration of the Kew Court House and Police Station is expected to be completed in the year ahead. Council purchased the heritage building in 2007 with the intention for it to be restored and used for the community. The building required extensive renovation including repair of the slate roof and ventilation dome, and the renovation plans include a new foyer, bathrooms and kitchen to ensure the venue meets a broad range of community needs. Heritage Victoria helped fund the cost of the roof repairs with a grant of $250,000, along with the Australian Government contributing $330,000 through its Regional and Local Community Infrastructure Program. Restoration Underway Concept plans for a new performance and exhibition space at the Kew Court House and Police Station have been developed by the City of Boroondara. Two years ago, Council Purchased the Kew Court House and Police Station from the State Government for $825,000 with the intention for it to be restored and used for the community. The building requires extensive renovation including repair of the slate roof and ventilation dome. The renovation plans include a new foyer, bathrooms and kitchen to ensure the venue meets a broad range of community needs. The restoration has been assisted with a Federal Government grant of $330,000 under the Regional and Local Community Infrastructure Program. In 2008, Council was also successful in obtaining a Heritage Victoria Grant of $250,000 towards the costs of the roof repairs. Having satisfied the necessary permit requirements, works are about to commence using slate of a similar quality to the original. The City of Boroondara would like to thank all residents and businesses who have contributed to the Kew Court House Restoration Appeal which has raised $650,000. Special thanks go to a private donor who donated $250,000 and the Kew Senior Citizens Club which contributed $50,000. NEWS FLASH 14th March “Council moves to provide certainty for the restoration of the courthouse”. In a historic meeting last night 13th March 07 at Boroondara Council voted overwhelmingly to complete the purchase of the Kew Court House. The partnership continues between the Kew Court House Restoration Appeal and the Council to see this project through. The project now has the overwhelming support of Council. “It is no longer about “if” it is about “when” the doors will re open” said Prof Peter McIntyre. With the property secured the fundraising can now be completed without the encumbrances and we know the restoration will be undertaken as the funds become available from the appeal. Work can commence as soon as significant fund raising is achieved. “The community, philanthropists and corporations can now enter this project with certainty. 7th March At the Council meeting on 5th March, following many hours of debate a motion was passed by 5 to 4 vote to purchase the Kew Court House and Police Station outright. As of 7th March Cr Dick Menting lodged a rescission notice. This means that there was another Council meeting at 6pm, Tuesday 13th March at Council Chambers. MEDIA RELEASE - Kew, 3rd December 2006 APPEAL LAUNCHED TO SAVE A NATIONAL TREASURE On the morning of Saturday 18th. November 2006 the people of Kew were aroused by the triumphant sound of the Boroondara Brass which had assembled outside the former Kew Police Station. After four long years of neglect, the precinct was being heralded back to life, and what a heartwarming sound it was for all those early shoppers who gathered to hear Cr. Phillip Healey introduce Patrons and supporters of the Save the Court House campaign. Following the speeches, the "Thermometer" was unveiled and the Appeal was formally under way. The various committees have worked very hard during these past weeks. The Kew Court House Arts Association Inc. has been formed under the leadership of Graeme McCoubrie. This organization brings all the amateur theatre groups in the City of Boroondara together with a view to providing them with a permanent performing space within the former Court House. As well as intimate theatre, there will be provision for the staging of instrumental and choral performances before an audience of 40 to 50 people. The Police Station will compliment the function of the Court House by providing a venue for artist groups to exhibit their work, for the Historical Societies of Boroondara to meet, and for study groups to meet, for activities such as play and poetry readings. It will be a Hub for the Arts in Kew. Of course none of this can happen unless the money to pay for restoration of the buildings is raised, and we only have until March 2007 in which to do this. The City of Boroondara, Kew Historical Society and the East Kew Community Bank are working together as a team to make this dream a reality, but WE NEED YOUR HELP. This is a fantastic one-off opportunity, and it must not be wasted. Donations to the Appeal can be made through the Kew East Kew Community Bank or any branch of the Bendigo Bank, or through the Kew Historical Society Inc., P.O. Box 175 Kew Vic 3101. All donations over $2 are tax deductible through the Community Enterprise Foundation. End Media Release Kew Courthouse future looks bright The State Government has accepted an offer from the local government of Boroondara to purchase the former Kew Courthouse and Police Station, Minister for Finance John Lenders said today. In a joint statement with the Mayor of Boroondara, Councillor Jack Wegman, Mr Lenders said he was pleased that agreement had been reached and the contract of sale document finalised. “I welcome the Council making this step towards purchasing this property after recent negotiations,” Mr Lenders said. “The settlement date for the purchase of the property is March 2007. The State government sold the property to Council at a reduced cost of $825,000 for community use. The full value of the buildings on the commercial marketplace was estimated to be about $2million,” he said. Cr Wegman said the Contract of Sale provides that if the funds cannot be raised to restore the property for use as community buildings then they will be returned to the State government. In relation to this additional funding to restore and modernise the buildings, Council and the community will work together over the next eight months, with the encouragement of the State government, Cr Wegman said. Mr Lenders said both he and the Premier had advised the Council of fundraising opportunities to help the Council convert the property for its future use. Cr Wegman noted that applications for funding from the Community Support Fund and for State government heritage grants were being processed. “Council has agreed to a Memorandum of Understanding with the Kew Historical Society outlining arrangements for the Kew Court House Restoration Appeal and Council is delighted with the level of support shown by the community and is confident of a bright future for these historic buildings.” Mr Lenders said the Bracks Government is committed to securing the best outcome when buildings that have once served the community outlive their original purpose. “There is a responsibility for Governments to practice good financial management and achieve the best possible price when an asset is longer used by the State,” he said. “There is also a responsibility to consider the local community. The Government and City of Boroondara have worked hard to achieve a balance between these two interests.” The building ceased to operate as a courthouse in 1971 and as a police station in 2002. Part of the building was also used as a post office and this section of the building was sold by the Commonwealth in 1992 to a private owner and is currently run as a licensed restaurant. It is listed on the State's Heritage Register as a place of historical and architectural significance and is protected by the Victorian Heritage Act. Created: 30 August 2006 Last Update: 10 January 2007 kew, kew court house, phillip slobom, town crier, professor peter mcintyre -
Ballarat Heritage Services
Photograph - Digital photographs, L.J. Gervasoni, Kew Historical Society in the Former Kew Court House, c2009
... , along with the Australian Government contributing $330,000..., along with the Australian Government contributing $330,000 ...Environmental approach to preserving Kew Court House 4 June 2010 Paint stripping from older buildings can be a hazardous task. The City of Boroondara has found an environmentally sustainable solution for the works at local heritage icon, the Kew Police Station and Court House. Council used an organic based paint stripping alternative as part of the repairs to the rendering on the building facade. Over nearly three months, the damaged and unsound render was removed, the paint was stripped and the render was repainted. Usually, paint is removed via high pressure water cleaning or sandblasting. This is a harsh method and involves combining extreme high amounts of pressure, water and sand and is highly toxic. It also creates high noise levels. In this 'green' project, Council used a soy bean paint stripper. The process uses a paste-like substance, which is highly effective, non toxic and biodegradable, and applied by hand. Initially, a bandage is applied (much like a leg waxing strip) over the top of paste. It is allowed to dry and then the bandage is stripped off. Noise was kept to a minimum by using the paint stripping alternative. Scrapings and bandages are then bagged and sent to the tip as landfill, so it does not end up in our water supply. The waste and debris don’t run-off into drains, and the bags and bi-products are biodegradable. Studley Ward Councillor Phillip Healey explained that soy bean paint removal is not greatly used in Melbourne or the local government sector. "We know of special cases where it has been used, such as high profile projects like Sydney Harbour Bridge, but Boroondara is one of the first in Victoria to employ this natural plant-based paint-stripping treatment to a large-scale building," Cr Healey said. "What this means is that no harmful substances were used and no injury was caused, soy paint removal also preserves, protects and restores the heritage integrity and decorative stone masonry features of the historic building. "This is a terrific example of our commitment to 'enhancing the environment' which is one of our key directions in the 2010–15 Council Plan." The restoration of the Kew Court House and Police Station is expected to be completed in the year ahead. Council purchased the heritage building in 2007 with the intention for it to be restored and used for the community. The building required extensive renovation including repair of the slate roof and ventilation dome, and the renovation plans include a new foyer, bathrooms and kitchen to ensure the venue meets a broad range of community needs. Heritage Victoria helped fund the cost of the roof repairs with a grant of $250,000, along with the Australian Government contributing $330,000 through its Regional and Local Community Infrastructure Program. Restoration Underway Concept plans for a new performance and exhibition space at the Kew Court House and Police Station have been developed by the City of Boroondara. Two years ago, Council Purchased the Kew Court House and Police Station from the State Government for $825,000 with the intention for it to be restored and used for the community. The building requires extensive renovation including repair of the slate roof and ventilation dome. The renovation plans include a new foyer, bathrooms and kitchen to ensure the venue meets a broad range of community needs. The restoration has been assisted with a Federal Government grant of $330,000 under the Regional and Local Community Infrastructure Program. In 2008, Council was also successful in obtaining a Heritage Victoria Grant of $250,000 towards the costs of the roof repairs. Having satisfied the necessary permit requirements, works are about to commence using slate of a similar quality to the original. The City of Boroondara would like to thank all residents and businesses who have contributed to the Kew Court House Restoration Appeal which has raised $650,000. Special thanks go to a private donor who donated $250,000 and the Kew Senior Citizens Club which contributed $50,000. NEWS FLASH 14th March “Council moves to provide certainty for the restoration of the courthouse”. In a historic meeting last night 13th March 07 at Boroondara Council voted overwhelmingly to complete the purchase of the Kew Court House. The partnership continues between the Kew Court House Restoration Appeal and the Council to see this project through. The project now has the overwhelming support of Council. “It is no longer about “if” it is about “when” the doors will re open” said Prof Peter McIntyre. With the property secured the fundraising can now be completed without the encumbrances and we know the restoration will be undertaken as the funds become available from the appeal. Work can commence as soon as significant fund raising is achieved. “The community, philanthropists and corporations can now enter this project with certainty. 7th March At the Council meeting on 5th March, following many hours of debate a motion was passed by 5 to 4 vote to purchase the Kew Court House and Police Station outright. As of 7th March Cr Dick Menting lodged a rescission notice. This means that there was another Council meeting at 6pm, Tuesday 13th March at Council Chambers. MEDIA RELEASE - Kew, 3rd December 2006 APPEAL LAUNCHED TO SAVE A NATIONAL TREASURE On the morning of Saturday 18th. November 2006 the people of Kew were aroused by the triumphant sound of the Boroondara Brass which had assembled outside the former Kew Police Station. After four long years of neglect, the precinct was being heralded back to life, and what a heartwarming sound it was for all those early shoppers who gathered to hear Cr. Phillip Healey introduce Patrons and supporters of the Save the Court House campaign. Following the speeches, the "Thermometer" was unveiled and the Appeal was formally under way. The various committees have worked very hard during these past weeks. The Kew Court House Arts Association Inc. has been formed under the leadership of Graeme McCoubrie. This organization brings all the amateur theatre groups in the City of Boroondara together with a view to providing them with a permanent performing space within the former Court House. As well as intimate theatre, there will be provision for the staging of instrumental and choral performances before an audience of 40 to 50 people. The Police Station will compliment the function of the Court House by providing a venue for artist groups to exhibit their work, for the Historical Societies of Boroondara to meet, and for study groups to meet, for activities such as play and poetry readings. It will be a Hub for the Arts in Kew. Of course none of this can happen unless the money to pay for restoration of the buildings is raised, and we only have until March 2007 in which to do this. The City of Boroondara, Kew Historical Society and the East Kew Community Bank are working together as a team to make this dream a reality, but WE NEED YOUR HELP. This is a fantastic one-off opportunity, and it must not be wasted. Donations to the Appeal can be made through the Kew East Kew Community Bank or any branch of the Bendigo Bank, or through the Kew Historical Society Inc., P.O. Box 175 Kew Vic 3101. All donations over $2 are tax deductible through the Community Enterprise Foundation. End Media Release Kew Courthouse future looks bright The State Government has accepted an offer from the local government of Boroondara to purchase the former Kew Courthouse and Police Station, Minister for Finance John Lenders said today. In a joint statement with the Mayor of Boroondara, Councillor Jack Wegman, Mr Lenders said he was pleased that agreement had been reached and the contract of sale document finalised. “I welcome the Council making this step towards purchasing this property after recent negotiations,” Mr Lenders said. “The settlement date for the purchase of the property is March 2007. The State government sold the property to Council at a reduced cost of $825,000 for community use. The full value of the buildings on the commercial marketplace was estimated to be about $2million,” he said. Cr Wegman said the Contract of Sale provides that if the funds cannot be raised to restore the property for use as community buildings then they will be returned to the State government. In relation to this additional funding to restore and modernise the buildings, Council and the community will work together over the next eight months, with the encouragement of the State government, Cr Wegman said. Mr Lenders said both he and the Premier had advised the Council of fundraising opportunities to help the Council convert the property for its future use. Cr Wegman noted that applications for funding from the Community Support Fund and for State government heritage grants were being processed. “Council has agreed to a Memorandum of Understanding with the Kew Historical Society outlining arrangements for the Kew Court House Restoration Appeal and Council is delighted with the level of support shown by the community and is confident of a bright future for these historic buildings.” Mr Lenders said the Bracks Government is committed to securing the best outcome when buildings that have once served the community outlive their original purpose. “There is a responsibility for Governments to practice good financial management and achieve the best possible price when an asset is longer used by the State,” he said. “There is also a responsibility to consider the local community. The Government and City of Boroondara have worked hard to achieve a balance between these two interests.” The building ceased to operate as a courthouse in 1971 and as a police station in 2002. Part of the building was also used as a post office and this section of the building was sold by the Commonwealth in 1992 to a private owner and is currently run as a licensed restaurant. It is listed on the State's Heritage Register as a place of historical and architectural significance and is protected by the Victorian Heritage Act. Created: 30 August 2006 Last Update: 10 January 2007 Colour photograph of the Kew Historical Society holding an event in the Former Kew Court House.kew, kew court house, kew historical society, meeting, city of boroondara -
Flagstaff Hill Maritime Museum and Village
Award - Medal, Nelson Johnson, November 1880
... graciously’. Previously, a week after the shipwreck, the Australian... graciously’. Previously, a week after the shipwreck, the Australian ...This medal for bravery, for rescue of the crew from the shipwreck “Eric the Red” on 4th September 1880, was awarded to one of the crew of the steamer S.S. Dawn by the President of the United States in July 1881. The medal is engraved with the name “Nelson Johnson” (the anglicised version of his Swedish name Neils Frederick Yohnson). It was donated to Flagstaff Hill Maritime Village in 2013 by Nelson’s granddaughter. Nelson had migrated from Sweden to Sydney in 1879. The next year in 1880, aged 24, he was a seaman on the steamship Dawn and involved in the rescue of the survivors of the Eric the Red. Nelson Johnson was a crew member of the S.S. Dawn and was one of the rescue team in the dinghy in the early morning of September 4th 1880. Medals were awarded to the Captain and crew of the S.S. Dawn by the President of the United States, through the Consul-general (Mr Oliver M. Spencer), in July 1881 “ … in recognition of their humane efforts in rescuing the 23 survivors of the American built wooden sailing ship, the Eric the Red, on 4th September 1880.” The men were also presented with substantial monetary rewards and gifts. The city of Warrnambool’s care of the survivors was also mentioned by the President at the presentation, saying that “the city hosted and supported the crew ‘most graciously’. Previously, a week after the shipwreck, the Australian Government had also conveyed its thanks to the Captain and crew of the S.S. Dawn “Captain Griffith Jones, S.S. Dawn, The Hon. Mr Clark desires that the thanks of the Government should be conveyed to you for the prompt, persevering and seamanlike qualities displayed by you, your officers and crew in saving the number of lives you did on the occasion referred to. The hon. The Commissioner has also been pleased to award you a souvenir in commemoration of the occasion, and a sum of 65 pounds to be awarded to your officers and crew according to annexed scale. I am, &c, W Collins Rees, for and in the absence of the Chief Harbour Master.” The Awards are as follows: - Crew of DAWN'S lifeboat-Chief Officer, Mr G. Peat, 15 pounds; boat's crew-G. Sterge, A.B., 5 pounds; T. Hammond, A.B., 5 pounds; J. Black, A.B., 5 pounds; H. Edwards, A.B., 5 pounds. Dinghy's Crew-Second Officer, Mr Christie, 10 pounds; boat's crew -F. Lafer, A.B., 5 pounds; W. Johnstone, A.B., 5 pounds; Mr Lear, provedore, 5 pounds; Mr Dove, purser, 5 pounds. Captain Jones receives a piece of plate. (from “Wreck of the ship Eric the Red” by Jack Loney) The medal’s history, according to the Editor of ‘E-Sylum’ (the newsletter of The Numismatic Bibliomania Society “… appears to be an example of an 1880 State Department medal, catalogued as LS-3 (page 322 of R. W. Julian's book, Medals of the United States Mint: The First Century 1792-1892). The reverse is mostly blank for engraving, surrounded by a thin wreath. It was designed by George Morgan, chief engraver for the Philadelphia Mint, and struck in gold, silver and bronze. The one pictured here (in The Standard newspaper, 2nd July 2013) appears to be silver.” The following is an account of the events which led to the awarding of this medal. The American ship Eric the Red was a wooden, three-masted clipper ship. She had 1,580 tons register and was the largest full-rigged ship built at Bath, Maine, USA in 1871. She was built and registered by Arthur Sewall, later to become the partnership E. & A. Sewall, the 51st ship built by this company. The annually-published List of Merchant Vessels of the U.S. shows Bath was still the home port of Eric the Red in 1880. The vessel was named after the Viking discoverer, Eric ‘the Red-haired’ Thorvaldsson, who was the first European to reach the shores of North America (in 980AD). The ship Eric the Red at first traded in coal between America and Britain, and later traded in guano nitrates from South America. In 1879 she was re-metalled and was in first-class condition. On 10th June 1880 (some records say 12th June) Eric the Red departed New York for Melbourne and then Sydney. She had been commissioned by American trade representatives to carry a special cargo of 500 exhibits (1400 tons) – about a quarter to a third of America’s total exhibits - for the U.S.A. pavilion at Melbourne’s first International Exhibition. The exhibits included furniture, ironmongery, wines, chemicals, dental and surgical instruments, paper, cages, bronze lamp trimmings, axles, stamped ware, astronomical and time globes, samples of corn and the choicest of leaf tobacco. Other general cargo included merchandise such as cases of kerosene and turpentine, brooms, Bristol's Sarsaparilla, Wheeler and Wilson sewing machines, Wheeler’s thresher machine, axe handles and tools, cases of silver plate, toys, pianos and organs, carriages and Yankee notions. The Eric the Red left New York under the command of Captain Zaccheus Allen (or some records say Captain Jacques Allen) and 24 other crew including the owner’s son third mate Ned Sewall. There were also 2 saloon passengers on board. The ship had been sailing for an uneventful 85 days and the voyage was almost at its end. As Eric the Red approached Cape Otway there was a moderate north-west wind and a hazy and overcast atmosphere. On 4th September 1880 at about 1:30 am Captain Allen sighted the Cape Otway light and was keeping the ship 5-6 miles offshore to stay clear of the hazardous Otway Reef. However, he had badly misjudged his position. The ship hit the Otway Reef about 2 miles out to sea, southwest of the Cape Otway light station. Captain Allen ordered the wheel to be put ‘hard up’ thinking that she might float off the reef. The sea knocked the helmsman away from the wheel, broke the wheel ropes and carried away the rudder. The lifeboats were swamped, the mizzenmast fell, with all of its riggings, then the mainmast also fell and the ship broke in two. Some said that the passenger Vaughan, who was travelling for his health and not very strong, was washed overboard and never seen again. The ship started breaking up. The forward house came adrift with three of the crew on it as well as a longboat, which the men succeeded in launching and keeping afloat by continually bailing with their sea boots. The captain, the third mate (the owner’s son) and others clung to the mizzenmast in the sea. Then the owner’s son was washed away off the mast. Within 10 minutes the rest of the ship was in pieces, completely wrecked, with cargo and wreckage floating in the sea. The captain encouraged the second mate to swim with him to the deckhouse where there were other crew but the second mate wouldn’t go with him. Eventually, the Captain made it to the deckhouse and the men pulled him up. At about 4:30 am the group of men on the deckhouse saw the lights of a steamer and called for help. At the same time, they noticed the second mate and the other man had drifted nearby, still on the spur, and pulled them both onto the wreck. The coastal steamer SS Dawn was returning to Warrnambool from Melbourne, and its sailing time was different to its usual schedule. She was built in 1876 and bought by the Portland and Belfast Steam Navigation Co. in 1877. At the time of this journey, she was commanded by Captain Jones and was sailing between Melbourne and Portland via Warrnambool. The provedore the Dawn, Benjamin Lear, heard cries of distress coming through the portholes of the saloon. He gave the alarm and the engines were stopped. Cries could be heard clearly, coming from the land. Captain Jones sent out crew in two boats and fired off rockets and blue lights to illuminate the area. They picked up the three survivors who were in the long boat from Eric the Red. Two men were picked up out of the water, one being the owner’s son who was clinging to floating kerosene boxes. At daylight, the Dawn then rescued the 18 men from the floating portion of the deckhouse, which had drifted about 4 miles from where they’d struck the reef. Shortly after the rescue the deckhouse drifted onto breakers and was thrown onto rocks at Point Franklin, about 2 miles east of Cape Otway. Captain Jones had signalled to Cape Otway lighthouse the number of the Eric the Red and later signalled that there was a wreck at Otway Reef but there was no response from the lighthouse. The captain and crew of the Dawn spent several more hours searching unsuccessfully for more survivors, even going back as far as Apollo Bay. On board the Dawn the exhausted men received care and attention to their needs and wants, including much-needed clothing. Captain Allen was amongst the 23 battered and injured men who were rescued and later taken to Warrnambool for care. Warrnambool’s mayor and town clerk offered them all hospitality, the three badly injured men going to the hospital for care and others to the Olive Branch Hotel, then on to Melbourne. Captain Allen’s leg injury prevented him from going ashore so he and three other men travelled on the Dawn to Portland. They were met by the mayor who also treated them all with great kindness. Captain Allen took the train back to Melbourne then returned to America. Those saved were Captain Zaccheus Allen (or Jacques Allen), J. Darcy chief mate, James F. Lawrence second mate, Ned Sewall third mate and owner’s son, John French the cook, C. Nelson sail maker, Clarence W. New passenger, and able seamen Dickenson, J. Black, Denis White, C. Herbert, C. Thompson, A. Brooks, D. Wilson, J. Ellis, Q. Thompson, C. Newman, W. Paul, J. Davis, M. Horenleng, J. Ogduff, T. W. Drew, R. Richardson. Four men had lost their lives; three of them were crew (Gus Dahlgreen ship’s carpenter, H. Ackman steward, who drowned in his cabin, and George Silver seaman) and one a passenger (J. B. Vaughan). The body of one of them had been found washed up at Cape Otway and was later buried in the lighthouse cemetery; another body was seen on an inaccessible ledge. Twelve months later the second mate James F. Lawrence, from Nova Scotia passed away in the Warrnambool district; an obituary was displayed in the local paper. Neither the ship nor its cargo was insured. The ship was worth about £15,000 and the cargo was reportedly worth £40,000; only about £2,000 worth had been recovered. Cargo and wreckage washed up at Apollo Bay, Peterborough, Port Campbell, Western Port and according to some reports, even as far away as the beaches of New Zealand. The day after the wreck the government steamship Pharos was sent from Queenscliff to clear the shipping lanes of debris that could be a danger to ships. The large midship deckhouse of the ship was found floating in a calm sea near Henty Reef. Items such as an American chair, a ladder and a nest of boxes were all on top of the deckhouse. As it was so large and could cause danger to passing ships, Captain Payne had the deckhouse towed towards the shore just beyond Apollo Bay. Between Apollo Bay and Blanket Bay, the captain and crew of Pharos collected Wheeler and Wilson sewing machines, nests of boxes, bottles of Bristol’s sarsaparilla, pieces of common American chairs, axe handles, a Wheelers’ Patent thresher and a sailor’s trunk with the words “A. James” on the front. A ship’s flag-board bearing the words “Eric the Red” was found on the deckhouse; finally, those on board the Pharos had the name of the wrecked vessel. During this operation, Pharos came across the government steamer Victoria and also a steamer S.S. Otway, both of which were picking up flotsam and wreckage. A whole side of the hull and three large pieces of the other side of the hull, with some of the copper sheathing stripped off, had floated onto Point Franklin. Some of the vessels' yards and portions of her masts were on shore. The pieces of canvas attached to the yards and masts confirmed that the vessel had been under sail. The beach there was piled with debris several feet high. There were many cases of Diamond Oil kerosene, labelled R. W. Cameron and Company, New York. There were also many large planks of red pine, portions of a small white boat and a large, well-used oar. Other items found ashore included sewing machines (some consigned to ‘Long and Co.”) and notions, axe and scythe handles, hay forks, wooden pegs, rolls of wire (some branded “T.S” and Co, Melbourne”), kegs of nails branded “A.T. and Co.” from the factory of A. Field and Son, Taunton, Massachusetts, croquet balls and mallets, buggy fittings, rat traps, perfumery, cutlery and Douay Bibles, clocks, bicycles, chairs, a fly wheel, a cooking stove, timber, boxes, pianos, organs and a ladder. (Wooden clothes pegs drifted in for many years). There seemed to be no personal luggage or clothing. The Pharos encountered a long line, about one and a half miles, of f locating wreckage about 10 miles off land, southeast of Cape Otway, and in some places about 40 feet wide. It seemed that more than half of it was from Eric the Red. The ship’s crew rescued 3 cases that were for the Melbourne Exhibition and other items from amongst the debris. There were also chairs, doors, musical instruments, washing boards, nests of trunks and flycatchers floating in the sea. Most of the goods were saturated and smelt of kerosene. A section of the hull lies buried in the sand at Parker River Beach. An anchor with a chain is embedded in the rocks east of Point Franklin and a second anchor, thought to be from Eric the Red, is on display at the Cape Otway light station. (There is a photograph of a life belt on the verandah of Rivernook Guest House in Princetown with the words “ERIC THE RED / BOSTON”. This is rather a mystery as the ship was registered in Bath, Maine, USA.) Parts of the ship are on display at Bimbi Park Caravan Park and at Apollo Bay Museum. Flagstaff Hill Maritime Village also has part of the helm (steering wheel), a carved wooden sword (said to be the only remaining portion of the ship’s figurehead; further research is currently being carried out), a door, a metal rod, samples of wood and this medal awarded for the rescue of the crew. Much of the wreckage was recovered by the local residents before police and other authorities arrived at the scene. Looters went to great effort to salvage goods, being lowered down the high cliff faces to areas with little or no beach to collect items from the wreckage, their mates above watching out for dangerous waves. A Tasmanian newspaper reports on a court case in Stawell, Victoria, noting a man who was caught 2 months later selling tobacco from the wreckage of Eric the Red. Some of the silverware is still treasured by descendants of Mr Mackenzie who was given these items by officials for his help in securing the cargo. The gifts included silver coffee and teapots, half a dozen silver serviette rings and two sewing machines. A Mr G.W. Black has in his possession a medal and a purse that was awarded to his father, another Dawn crew member who was part of the rescue team. The medal is similarly inscribed and named “To John Black ….” (from “Shipwrecks” by Margaret E. Mackenzie, 3rd edition, published 1964). The wreck and cargo were sold to a Melbourne man who salvaged a quantity of high-quality tobacco and dental and surgical instruments. Timbers from the ship were salvaged and used in the construction of houses and shed around Apollo Bay, including a guest house, Milford House (since burnt down in bushfires), which had furniture, fittings and timber on the dining room floor from the ship. A 39.7-foot-long trading ketch, the Apollo, was also built from its timbers by Mr Burgess in 1883 and subsequently used in Tasmanian waters. It was the first attempt at shipbuilding in Apollo Bay. In 1881 a red light was installed about 300 feet above sea level at the base of the Cape Otway lighthouse to warn ships when they were too close to shore; It would not be visible unless a ship came within 3 miles from it. This has proved to be an effective warning. Nelson Johnson married Elizabeth Howard in 1881 and they had 10 children, the father of the medal’s donor being the youngest. They lived in 13 Tichbourne Place, South Melbourne, Victoria. Nelson died in 1922 in Fitzroy Victoria, age 66. In 1895 the owners of the S.S. Dawn, the Portland and Belfast Steam Navigation Co., wound up and sold out to the Belfast Company who took over the Dawn for one year before selling her to Howard Smith. She was condemned and sunk in Suva in 1928. The State Library of Victoria has a lithograph in its collection depicting the steamer Dawn and the shipwrecked men, titled. "Wreck of the ship Eric the Red, Cape Otway: rescue of the crew by the Dawn". The medal for bravery is associated with the ship the “The Eric the Red which is historically significant as one of Victoria's major 19th century shipwrecks. (Heritage Victoria Eric the Red; HV ID 239) The wreck led to the provision of an additional warning light placed below the Cape Otway lighthouse to alert mariners to the location of Otway Reef. The site is archaeologically significant for its remains of a large and varied cargo and ship's fittings being scattered over a wide area. The site is recreationally and aesthetically significant as it is one of the few sites along this coast where tourists can visit identifiable remains of a large wooden shipwreck, and for its location set against the background of Cape Otway, Bass Strait, and the Cape Otway lighthouse.“ (Victorian Heritage Database Registration Number S239, Official Number 8745 USA) This medal was awarded to Nelson Johnson by the U.S. President for bravery in the rescue of the Eric the Red crew. The obverse of the round, solid silver medal has an inscription around the rim. In the centre of the medal is the head of Liberty to the left, hair in a bun, with a sprig of leaves in the top left of a band around her head. There is a 6-pointed star below the portrait, between the start and end of the inscription. There are two raised areas on the rim, horizontally opposite each other, from the edge to just below the lettering and coinciding with the holes drilled in the edge. Slightly right of the top is a round indentation in the rim. The reverse has a wreath of leaves as a border, joined at the bottom by a ribbon bow. In the centre of the medal is an inscription, decorated with 3-pronged design and dots. The edge is plain with 2 small, rough and uneven holes horizontally opposite to each other, as though they had been used for mounting the medal at some stage. The medal has a matte finish on both sides and is slightly pitted and scratched.“PRESENTED BY THE PRESIDENT OF THE UNITED STATES” around the perimeter of the obverse of the medal. “TO / Nelson Johnson, / seaman of the British, / str “Dawn”, for bravery, / at risk of life, / in / rescuing the crew of / the American Ship / “Eric the Red.” “M” on obverse, truncation of the portraitwarrnambool, flagstaff hill, flagstaff hill maritime village, maritime museum, shipwreck coast, great ocean road, shipwreck artefact, eric the red, zaccheus allen, sewall, 1880, melbourne exhibition, cape otway, otway reef, victorian shipwreck, medal, nelson johnson, neils frederick yohnson, s.s. dawn, george morgan, hero -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Document, photocopy of Plan of Beaumaris 1853, c1960
Beaumaris includes two early estates in the parish of Moorabbin developed by Josiah Holloway from 1852. Named Beaumaris Town and Beaumaris Estate (after the pastoral run in the area and ultimately after Beaumaris in Wales), the lots comprising them were marketed by Mr Holloway's suggesting that the railway was imminent and a canal would be built. The township developed slowly, a Post Office opened on 1 March 1868, but was replaced next month by Gipsy Village office (now Sandringham) In 1862 Beaumaris was one of the early settler communities within the boundaries of the Moorabbin District Roads Board , the region’s first local government authority. Beaumaris is a suburb in Melbourne, Victoria, Australia, 19 km south-east from Melbourne's central business district. .Since the Amalgamation of Councils 1994 the local government area is the City of Bayside which includes Brighton. A Photocopy of the Plan of Beaumaris 1853 A3moorabbin, county of bourke, brighton, beaumaris, pioneers, early settlers. market gardeners, cheltenham, king. john, holloway josiah, whorral charles, arthur’s seat road, nepean highway, morabbin district roads board, sandringham, mordialloc, mentone -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Document, laminated photocopy of 'Plan of Moorabbin 1850', 1853
Weston Bate, 'A history of Brighton' 1962 informs us that in 1840 Henry Dendy, who was a farmer in Sussex England, paid 5,120 pounds sterling @ 1pound per acre for a 'Special Survey of Land in Port Phillip , Australia. Henry arrived in Australia in 1841 on the frigate 'York' with his wife, son, and three servants. He also took advantage of the Government Assistance of Free Immigrants for Survey Purchasers, to help on his estate and persuaded some Sussex men with their families to follow him. However when Dendy arrived in Port Phillip he found that LaTrobe and Gipps were trying to raise the price of land close to Town to 15pounds per acre. Dendy asked merchant J.B.Were to manage his affairs and they went ahead with plans to subdivide the surveyed land called 'The Brighton Estate' This area of land extended easterly from the Port Phillip Bay to East Boundary Road and from North Road to South Road in the Parish of Bourke Victoria. The Privy Council, England , decide that Henry Dendy could purchase the land at 1pound per acre. Land Sales proceeded from 1844 as more immigrants established market gardens, farms and varied businesses in 'Moorabbin'This is a photocopy of a Map of the Moorabbin , County of Bourke c1850 showing the 'Henry Dendy Special Survey 1841'A photocopy of a Map of the Moorabbin , County of Bourke c1850. A3 size laminatedLeft corner : MOORABBIN / COUNTY OF / BOURKEdendy henry, dendy special survey 1841, brighton, moorabbin, ormond, bentleigh, market gardeners, pioneers early settlers, box william, box elizabeth -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Manufactured Glass, bottle and measure 'VAXOS', 1946
TROVE ‘Advertisement April 2nd 1941 WHY VAXOS No. 1 MUST NOT BE CONFUSED WITH NOSE DROPS, INHALANTS, OR OTHER TEMPORARY PALLIATIVES. Vaxos No. 1 is what medical science terms an Endotoxoid, an oral vaccine, and an entirely new form of antigen with very high immunising powers. Vaxos No. I contains only pure antigens and is entirely free of herbs, drugs, or bacterial organ- isms, and is, therefore, perfectly safe for anyone to take. Vaxos No. I is produced by an Eminent Medical Bacteriologist UNDER GOVERNMENT LICENCE.and it is the ONLY PRODUCT EMANATING FROM THE LABORATORY OF THE ORIGINAL DISCOVERER OF THIS METHOD OF TREATMENT AND IMMUNISATION. As such, it must not be confused with cheaply prepared substitutes.A clear glass bottle with a plastic screw top and a clear glass, cylindrical measure with graduations of 10 to 25 drops in a cardboard box c1946. ‘VAXOS’ was used to treat respiratory infections BOTTLE ; VAXOS / No. 1 / Vaccine Products (Aust.) / Australaisian Distributors / H.C.Sleigh / (Pharmaceutical Dept.) 582 Little Colins St. Melbourne C1 / BATCH No. 1215 / Left side ; for Acute / Common Cold / Bronchitis / Antrum and / sinus troubles / Manfd. Nov.,1946 / Nett Contents 15cc. Right side : for Chronic / Catarrh / Hay Fever / Bronchial / Asthma, etc. / EXPIRY / Nov., 1948 / Medium Size Bottle . MEASURE; Paper adhering to glass - VAXOS DROPS 10, 15, 25 / Front BOX - Lid MEDIUM SIZE / BOTTLE / FOR ACUTE CASES / Base ; VAXOS / No. 1 / A colloidal polyvalent Antigen designed to / relieve and confer immunity from / respiratory tract disorders........./ Left side DIRECTIONS / ............. Batch No. 1215 / Right side ; VAXOS No. 1 / Contents ........Vaxos is made under / Government Licence by a / qualified medical bacteriologist . Back Nett. Contents 15cc / Price 12/6 / VACCINE PRODUCTS / (AUST ) /........ Manfd. NOV., 1946 / EXPIRY NOV., 1948pharmacy, medicines, early settlers, market gardeners, moorabbin, bentleigh, cheltenham, vaxos medicines, h.c.sleigh pty ltd, bacteriology, c.s.i.r.o departments melbourne, vaccine products australia, respiratory diseases -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Manufactured Glass, bottle cream 300ml, post 1966
General use of milk bottles is usually associated with the 20th century , with occasional late 19th century. Initially, milk was delivered in cans stacked upright in a wagon. At each stop, someone, usually the wife of the house, would bring a pitcher or a pail to the wagon, and the milk man would ladle out the desired amount of milk. Needless to say, this practice was hazardous and unhealthy. The New York State Tuberculosis Association condemned the practice of selling “loose milk,” still being conducted in New York City in 1922, as a major cause for the spread of tuberculosis (Glass Container1922:8). It is probable that the delivery of milk in glass containers became universal shortly thereafter Melbourne Glass Bottle Works Co Pty Ltd (1903 - 1915) Registered in Victoria in 1903 the company amalgamated with the Waterloo Glass Bottle Works Ltd in 1915 to form Australian Glass Manufacturers Company, Limited. Melbourne Glass Bottle Works Spotswood 1872- 1915 The Melbourne Glass Bottle Works (former), comprising a complex of buildings constructed between 1880 and 1940, at Booker Street, Douglas Parade, 2-38 Hudson Road, Raleigh Street and Simcock Avenue, Spotswood. The former glassworks was established in 1890 and originally made bottles for pharmacists Felton Grimwade before it was sold to the State Government by US multinational, OI glass manufacturers Australian Consolidated Industries Ltd was formed in 1939 when Australian Glass Manufacturers Co Ltd changed it's name to reflect diversification into building products. 1982 a new holding company was formed and the company's name was changed to A.C.I. International Ltd. Metric Measure was introduced in Australia 14/2/1966 A clear glass, cream bottle 300ml Around Shoulder : NO DEPOSIT NO RETURN 300ML CREAM Around Base: (makers stamp) M 10116 38 melbourne, early settlers, market gardeners, moorabbin, bentleigh, cheltenham, manufactured glass, milk bottles, dairy farmers, dairies, decimalisation in australia 1966, metric measures, melbourne glass bottle works, spotswood, felton grimwade pty ltd, pharmacists, -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Manufactured Glass, jar, 'Pickle', mid 20thC
In 1872 Felton and Grimwade established the Melbourne Glass Bottle Works which grew into Australian Consolidated Industries (ACI). .Melbourne Glass Bottle Works Co Pty Ltd (1903 - 1915) Registered in Victoria in 1903 the company amalgamated with the Waterloo Glass Bottle Works Ltd in 1915 to form Australian Glass Manufacturers Company, Limited. Melbourne Glass Bottle Works Spotswood 1872- 1915 The Melbourne Glass Bottle Works (former), comprising a complex of buildings constructed between 1880 and 1940, at Booker Street, Douglas Parade, 2-38 Hudson Road, Raleigh Street and Simcock Avenue, Spotswood. The former glassworks was established in 1890 and originally made bottles for pharmacists Felton Grimwade before it was sold to the State Government by US multinational, OI glass manufacturers. Australian Consolidated Industries Ltd was formed in 1939 when Australian Glass Manufacturers Co Ltd changed it's name to reflect diversification into building products. 1982 a new holding company was formed and the company's name was changed to A.C.I. International Ltd. A clear glass jar made for the Australian Pickle Co. Pty. Ltd.Around base; THIS BOTTLE ALWAYS REMAINS THE PROPERTY OF THE AUSTRALIAN PICKLE CO. PTY. LTD. Base; (makers mark) / IS 1279 / 3 melbourne, early settlers, market gardeners, moorabbin, bentleigh, cheltenham, manufactured glass, austalian pickle co.pty.ltd, australian glass manufacturing company ltd, felton grimwade pty ltd, pharmacists, bottles, melbourne glass bottle works, -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Glass hand blown, bottle with cork stopper, 20thC
Melbourne Glass Bottle Works Co Pty Ltd (1903 - 1915) Registered in Victoria in 1903 the company amalgamated with the Waterloo Glass Bottle Works Ltd in 1915 to form Australian Glass Manufacturers Company, Limited. Melbourne Glass Bottle Works Spotswood 1872- 1915 The Melbourne Glass Bottle Works (former), comprising a complex of buildings constructed between 1880 and 1940, at Booker Street, Douglas Parade, 2-38 Hudson Road, Raleigh Street and Simcock Avenue, Spotswood. The former glassworks was established in 1890 and originally made bottles for pharmacists Felton Grimwade before it was sold to the State Government by US multinational, OI glass manufacturers A small clear glass bottle with a piece of the cork stopper* pharmacy, medicines, asthma, respiratory diseases, early settlers, market gardeners, moorabbin, bentleigh, cheltenham, glass bottles, melbourne glass bottle works. felton grimwade, spotswood, -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Manufactured Glass, bottle PURA Cream 4oz, 20thC
There are two distinct types of milk consumption: a natural source of nutrition for all infant mammals and a food product for humans of all ages that is derived from other animals. Milk is a key contributor to improving nutrition and food security particularly in developing countries. Improvements in livestock and dairy technology offer significant promise in reducing poverty and malnutrition in the world. Pasteurization is used to kill harmful micro-organisms by heating the milk for a short time and then immediately cooling it. In the past, milk was always packaged in glass milk bottles The first glass bottle packaging for milk was used in the 1870s. The first company to do so may have been the New York Dairy Company in 1877 with a small glass lid and a tin clip. Lewis P. Whiteman holds the first patent for a glass milk bottle c1884,which was sealed with a waxed paper disk. The Express Dairy Company in England began glass bottle production in 1880. Melbourne Glass Bottle Works Spotswood 1880 - 1990. Milk cartons first came to Australia in 1958, when the Model Dairy in Melbourne began packaging milk in 150 ml and 500 ml cartons. At the time, 160,000 new glass bottles were needed in Melbourne alone every week to keep up the delivery of 1.3 million bottles of milk a day. n 1970, the blow-moulded disposable plastic milk bottle was introduced. In 1987, only about 2% of milk was still being sold in glass bottles. Glass milk bottles are now rare .Melbourne Glass Bottle Works Co Pty Ltd (1903 - 1915) Registered in Victoria in 1903 the company amalgamated with the Waterloo Glass Bottle Works Ltd in 1915 to form Australian Glass Manufacturers Company, Limited. Melbourne Glass bottle works Spotswood 1872- 1915 The Melbourne Glass Bottle Works (former), comprising a complex of buildings constructed between 1880 and 1940, at Booker Street, Douglas Parade, 2-38 Hudson Road, Raleigh Street and Simcock Avenue, Spotswood. The former glassworks was established in 1890 and originally made bottles for pharmacists Felton Grimwade before it was sold to the state government by US multinational, OI glass manufacturers A clear glass 4 oz bottle for PURA Creamery Carnegie. . A waxed cardboard disc lid from Devonshire Dairy Hepburn Springs is not related to this bottle but is an example of the typical lid used during this period Bottle : PURA / CREAMERY / CARNEGIE / CONTENTS 4 OZS Base : 120 Lid circumference : DEVONSHIRE DAIRY HEPBURN SPRINGS:/ Lid centre: PURE MILK/ T.B. TESTED COWS / PHONE 223 melbourne glass bottle works, spotswood melbourne, milk, dairy, dairy produce, dairy farmers, market gardeners, pioneers, early settlers, moorabbin, cheltenham, pasteur louis, pasteurization, pura creamery carnegie, devonshire dairy, hepburn springs, waxed paper milk bottle lids, felton grimwade co ltd, -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Education, Booklet, Australian Copy Book 1907, c1907
School children were taught to print and write with lead pencil using this type of copy book. When proficient they were permitted to begin using dipping pen and ink. Rossiter Whelan was an early settler's child who attended Cheltenham State School c 1907This is a typical Copy Book used by school children learning to print and write with lead pencil and dipping pens and ink c 1907'Copy Book' for learning to write for 1st class Cheltenham State School 1907Rossiter Whelan / AUSTRALIAN COPY BOOK / LOWER FIRST CLASS / FOR TRACING WITH LEAD PENCIL OR PEN / INTRODUCTORY BOOK, PRICE ONE PENNY /MELBOURNE PUBLISHED FOR THE EDUCATION DEPARTMENT BY ROBT. S, BAIN, GOVERNMENT PRINTER -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Certificate - Certificate of General Nursing - Mary Beatrice Josephine Maggs, 1919
Mary Beatrice Josephine Maggs (1892-1960) came to Australia in 1914 and was a governess for Mr Alfred Rutter Clarke at his mansion "Merriwa" on Orrong Road, Toorak. Mary returned to England in 1919 and furthered her studies in nursing. When she returned to Australia in 1924 she was head nurse at a number of Hospitals, Private Hospital in Loch, Tatura Bush Nursing Home, Mooroopna. Certificate of General Nursing 1919 of Mary B MaggsThe Royal Victorian Trained Nurses Association / CERTIFICATE FOR GENERAL NURSING / Signed by President, Member of Council, Secretarymaggs mary, medicine, nursing, thompson jean, hospitals, early settlers, pioneers, melbourne hospital -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Document, Certificate of Discharge 1st AIF Alonzo Sheldrake Box 22/5/1917 2pp, 1917
Alonzo Sheldrake Box 1851- 1958 was the nephew of William and Elizabeth Box who migrated from Sussex England 1850 and established a market garden in the area of Henry Dendy's 'Special Survey 1841 Brighton, in the Parish of Moorabbin County of Bourke. Alonzo was a pavier, who laid blue stone for drains, and enlisted in 1914 to serve in Gallipoli, and France . He returned to Bentleigh 1917 and married Mary Louisa Closter 1918 . Alonzo Box was a member of the pioneering Box family who emigrated from Sussex England 1850 and established market gardens in the the Parish of Moorabbin, County of Bourke. Alonzo Box enlisted in the 1st AIF in 1914 and served in Gallipoli and France. Document, Certificate of Discharge No. 1054 Australian Imperial Expeditionary Force 1917, Alonzo Sheldrake Box Sergeant as Printed by Government Printer box george b 1808, box william, box elizabeth avis, box alonzo sheldrake, closter mary louisa, wedding dress box cottage museum, paviers, road building, world war 1 1914-1918, gallipoli, somme battles, smith j l; smith mary ann, stanley helen, smith vic, chaff cutter, horse drawn carts, early settlers, bentleigh, mckinnon, parish of moorabbin, city of moorabbin, county of bourke, moorabbin roads board, shire of moorabbin, henry dendy's special survey 1841, were j.b.; bent thomas, o'shannassy john, king richard, charman stephen, highett william, ormond francis, maynard dennis, market gardeners, vineyards, orchards -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Documents, x3 Printed, Census Lustdorf 1914,15, Swiss Citizen Pass1915, 1914-1915
August Rietmann (1877-1951) of Lustdorf ,Switzerland, married Maria Frieda Oesschlager (2/21878- 22/7/1942) of Baden Baden, Germany on 6/8/1910 In 1915 August and his wife Frieda migrated to Melbourne, Victoria, Australia. They leased Box Cottage, Ormond in 1917 and raised two children, Stefanie (1918 -2006) and William (1920- 1997). 1935 August purchased the property and the family used the Cottage during the day and slept in the Front House. August was a monumental mason, potter and sculptor, and was employed at Corbens Ltd Clifton Hill, to carve war memorials in Victoria post WW1 c 1915-1922. During the 1920's August set up his own business in pressed cement making pot plants, columns,paving slabs and lampstands. He continued to carve headstones and figures and took contract work for Artists eg Paul Mountford. He built a workshop in the Barn and used the Cottage for plaster moulding. His son William joined the business and and the family continued to use the site after August died in 1951. Rietmann Landscaping Ltd moved to Bay Road Highett in 1953 and later to Carrum. The land, containing the Box Cottage, was sold to Lewis Timber Pty Ltd in 1970 and Mr Lewis proposed that Moorabbin City Council should preserve the heritage Cottage. In 1984 the Cottage was dismantled and reconstructed in the adjacent Joyce Park. The Rietman family is an example of the diverse nationalities that lived and worked productively in Moorabbin Shire 1871–1933 , the City of Moorabbin 1934-1994 and continues today in the Cities of Glen Eira, Kingston, Bayside, and Monash. August, a sculptor and stone mason, was employed by Corben Pty Ltd Clifton Hill to carve WW1 Memorials before establishing his own successful masonry business in the Box Cottage during the latter 1920s. After becoming interested in pressed cement casting, he took on apprentices (1930s Depression) and among his products were garden furniture, pots and also street lamp standards, some of which were installed in St Kilda Road. After August’s death in 1951, his family continued the business ‘Rietman’s Landscaping Ltd.’, at Highett and Carrum.Documents a) Census 1914 Household Register Lustdorf, Switzerland; b) Census 1915 Household Register Lustdorf, Switzerland; c) Swiss Confederation Citizen ship I.D Pass Frieda Rietman 4/8/1915;Printed Government Documents in Swiss Language lustdorf switzerland, rietmann august, rietman august, rietmann frieda, rietman frieda, stonnington city town hall, war memorials, world war 1 1914-1918, rietman stefanie, rennick stefanie, francis stefanie, rietman william, rietman ray, mountford paul, malvern city town hall,box cottage museum ormond, box william, box elizabeth, joyce park ormond, rietman's landscaping pty ltd, bay road highett, macrobertson pty ltd, coleraine soldier memorial 1921,, box cottage museum ormond -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Clothing - Adult, Singlet wool nylon mix, Hospital, c1950
A nylon wool mixture sleeveless singlet with drawstring at neck that was possibly worn by George Reed when a patient at Heatherton Sanitarium c1950 "1909 'Consumption' or Tuberculosis was an infectious, debilitating disease. The main treatment of this ailment was a long period of rest, fresh air, sunshine and good food, so what better place to build a ‘Sanatorium’ than in the rural area they called Heatherton and affiliate it with the Melbourne Benevolent Asylum. After World War II c1947, the Commonwealth Government Health Department took over the Heatherton Hospital to deal with tuberculosis when it became a major problem in Australia. This was during the time when the Government conducted X-Ray surveys on a state by state basis. It was compulsory at that time for everyone to have a chest X-Ray. " ( KCC History Website 2020 , A.Bennett) Heatherton Sanitarium, situated in the City of Moorabbin, was the main rehabilitation hospital in Melbourne for patients suffering from 'Consumption' or Tuberculosis in 1909-1978 A wool / nylon mixture sleeveless Singlet with drawstring at neck that was used by George Reed at Heatherton Sanitarium c1950, Back neck ; ( ? Ward bed) 108Bclothing, singlets, underwear, heatherton sanitarium 1950, consumption, tuberculosis, rehabiltation, tb vaccine c1960, chest x-rays 1950, melbourne benevelont asylum cheltenham, brighton, moorabbin, pioneers, dressmaking, market gardeners, early settlers, craftwork, bentleigh, lacework, moorabbin shire reed george, dairy farms, fruit orchards -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Photograph - William Box b 1834, c1880
William Box, was born in Withyham, Sussex England in 1834 and married Elizabeth Avis Box in 1855 . They sailed to Australia in the same year aboard the SS Omega. At first they rented a block of land on Jasper Road East Brighton ( now McKinnon / Ormond) that was part of the Henry Dendy Special Survey 1841. An early settlers’ Cottage on the site became their home and they farmed the land and were soon able to purchase the block. William & Elizabeth raised 13 children and the Cottage was extended as required. In 1984 that early settler cottage was found in a dilapidated state by Laurie Lewis, in his Timber Yard in Jasper Rd Ormond. The Moorabbin City Council, Federal Government, Mr Lewis and CMHS members reconstructed the Cottage in 1985 . Box Cottage Museum, a reconstruction of an early settler hut, is named after the Box family who resided there 1865 -1913 . William Box with his wife Elizabeth Avis and 13 children lived and farmed on the block of land in Jasper Road, East Brighton ( now McKinnon / Ormond) that was part of the Henry Dendy Special Survey 1841. Inscribed in Album : “ The early photos in this album were found by Mr (Laurie) Lewis when he was demolishing the Old Box Cottage. He gave them to Mrs Avis Box Eldridge who in turn gave them to me. They were not identified. I believe they rightly belong in the Cottage. I have attempted to identify them and present them in a way they can be preserved as a historical record of the era.” A B Leigh Album with portrait photos of Box Familybox george, box mary, box william, box elizabeth honor, box alonzo, box mary louisa, dendy henry, were j b, dendy's special survey 1841, brighton, moorabbin, bentleigh, mckinnon, ormond, market gardeners, dairy farms, early settlers, pioneers, jasper road, gurr jabez, gurr eliza, pay henry, pay anna, ward willam, box henry, ward elizabeth emma, box john, sheldrake martha, rushall eleanor, box caroline, box elizabeth avis, cancel -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Photograph, B&W Elizabeth Avis Box c1880, c1880
William Box was born in 1834 in Withyham , Sussex England and married Elizabeth Avis 13th November 1854 at Tunbridge Wells, Kent England. Elizabeth Avis was the daughter of Thomas and Eleanor aka Ellen Avis nee Robinson . In 1855 they sailed to Australia aboard the SS Omega. At first they rented a block of land on Jasper Road East Brighton ( now McKinnon / Ormond). that was part of the Henry Dendy Special Survey 1841. An early settlers’ hut on the site became their home and they farmed the land and were soon able to purchase the block. They raised 13 children and the Cottage was extended as required. In 1984 that early settler cottage was found in a dilapidated state by Laurie Lewis, in his Timber Yard in Jasper Rd Ormond.. The Moorabbin City Council, Federal Government, Mr Lewis and CMHS members reconstructed the Cottage in 1985 . Box Cottage Museum, a reconstruction of an early settler hut, is named after the Box family who resided there 1865 -1913 . The William Box and Elizabeth Avis Box raised 13 children and lived in the early settler cottage and farmed on the block of land in Jasper Road, East Brighton ( now McKinnon / Ormond) that was part of the Henry Dendy Special Survey 1841 Inscribed in Album “ The early photos in this album were found by Mr (Laurie) Lewis when he was demolishing the Old Box Cottage. He gave them to Mrs Avis Box Eldridge who in turn gave them to me. They were not identified. I believe they rightly belong in the Cottage. I have attempted to identify them and present them in a way they can be preserved as a historical record of the era.” A B Leigh A black and white photograph of Elizabeth Avis Box who married William Box 1854 ALBUM "Australian Coat of Arms" PORTRAITbox george, box mary, box william, box elizabeth honor, box alonzo, box mary louisa, dendy henry, were j b, dendy's special survey 1841, brighton, moorabbin, bentleigh, mckinnon, ormond, market gardeners, dairy farms, early settlers, pioneers, jasper road, gurr jabez, gurr eliza, pay henry, pay anna, ward willam, box henry, ward elizabeth emma, box john, sheldrake martha, rushall eleanor, box caroline, box elizabeth avis, -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Photograph, B&W William & Elizabeth Avis Box c1880, c1880
William Box was born in 1834 in Withyham , Sussex England and married Elizabeth Avis Box in 185. They sailed to Australia in1855 aboard the SS Omega. At first they rented and then purchased land on Jasper Road East Brighton ( now McKinnon / Ormond) that was part of the Henry Dendy Special Survey 1841. An early settlers’ Cottage on the site became their home and they farmed the land while raising 13 children. The Cottage was extended as required. In 1984 that early settler cottage was found in a dilapidated state by Laurie Lewis, in his Timber Yard in Jasper Rd Ormond.. The Moorabbin City Council, Federal Government, Mr Lewis and CMHS members reconstructed the Cottage in 1985 . Box Cottage Museum, a reconstruction of an early settler hut, is named after the Box family who resided there 1865 -1913 . William Box who with his wife Elizabeth Avis and 13 children lived and farmed on the block of land in Jasper Road, East Brighton ( now McKinnon / Ormond) that was part of the Henry Dendy Special Survey 1841 Inscribed in Album “ The early photos in this album were found by Mr (Laurie) Lewis when he was demolishing the Old Box Cottage. He gave them to Mrs Avis Box Eldridge who in turn gave them to me. They were not identified. I believe they rightly belong in the Cottage. I have attempted to identify them and present them in a way they can be preserved as a historical record of the era.” A B Leigh A black and white photograph of William and Elizabeth Avis Box standing outside their Cottage in East Brighton c 1880nilbox george, box mary, box william, box elizabeth honor, box alonzo, box mary louisa, dendy henry, were j b, dendy's special survey 1841, brighton, moorabbin, bentleigh, mckinnon, ormond, market gardeners, dairy farms, early settlers, pioneers, jasper road, gurr jabez, gurr eliza, pay henry, pay anna, ward willam, box henry, ward elizabeth emma, box john, sheldrake martha, rushall eleanor, box caroline, box elizabeth avis, -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Photograph, B&W Box Family descendants c 1930, 20thC
William Box was born in 1834 in Withyham , Sussex England and married Elizabeth Avis Box in 1854. They sailed to Australia in 1855 aboard the SS Omega. At first they rented and then purchased land on Jasper Road East Brighton ( now McKinnon / Ormond) that was part of the Henry Dendy Special Survey 1841. An early settlers’ Cottage on the site became their home and they farmed the land while raising 13 children. The Cottage was extended as required. In 1984 that early settler cottage was found in a dilapidated state by Laurie Lewis, in his Timber Yard in Jasper Rd Ormond.. The Moorabbin City Council, Federal Government, Mr Lewis and CMHS members reconstructed the Cottage in 1985 . Box Cottage Museum, a reconstruction of an early settler hut, is named after the Box family who resided there 1865 -1913 . William Box who with his wife Elizabeth and 13 children lived and farmed on the block of land in Jasper Road, East Brighton ( now McKinnon / Ormond) that was part of the Henry Dendy Special Survey 1841 Inscribed in Album : “ The early photos in this album were found by Mr (Laurie) Lewis when he was demolishing the Old Box Cottage. He gave them to Mrs Avis Box Eldridge who in turn gave them to me. They were not identified. I believe they rightly belong in the Cottage. I have attempted to identify them and present them in a way they can be preserved as a historical record of the era.” A B Leigh A black and white photograph of descendants of the William Box Family who lived at Box Cottage.box george, box mary, box william, box – tippett elizabeth honor, box alonzo, box mary louisa, dendy henry, were j b, dendy's special survey 1841, brighton, moorabbin, bentleigh, mckinnon, ormond, market gardeners, dairy farms, early settlers, pioneers, jasper road, gurr jabez, gurr eliza, pay henry, pay anna, ward willam, box henry, ward elizabeth emma, box john, sheldrake martha, rushall eleanor, box caroline, box elizabeth avis, box harold, box olive camera, box fredrick, eagle keith, box –cumming, ida, cumming william, box – jackson dorothy, eagle nancy, box – eagle thelma, cumming william, box maude, jackson margaret , box- eldrige avis, -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Personal Effects, safety razor blade 'King Gillette'', 20thc
King Camp Gillette observed in 1902 that as existing, relatively expensive, razor blades dulled quickly and needed continuous sharpening, a razor whose blade could be thrown away when it dulled would meet a real need and likely be profitable. Safety razors had been developed in the mid-19th century, but still used a forged blade that dulled and rusted. In the 1870s, the Kampfe Brothers ( Germany) introduced a type of safety razor Gillette improved these earlier safety-razor designs, and introduced the high-profit-margin stamped razor blade steel blade. Gillette's innovation was the thin, inexpensive, disposable blade of stamped steel. Gillette's safety razor retailed for a substantial $5 half the average working man's weekly pay — yet sold by the millions. The most difficult part of development was engineering the blades, as thin, cheap steel was difficult to work and sharpen. This accounts for the delay between the initial idea and the product's introduction. To sell the product, Gillette founded the American Safety Razor Company on September 28, 1901 (changing the company's name to Gillette Safety Razor Company in July 1902). Gillette obtained a trademark registration (0056921) for his portrait and signature on the packaging. Production began in 1903, when he sold a total of 51 razors and 168 blades. The following year, he sold 90,884 razors and 123,648 blades, thanks in part to Gillette's low prices, automated manufacturing techniques and good advertising. By 1908, the corporation had established manufacturing facilities in the United States, Canada, England, France and Germany. Razor sales reached 450,000 units and blade sales exceeded 70 million units in 1915. In 1918, when the U.S. entered World War I, the company provided all American soldiers with a field razor set, paid for by the government, and as they were allowed to take them at discharge they continued their use of this product thus ensuring future sales. The company continues in the present day as the Gillette brand of Procter & Gamble, USA. Throughout the 20thC most men used this type of safety razor with disposable stainless steel razor blades to shave their beards prior to the introduction of affordable electric razors in 1960'sA blue packet of unused 'King Gillette' safety razor blades.on top of packet; Press with thumb / and snap end open / GILLETTE QUALITY THE / SAME THE WORLD OVER / FACTORIES IN / USA / CANADA , GREAT BRITAIN / MEXICO , FRANCE / COLUMBIA, GERMANY / BRAZIL, SPAIN / ARGENTINA, AUSTRALIA / GILLETTE TRADE MARK / KING C GILLETTE / RED. TRADE MARKS / GILLETTE (AUST.) PTY. LIMITED / MELBOURNE / DE 2023 / MADE IN AUSTRALIA / shaving equipment, safety razors, gillette king, proctor & gamble, moorabbin, bentleigh, cheltenham,