The rock and attached plaque to Caroline Chisholm stand in front of the Royal District Nursing Service (RDNS) Essendon Centre. It was unveiled at the opening of the Centre on the 30 August 1967.The plaque has a deep silver colour background, light silver colour writing with gold coloured edging.Caroline Chisholm visited the goldfields of Victoria in 1854 and was horrified by the conditions en-route. The Memorial plaque to Caroline Chisholm, in front of the RDNS Essendon Centre which is situated on Crown Land, is in recognition for her work in establishing, with Government assistance, shelter sheds about a days walk apart, to enable the prospectors and their families heading for the goldfields shelter on their way. Caroline Chisholm, a Philanthropist, began her work in Madras in 1834 founding a Female School of Industry for the daughters of European soldiers. They were taught to read, write, cook, keep house and were given instructions in nursing. After coming to Sydney in 1838, she set up accommodation for poor young unemployed migrant women and families. This work was extended when she arranged employment for assisted immigrant women and families into the countryside, many times travelling with groups of young women to check their employment conditions. In seven years she placed 11,000 people in homes and employment. On her return to England she fought for, and won, free passage to Australia for wives and children of former convicts, and for children left behind in England by circumstances, when the family migrated. She established the Family Colonisation Loan Society in 1849, which set up a saving scheme for emigrants, and later loaned them half of their passage to Australia. The Society's Agents found them employment on arrival, and the loan was paid back within two years by a humane payment scheme. At first they used emigrant ships, but then the Society provided ships with much improved conditions, and this led to the upgrading of the passenger Act.. The Chisholm's lived in Kyneton for several years, returning to Sydney for health reasons, before going back to England where Caroline died, aged 68 years, on the 25th of March 1877.Black and white photograph of the Memorial plaque to Caroline Chisholm. The rectangular plaque sits on a rough light grey rock, and has light colour writing and edging, on a dark grey background. The inscription on the plaque is in five lines and reads: "On this site in the year 1855"/, "Mrs Caroline Chisholm"/, "Established a Shelter for"/, "Diggers and their families"/ "Travelling to the Goldfields"/.Photographers stamp. Quote No. GJ 56rdns, royal district nursing service, rdns centre, caroline chisholm, memorial plaque

Mrs. R. Gordon is the President of the Victorian branch of the National Council of Women. The Memorial plaque to Caroline Chisholm stands on a rock in front of the Royal District Nursing Service (RDNS) Essendon Centre, and was unveiled at the time of the opening of the Centre on the 30th of August 1967.Caroline Chisholm visited the goldfields of Victoria in 1854 and was horrified by the conditions en-route. The Memorial plaque to Caroline Chisholm, in front of the RDNS Essendon Centre, is in recognition for her work in establishing, with Government assistance, shelter sheds about a days walk apart, to enable the prospectors and their families shelter whilst heading to the goldfields. Caroline Chisholm, a Philanthropist, began her work in Madras in 1834, founding a Female School of Industry for the daughters of European soldiers. They were taught to read, write, cook, keep house and were given instructions in nursing. After coming to Sydney in 1838, she set up accommodation for poor young unemployed migrant women and families. This work was extended when she arranged employment in the countryside for assisted immigrant women and families, many times travelling with groups of young women to check their employment conditions. In seven years she placed 11,000 people in homes and employment. On her return to England she fought for, and won, free passage to Australia for wives and children of former convicts, and for children left behind in England by circumstances, when the family migrated. She established the Family Colonisation Loan Society in 1849, which set up a saving scheme for emigrants, and later loaned them half of their passage to Australia. The Society's Agents found them employment on arrival, and the loan was paid back within two years by a humane payment scheme. At first they used emigrant ships for passage, but then the Society provided ships with much improved conditions, and this led to the upgrading of the passenger Act.. The Chisholm's lived in Kyneton for several years, returning to Sydney for health reasons, before going back to England where Caroline died, aged 68 years, on the 25th of March 1877.Black and white photograph of Mrs. R, Gordon, wearing a dark coloured coat, black shoes, and a beret style white and black hat, pointing with her left hand to the unveiled Memorial plaque to Caroline Chisholm. The dark oblong plaque is adhered to a large rock.The British Flag can be seen in the foreground. Part of a building can be seen in the background; short glass windows can be seen above the brickwork on the left, with dark fascia above, and part of a large glass window to the right.Photographers stamp. Quote No. GJ 58rdns, royal district nursing service, rdns centre, essendon centre, memorial plaque, mrs r. gordon, caroline chisholm

Mrs. R. Gordon is the President of the Victorian branch of the National Council of Women and is unveiling the Memorial plaque to Caroline Chisholm. The plaque stands on a rock in front of the Royal District Nursing Service (RDNS) Essendon Centre, and was unveiled on the same day the Centre opened on the 30th of August 1967. Mrs. E.G. Wilson is President of the Royal District Nursing Service. Miss Mary Evans is the Director of Nursing of the Royal District Nursing Service and is wearing her dark grey Director's uniform.Caroline Chisholm visited the goldfields of Victoria in 1854 and was horrified by the conditions en-route. The Memorial plaque to Caroline Chisholm, in front of the RDNS Essendon Centre, is in recognition for her work in establishing, with Government assistance, shelter sheds about a days walk apart, to enable the prospectors and their families shelter whilst heading for the goldfields. Caroline Chisholm, a Philanthropist, began her work in Madras in 1834 founding a Female School of Industry for the daughters of European soldiers. They were taught to read, write, cook, keep house and were given instructions in nursing. After coming to Sydney in 1838, she set up accommodation for poor young unemployed migrant women and families. This work was extended when she arranged employment in the countryside for assisted immigrant women and families, many times travelling with groups of young women to check their employment conditions. In seven years she placed 11,000 people in homes and employment. On her return to England she fought for, and won, free passage to Australia for wives and children of former convicts, and for children left behind in England by circumstances, when the family migrated. She established the Family Colonisation Loan Society in 1849, which set up a saving scheme for emigrants, and later loaned them half of their passage to Australia. The Society's Agents found them employment on arrival, and the loan was paid back within two years by a humane payment scheme. At first they used emigrant ships for passage, but then the Society provided ships with much improved conditions, and this led to the upgrading of the passenger Act.. The Chisholm's lived in Kyneton for several years, returning to Sydney for health reasons, before going back to England where Caroline died, aged 68 years, on the 25th of March 1877.Black and white photograph showing Mrs. R. Gordon, wearing a black coat and black and white beret style hat, with her left hand on a rock and her right hand on the British Flag, whilst unveiling the Memorial plaque to Caroline Chisholm. Mrs. R. Gordon stands between Mrs. E.G. Wilson, who is to her left, and is wearing glasses and a black coat, hat and shoes. Miss Mary Evans, who is wearing her RDNS uniform of a dark grey skirt and jacket and brimmed hat, and with a handbag looped over her left arm, is to the right.. Part of a building is seen in the background; short glass windows can be seen above the brickwork to the left and a large glass window to the right.Photographers stamp and 'Quote No. GJ 60'rdns, royal district nursing service, essendon centre, caroline chisholm, memorial plaque, mrs r. gordon, miss mary evans, mrs e.g. (hazel janet) wilson

SUMMARY - Edna (Myers) Barrie, 1918 – 2018, Profile Early Life Edna was born at Melton and delivered by Hannah Watts. Her mother Martha walked in the dark at night with her basket under her arm to the bridge over the Toolern Creek Bridge and into Sherwin Street to the corner of Yuille Street to Hannah’s house Lynch Cottage. Martha’s husband was away shearing and eventually heard the news of the birth of their blue eyed third child and second daughter. She was born into a family that was surrounded by music; her father played the “squeeze box” and mother the mouth organ. From an early age the family were aware of the great composers, a framed picture of Beethoven, Chopin, Schubert and Wagner hung above the door to the lounge room of their 4 roomed cottage, the room where the piano stood. Her life on stage started as a singer aged 6 years at the Melton Mechanics Institute Hall. Edna was born with a natural ear for music learning piano and singing from her older sister Marjorie who became an accomplished pianist and soloist and renowned music teacher in Melton and district. In the 1920s and 1930s concerts at the Melton Mechanics Institute were regular events were the local talent was fostered. The Myers children, like other children of Melton and Rockbank, studied singing, piano and elocution, sat examinations, entered in competitions in South Street Ballarat, Footscray and Melbourne. In 1929 a Sacred Concert was broadcast by 3AR from the Hall as part of the Back to Melton Celebrations. Marjorie Myers performed two of the items on the piano. Edna attended Melton State School 430 from 1924 – 1933. Her father Fred had also attended the same school. In 1924 the School staged Cinderella at the Melton Mechanics Institute Hall with a cast of 33 students. After completing her education a Melton she boarded in South Melbourne and attending Melbourne Girls High School (MacRobertson Girls High School), a school which recognized her musical attributes. She travelled home on the train on the weekends, sometimes getting off at Rockbank to save a few pennies in fares. Working life The early 1930s the Depression was a difficult time for a young woman to find work. Jobs were often menial and given to the youngest and therefore cheapest applicant. She worked as sales assistant at Polonskis and Myer in the city, and Irvines Modes in Footscray. Working to 1pm on Saturday, and when held up by a customer meant missing the train home. While at Myer Department store she lived at home and rode her bike to the Melton railway station. On one occasion she had a nasty fall when a part of her bicycle came loose causing the bike to crash rendering her concussed and injuring her nose. During the 1930s she was given a camera “a little snap” by Mrs Kelly her landlady. This began her interest in photography documenting family life at their “Burnbank” home. Musically, while at Myers she participated in annual performances held at The Kings Hall and the Myer Mural Hall. Working in the basement at Myers she was often embarrassed when her name was called, customers assuming she belonged to the Myer Family. Ken Myer worked in the basement at the same time handling the ‘Wheeler’, a wicker basket used for moving goods around the store. The family philosophy was for the children to start at the bottom and work their way up. Social life Social life in her teenage years was connected also with Scots Presbyterian Church. She attended Sunday School classes and received book prizes for attendance. She loved to read and welcomed the times when she received new book. She took part in the Sunday School Anniversaries and was presented with a Bible from the Superintendent, Henry Robinson for her assistance with the music. Marriage and War years In 1941 Edna married Ernest “Bonnie” Barrie. War in the Pacific was soon to break out. While in Sydney on their honeymoon they met up with Jim Barrie who was on his way to Canada via Hawaii just missing Pearl Harbour by two days. Jim became a Spitfire Pilot and joined the RAF and was based in England. He returned to Australia later in RAAF to fight the Japanese off the coast of New Guinea. The three eldest Barrie brothers were farmers and food producers and were thus except from military service. Edna and Bon were members of the VAOC- Volunteer Air Observers Corp entailing being rostered on duty as plane spotters. The women took shifts during the day and the men at night which involved staying overnight in the Shire Offices. Later the spotting tower was built in the plantation opposite the Post Office. Edna and Bon carried on with this from their home in Ferris Rd when the threat of invasion had ceased Community life Community life in Melton revolved around fund raising events for the Melton Mechanics Institute for the War effort and keeping up with maintenance for the Hall. In 1944 the Minister for Health gave approval for the Shire of Melton to open and Infant Welfare Centre inviting Edna to form part of the Committee with seven other women. In 1948 she was President of Melton Branch of the Victorian Health Centres Association. She volunteered this use of her car driving the person in charge, Sister Smith to visit mothers and their babies. In 1963, along with Betty Jones and Isabel Snell, Edna was instrumental in forming the 1st Melton Cub Pack and later supported the formation of the 1st Melton Scouts. During 1963 – 1968 she completed the Australian Boy Scout Association Cub Pack Preliminary Training and achieved her Wood Badge. Country Women’s Association In 1944-1996 she was a member of the Melton Branch Country Women’s Association (CWA), Melton Branch, Secretary of the Branch in 1945 – 1946 and Branch International Secretary 1970-1971. She worked with choir, music and drama interest groups within the branch attaining both first and second place in 1959, second place in 1952 Exhibition and second in Music in 1960 in the state. She was involved in their handicraft craft events, fund raising and musical events and singing competitions. During the 1950s she trained Trios and Quartets in part singing for the CWA competitions in Ballarat and Melbourne. It was at this time that she developed her skill as a conductor and trainer of choirs. She later auditioned for the Victorian Choir for alto parts believing she would stand a better chance of being chosen, because of her ability to sing in natural harmony. In 1962 she participated in the Tenth Australian Country Women of the World (ACWW) Triennial Conference “Australia Presents: CWA Massed Choir” in the Melbourne Town Hall. This event was recorded by Super Sound Spotlight on 45 extended play vinyl record. The songs were Australian music and words, for example The Silver Stars are in the Sky, The Graceful Swaying Wattle and Kookaburra. Edna continued with her interest in the Victorian Choir regularly meeting at the CWA Headquarters in Toorak for rehearsals. In 1974 she took part in the Australian Choir at the fourteenth Triennial conference of the ACWW Interfaith Service held at the Perth Concert Hall on the 13th of October. Arts and Culture Edna was also in the Choir of 3KZ Carols by Candlelight at the Myer Music Bowl in 1963 and 1964. Melton Choral Society. Edna was Director and Conductor in the 1970s performing at many community events such as Carols by Candle Light, Church Services, Easter and Palm Sunday services, Mothers Union and the 1976 Community Services Week Combined Church Service. The October – November 1978 Program covered the following: songs from the Musicals, Choral and Solo with Narratives, Guest Instrumental Item, Recitation Negro Spirituals and Australian Songs. Her involvement with church choirs included the Scots Presbyterian Church Choir Easter and Christmas performances and the 1967 Centenary Service. In 1980s the Melton Uniting Church Sacred Music Performances included The Crucifixion by Stainer, The Olivet to Calvary and other church Hymns. Edna was Musical Director of the Melton Amateur Theatrical Society and worked on performances in collaboration with Mabel Rogers on script and musical interpretation. Melton and District Historical Society Annual Art and Craft Show. First held in Melton Mechanics Institute Hall in 1973, it later took place in the in the Melton Community Hall. The Art Show was also run in conjunction with other community organizations such as Rotary and Girl Guides. Community history and research Melton streetscape and society Over 20 years commencing in the 1970s, Edna undertook extensive photographing of the changing streetscape of Melton’s High Street. She anticipated the impact of change on the community during the time of Melton’s rapid transition from a small farming district to a large urban community and this led to her extensively document and photograph many of the structures and landscape features of the township that have since been lost. She also meticulously recorded much of the contemporary life of the town and has left a significant legacy of archival material. Melton State School 100 Years Celebration, October 1970 Co-author with Mabel Rogers “The First 100 Years, 1870 – 1970” Assembled a collection of School Class Photograph and identified and compiled lists of names for future school history. She also assembled a photographic display for the 125th anniversary in 1995. Melton and District Historical Society (M&DHS) Foundation Member, 1968 Held President and Secretary positions from its inception Research associated with the classification of Heritage buildings Christ Church Classification C Scots’ Presbyterian Church Classification D Set up the storage and Catalogue system in the Office at the Willows Organised society visits to Heritage sites in and beyond the Shire of Melton, including Stathtulloh, Eynesbury, Deanside, ToolernVale sites including Merrywood (now demolished) Staughton Vale, Chirnside, Point Cook, Shwerkolts Cottage. 1970 – 1983 Melton and District Historical Society Letterhead. Staughton Memorial Light from early newspaper cutting in its location before restoration to present location. Sketch by Wendy Barrie. Designing and printing pamphlets, stationery, and other sale items with Willows title. M&DHS street naming research for new housing developments (1970 – 2000). Collaborated with Mary Tolhurst to research the names of early landowners and pioneer families connected to the first settlers. Researched Aboriginal names for inclusion on lists submitted to developers. An early example is the naming of Kuranjang and the street names associated with the McPherson family. Plains of Promise (Shire of Melton history) by Joan Starr (1985). Edna assisted with Historical Society materials and contributed her own research and photographs. Contacted and organised for Hubert Opperman to launch the book. (She was also present at his last bike ride at Rochester in 1995.) Western Metropolitan Groups of Historical Societies. Member attending meetings and representing Melton, also hosted the Group at Melton The Willows Member of the Committee of Management for the restoration of the “Willows” house the establishment of The Willows Park 1982 March - Official Opening of the Willows Park- Preparation and planning for the event. Involved in the collecting of items in the furnishing of the display rooms in the Willows house. Donated items and furniture from the Myers and Daley family houses. (19th century) Machinery Shed Establishment. Involved with Jeff Robinson in the construction and collection of machinery display Other significant sites Championed and participated in the restoration and preservation significant sites in Melton, including: restoration of the Staughton Memorial Light and its return to its present site restoration of the Pykes Grave (using EW Barrie earthmoving equipment) restoration and reconstruction of Dunvegan restoration and reconstruction of Macs Cottage, the management and Caretakers residence Melton State School War Memorial Gates removed from Unitt Street entrance and relocated to the Willows Park Donated the Barrie family single furrow plough which was standing at the Court House Plaza. It removed and to Council Depot and later missing. The plaque was taken to the Willows. Jimmy Melrose (aviator) cairn restoration at crash site in Melton South Donald Mackintosh (Olympic gold medallist marksman) grave site at the Melton Cemetery (Historical items held by the Myers family collection.) Houdini first flight at Diggers Rest. Edna’s father was shearing at Diggers Rest at the time and witnessed the flight. She attended the 90 year anniversary of the event at the site in 2000. Radio and electronics Edna’s husband Bon interest in wireless communication dates in the 1920s with the building of a crystal set in the early days of public broadcasting. At the Back to Melton Celebrations in 1929, 3AR broadcast a concert from the Melton Mechanics Institute on the 20th February at 8pm featuring Footscray City Band, James Hill baritone, Vera Carew Soprano, James Foran Tenor, Marjorie Myers Piano, and James Williamson Entertainer. Accompanists: Miss Agnes Ross and Mrs James Hill. The Myers children had recordings of their piano playing made onto the aluminium records, Martha Myers’ voice can be heard introducing an item. These were made in a studio in Melbourne. Marjorie was given a upright Gramophone by Donald Mackintosh in recognition of her talent and her contribution to the cultural life of Melton. The family were then able to listen to 78rpm recordings of the famous classical recordings. The turntable was hand wound metal stylus needles had to be regularly replaced. The aluminium disk needed a bamboo needle to prevent damage to the surface. Before electricity was introduced to Melton in 1939 the Mechanics Hall relied on generators to produce electricity. Bon Barrie, being mechanically minded, built a public address system for be used a community functions at the Hall and Recreational Park. By 1939 this was up and running and used for over three decades. A large Collection of 78rpm records provided music for dances, marching, parades and any public event needing music and microphones. The early system was portable and worked on batteries. CFA Radio Communication In the 1950s with the introduction two-way HF and later VHF very high frequency radio sets. Melton Rural Fire Brigade was part of the Bacchus Marsh Group. Radio sets where located in the Melton Fire Truck, and in the house of the Barrie family at Ferris Road. This was an ideal location to observe a 360 degree view in all directions when smoke appeared on the horizon. An antenna was erected beside the house. The set OX 7 was located in the kitchen and monitored 24 hours by the family. When an electrical fire occurred at the junction of the electricity to the house there was time to radio the fire station and summons the men working in the paddocks, thus saving the house from possible destruction. With the introduction of UHF – ultra high frequency Vinten Radios the signal was clearer and static and interference lessened and radio traffic became easier to read, and reduced noise levels in the household. VL3 LY Radio Base became the Group Headquarters was established in 1967. By 1970 the Brigades were: Melton, Rockbank, Sydenham, Toolern Vale, Diggers Rest, Truganina, and Werribee. In 1974 when the family moved to First Avenue, another antenna and a small building were erected adjacent to the residence and used to house the equipment, maps. Radio traffic consisted of regular schedule times and communication with adjoining groups of brigades such as Bacchus Marsh, Mt Macedon and Little River Groups. Many of the brigade and group base radios were situated in private residences and operated primarily by fire fighters wives who held the position of Communications Officer, either registered as a brigade member or informally. Edna was never registered as an operational brigade member but operated informally as an assistant to her husband Bon. She was however a member of the Melton Fire Brigade Ladies Auxiliary from its inception in 1968, a non-operational position. Edna kept up to date with radio procedure following the 1967 handbook; preparing maps, plotting compass points and taking notes on weather forecasts from the SA Border and Western District. Daily notes were taken in anticipation of fire warnings. These log books and daily radio traffic were incidental to the regular radio schedules. Emergency turnouts noted, burning off times and predicted location of smoke. In the summer fire season all TBF (total fire ban days were recorded.) In times of emergency the Barrie family assisted Bon the base radio operator to plot the position and location of fire trucks and to help clarify garbled radio traffic, keep notes and make telephone calls. These log books are held in the EE and EW Family Archive. Melton Uniting Church Edna founded the Church Opportunity with Maisie Robinson in 1975 in the Melton South Methodist Church building. Methodist and Presbyterian Churches of Melton had combined severing their long held connection with Bacchus Marsh. A Manse had been recently built for the Melton Minister. At a Parish Committee meeting at the Melton South Church it was suggested to use the building as an Opportunity Shop. It opened in July 1975, and it raised $1,600 contribution to the church budget in 1976. In 1977 The Uniting Church in Australia was formed and the Melton South Uniting Church Opportunity shop continued to go from strength to strength expanding the buildings providing the welfare needs of the community. Archive Set up by Edna Catalogued items dating from 1857 Minute Book and set ongoing system and storage of items of heritage. Melton Un Awards and recognition of service to the Melton community Rotary Award for Community Service, 1980 Victoria 150th Anniversary Celebrations contributions, 1985 Life Membership of the Melton and District Historical Society (M&DHS), 1989 Extra-Ordinary Contribution for years of service to M&DHS, 1992 Long Service for Exceptional Service MD&HS, 1993 Royal Historical Society of Victoria Award of Merit, 1997 Shire of Melton Certificate of Appreciation for continued support and dedication as a member of MD&HS to the preservation of Melton’s History, 1998 Centenary of Federation Peoplescape (Canberra) Melton Shire nomination, 2001 Uniting Church Melton Life Membership of the Opportunity Shop Uniting Church in Australia Commission for Mission for 30 years of hard work and dedications to the Uniting Church, 2007 Uniting Church Adult Fellowship Certificate appreciation in recognition of valuable support through the “Sammy” Stamp Fund Neighbourhood Watch 5 year award Photographs of Edna at different ageslocal identities

New edition revised and adapted for the use of schools in Australia, Tasmania, and New Zealand, by one of Her Majesty's Inspector of Schools, Victoria. Articles of interest to the Colonies, written expressly by gentlemen of Colonial experience. Sold at George Robertson, Melbourne, Sydney, and Adelaide, and all booksellers.Brown/beige cloth-bound hardcover book, worn extremities, small damage to upper spine. Embossed decoration to back & front covers. Cover stained with ?mildew to upper right front and upper left back covers. Binding a little loose but intact. Previous hinge repair back & front. Foxing to some front and back pages, otherwise clean. 408 pp. Fair condition.Front flyleaf, 'Leslie [indecipherable] Kilmore', inked cursive. Title page, 'Education Department' stamp.school reading text

'Miss Annie Miller, who had nursed Prince Alfred with Miss Turriff [Haldane, first matron of Alfred Hospital], also joined staff at the Alfred some time before 1876. During her time at the Sydney Infirmary, Annie Miller created something of a stir when, after her experience nursing Prince Alfred, she became selective about which areas of the hospital she would work, only willing to serve in Male Surgical and Accident. She also had been reported to Miss Nightingale by both Lucy Osburn and Haldane Turriff for openly flirting with the Resident Physician, receiving flowers, embroidering slippers, playing with his watch chain and generally becoming the subject of gossip ... Before his departure from the hospital the doctor in question diagnosed Annie Miller as having an [abdominal] aneurism and she went into decline, mainly from the deprivation of his company, it was felt. With the threat of her possibly being returned to England because of ill health, Miller went to Brisbane and Goodna (Queensland), subsequently to Melbourne, where she faded into obscurity. Her aneurism had apparently subsided.' From '5.30, nurse! : the story of the Alfred nurses' by Helen Paterson. History Books: Melbourne, 1996 p. 8 'Annie Miller was Scottish, single and claimed to be 34 years old (in Sydney, she was assumed to be ten years older); Wardroper [Sarah Elizabeth, first superintendent at the Nightingale School of Nursing at St Thomas's Hospital, London] had found her to be a good nurse, but 'proud and peculiarly sensitive'' (Burrows, 2018 p. 33). At the end of 1870 Annie resigned after the three-year term at Sydney Infirmary ended. She was appointed to the position of matron at Brisbane Hospital in February 1871. She resigned within a few months of her appointment after a dispute with the staff surgeon who refused to recognise her and her status. From 'Nurses of Australia : the illustrated history' by Deborah Burrows. NLA Publishing : Canberra, 2018 p. 41 'Annie Miller went from the [Sydney] Infirmary to Brisbane Hospital, she then joined Haldane Turriff at The Alfred Hospital, while Osburn thought that Miller had gone to nurse private patients. The two versions are not incompatible as hospitals hired out nurses to care for wealthier patients in their homes. Schultz records that Miller worked at the Hospital for the Insane at Goodna [Queensland] and died in the Melbourne Benevolent Asylum on 12 March 1907. The Victorian branch of the Australian Nursing Federation owns the book presented to Miller by Florence Nightingale in 1867.' From 'Lucy Osburn, a lady displaced : Florence Nightingale's envoy to Australia' by Judith Godden. Sydney University Press : Sydney, 2006 p. 315 'This betrayal of all that had been said to Tate [Henry, Alfred Hospital Secretary-Manager 1874-1876] was in keeping with Annie Miller's reputation (earned in Sydney) for being unreliable and a trouble-maker. Miss Miller was also an intimate of Miss Turriff's. Annie Miller is said to have had a brief term as matron in Brisbane after her resignation from the Sydney Infirmary in 1870 but the Brisbane Hospital authorities are unable to provide this one way of the other. Lucy Osburn thought that Miss Miller was in private nursing in Melbourne in 1873 and the Vagabond [alias of John Stanley James, Argus journalist] stated positively that she was working for Miss Turriff at the Alfred when he was there in 1876'. From 'The hospital south of the Yarra' by Ann Mitchell. Alfred Hospital : Melbourne, 1977 p. 242 'Annie Miller was appointed matron of the lunatic asylum at Woogaroo (Goodna) in Queensland in 1877, and remained there for ten years. When she left the medical superintendent, in his report for 1888, praised her for the work she had done in the female division of the asylum'. From 'A tapestry of service' by Bartz Schultz. Churchill Livingstone : South Melbourne, 1991 p.222Annie Miller was one of five Nightingale-trained nurses who come to Sydney in 1868 with Lucy Osburn, the newly appointed Superintendent and Chief Female Officer at the Sydney Infirmary. Florence Nightingale gave them all books before they sailed in December of that year. Annie worked in Sydney, Brisbane and Goodna, and in Melbourne. She died in 1907 and is buried at Boroondara cemetery. Annie was a member of the Royal Victorian Trained Nurses' Association. This note was written in Annie's book and this item is in the archive collection of the ANMF Vic Branch Library. The note was written on the front page of a book. We believe the item was donated to the Branch.Hand written note by Florence Nightingale to Annie Miller, upon her departure to Sydney with Lucy Osburn in 1868, written in ink on a blank page at the front of Walter Scott's 'Poetical works' (1866) [The poetical works of Sir Walter Scott]"For Mrs. Miller affectionately offered in remembrance of her own Scotch country by Florence Nightingale London 27 Nov. 1867"nursing history, nursing

A badly damaged grey softcover textbook with the title, Whitcombe's New Federal Arithmetic Grade VI printed on a black lined scroll design with Specially written to meet the requirements of the Revised Victorian Course of Study in Elementary School in a box at the bottom along with the publisher symbol. Whitcombe & Tombs Limited Melbourne & Sydney and other cities is printed beneath. The price 1/3 is written in the right hand bottom corner. Inside are exercises, short problems, diagrams and lists of examples of work set out for the students. There are pencil and ink markings inside. On the back inside and outside the cover are advertisements for Whitcombe's Vivid History and Geography Readers. 132p. non-fictionAn arithmetic book for Grade VI elementary students with exercises, problems, diagrams and revision for young students in Australia.arithmetic, school curriculum, australian schools

A grey badly damaged paperback with Whitcombe's New Federal Arithmetic Grade IV, printed on a scrill like shape and Specially written to meet the requirements of the New Victorian Course of Study for Elementary Schools written below in a box, along with the publisher's symbol. Whitcombe & Tombs Limited Melbourne & Sydney and other cities is written at the bottom of the front cover as well as the price. 1/- .Inside are exercises, charts, diagrams and lessons for the students to complete.112p.non-fictionA re-written textbook of Arithmetic for elementary students to meet the needs of the 1934 Revised Victorian Course of Study.arithmetic, primary school curriculum

Murray Comrie Collection.Monochrome photograph of a group of children assembled in rows for a school photograph. Accompanied by two sets of handwritten notes (catalogued separately as a Research Notes) with children's names. Names of children combined from both set of notes are believed to be: Left to Right Back/4th row: Maurice Chambers, Alf Gedling, Bill Riordan, Les Williams, Wally Harwood, Len Smith, Les Caldwell, (at rear, Headmaster/teacher W.Carroll), Angus Comrie, Keith Comrie, Ken McKenzie, Bert Caldwell, Maurice Power. 3rd row: George Banks, Bruce Calder, J. Austin, Les Hutchins, Bill Gedling, Gilbert Ramm, Sydney Goltz, Murray Comrie, Tom Comrie, Bill Whimpey, Jim Duggan, Reuben Ampfer. 2nd row: Theo Riordan, N. Carroll, Andy Heraud, K.Calder, Keith Chambers, Harry James, Ron Heraud, Mal Ampfer, Stan McNamee, Bert Stevens (or Stephens). Front/1st row: _______ Calder, Rob Banks, L. Carroll, George Riordan, Bill Stevens (or Stephens), Len McKenna, A. Whimpey.tarnagulla, school, education, children, ampfer, banks, calder, caldwell, carroll, chambers, comrie, duggan, gedling, harwood, heraud, james, mckenna, mcnamee, riordan, smith, stephens, stevens, whimpey, williams

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. This digital image was produced from one of the glass negatives that form part of the collection, probably taken by Louis Haeusler (b.1887) with the photographic equipment in the Wodonga Historical Society Haeusler Collection. Mac's Hotel, is believed to have begun in 1868. For most of its life run by William and Mary McFarlane, the son in law and daughter of Mary Ann King. In 1867 Mary Ann King had taken over the licence of the Wodonga Hotel in Sydney Road. Mac’s Hotel closed in 1891 when William withdrew his application for renewal of licence.This item is unique and has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history.Digital image created from the Haeusler Glass negative collection. Mrs. McFarlane at Mac's Hotel. Wodonga West. wodonga pioneers, haeusler family, glass negatives, dry plate photography, sunday school west wodonga

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. This digital image was produced from one of the glass negatives that form part of the collection, probably taken by Louis Haeusler (b.1887) with the photographic equipment in the Wodonga Historical Society Haeusler Collection. Thomas Hugh Maher, born 1881, was the youngest of 11 children of Owen Maher and Sarah nee Finn. After migrating from Ireland and marrying in Sydney in 1853, Owen and Sarah eventually made their home at “Fairview”, Bonegilla, Victoria in 1870. Owen later became a member of the first shire council formed in Wodonga. Thomas attended school at Bonegilla, then as a boarder at St. Joseph’s College in Sydney for his final two years. He returned to work on the farm until his father settled him on a small farm at Ebden. He married Jane Rowley from Bethanga. For some years Thomas and Jane conducted the general store and post office at Ebden which was next to their home ‘Marara”. When Jane died in 1916, Thomas leased “Marara” and moved to Melbourne. After marrying a second time, Thomas returned to Wodonga where he set up a real estate business. In about 1924, Thomas received compensation for his Ebden property when it was resumed for the development of the Hume Weir. He returned to Melbourne where he saw out the rest of his days until his death in 1952 aged 71 years old.This item is unique and has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history.Digital image created from the Haeusler Glass negative collection. Thomas Maher and his wife Jane operated a general store at Ebden in Victoria.haeusler family, glass negatives, dry plate photography, thomas maher ebden, ebden general store

John Whan was born in Carlton of Irish parents and moved with them to Wodonga by bullock dray at the age of 12. After completing his education in Wodonga, John became manager of McLean Brothers and Rigg branch store in Sydney Street, Wodonga for a number of years after which he bought the business and operated Whan’s General Store in Sydney Road, Wodonga which at its peak employed his six children. John Whan was Wodonga Shire Councillor for 15 years, including a term as Shire President in 1904-5. He was also Chairman of the Wodonga Water Trust when it built the water tower in 1922 – 23. He had many other community involvements including the School board and the Library Committee, served as an honorary justice and Deputy Coroner. secretary of the Wodonga branch of the I.O.O.F., and the Wodonga Cemetery Trust and the Masonic Lodge. He was a foundation member of the Presbyterian Church in Wodonga. He died on 10 October 1933. After his death, Whan's store was operated by John's son Francis William Whan who was born in Wodonga on 1 September 1901. He also served the community as a Justice of the Peace and Magostrate. Frank was a caring gentleman who looked after many during the difficult times of the Depression and World War 11. He continued to provide outstanding service to the Wodonga community. Frank was a dedicated member of the Presbyterian Church. The Whan General Store was purchased by Lincoln and Butterworth in 1945 and Francis and his family moved to Queensland He passed away in Lismore, NSW on 24 December 1975.These photographs represent the business of a prominent Wodonga family and community member.3 black and white photographs showing the Whan store in Wodonga at various stages in its developmentwodonga businesses, whan's store, whan family

John Clarence (McKenzie) McHarg was born in Corryong, Victoria on 12 August 1905 to Hugh Patrick McKenzie-McHarg and Laura Mary Dune. After attending school at Christian Brothers’ College in Albury, he also attended St Patrick’s College at Ballarat. Mr McHarg then studied at Melbourne University, graduating with a Bachelor of Law. After graduating he completed his studies with Messrs. Mahoney and O’Brien of Melbourne with whom he entered a partnership. In 1931 John McHarg appears on the electoral roll for Wodonga listed as a barrister. The following year he opened his legal practice in Sydney Road, Wodonga. Jack (John) McKenzie McHarg married Eva Whyte in 1934 and the house called “Baelon” was built around this time. THe builder was Rob McCulloch. McHarg is first listed as paying rates on the house in Beechworth Road in 1934-35. He died on 12 January 1996 in Wodonga after many years of service to the Wodonga and district community. The house is still in the hands of the McKenzie-McHarg family. This building is one of the oldest remaining homes in Wodonga and was owned by a prominent community member.A series of photos depicting the home of the McHarg family in Wodonga. One is from a Rose Series postcard c1940, the second is of the house shrouded in snow in 1967. The final image shows the house in 2023.mcharg house, wodonga buildings, mcharg solicitor, mckenzie-mcharg

Ian Darnton Watson was a member of a prominent family of civic leaders in Wodonga. He was born on 6th July 1925 in Albury, the first son of Kenneth Darnton Watson and Phyllis Lenore Emily Austin. He completed his primary education at Albury Grammar School, and later became a boarder at Melbourne Church of England Grammar School. He enlisted for service at Albury on 25th January 1944 and commenced full time service on 8th February 1944 at Royal Park in Melbourne, Victoria and was allocated to the 2nd Medium Regiment. He embarked for overseas service in Borneo on 30th July 1945 and disembarked in Australia on 15 April 1947 after serving with the Australian occupation forces in Japan. Mr Watson was discharged on 22 April 1947 at which time he was a member of the Australian 2nd Medical Regiment. On discharge he returned home to help his father farm his property, De Kerilleau in Wodonga. De Kerilleau was classified by the National Trust in 1974. Ian described his father, Kenneth as a hardworking, practical man, who for two years from 1929 - 1931, had been the Wodonga Shire President. Cr K. D. Watson was again elected to the Council in 1943 and served until he died in October 1951. In March 1957, he married Miss Lesley Buttfield, of Sydney, NSW. They had three children, Fiona, John and Rowena. John was later to become a member of Wodonga Council and served as mayor. Ian was past President of the RSL branch at Wodonga, Captain of the Wodonga Rural Fire Brigade, and President of the West Wodonga Primary School Committee. He also served on Wodonga Council from 1974 until his death on 14 December 1981, aged 56.This certificate is significant because it acknowledges the War Service of a prominent member of the Wodonga communityA colour printed certificate presented to Ian Darnton Watson in appreciation for his service for "King and Empire" during World War II. The text is surrounded by columns and an arch. The Australian and British flags are at the top as well as representations of the Navy, Army and Air Force. It also features the logo of the Shire of Wodonga above the text. The badge of the Commonwealth Armed Forces is at the centre bottom of the certificate. This small collection also includes black and white photographs of Ian Watson from his Service Records and another photo in uniformOn Certificate: PRESENTED TO Ian Darnton Watson BY THE PRESIDENT, COUNCILLORS AND CITIZENS OF THE SHIRE OF WODONGA as a record and an appreciation of Your Services to King and Country during the Great War which commenced 3rd September, 1939. Given under the Common Seal of the Shire of Wodonga by the President, Citizens this Councillors and Citizens this 26th day of February 1947watson family wodonga, ian darnton watson, de kerilleau

Bob Hymans Collection Bob (Herman) Hymans (a former member of the Royal Netherlands Navy) was born in Bloemendaal, Holland on 30th September 1922. During World War II he fought against the Japanese in the Dutch East Indies (now Indonesia) and was imprisoned in Changi and on the Burma Railway. After gaining qualifications as a Ski Instructor, Bob arrived in Falls Creek in July 1950. Working as an Instructor and Supervisor at Bogong Lodge, Bob decided his future was in accommodation. He was successful in negotiating an indenture for land from the State Electricity Commission (SEC). It took Bob two years to build his Grand Coeur Chalet but, tragically, it was burned down in August 1961. Bob also built the first Chairlift in Australia. This was a single chairlift and the structure was built from wooden electricity poles. He was constantly full of new ideas and proposals for the village. Bob Hymans die on 7th July 2007. This Collection of documents and letters tells the story of Bob's endeavours to develop Falls Creek into the ski village it is today.This document is significant because it outlines plans for the development of the Falls Creek Tourist Area.A circular from the Falls Creek Tourist Area Management Committee inviting applications to conduct a ski school at Falls Creek Tourist Area during the 1961 snow season. falls creek tourist area management committee, ski lift proposals

For many years from 1988, Legacy held a public speaking contest called the Junior Plain English Speaking Award. Schools were eligible to send along representatives that competed. These two photos show President Geoffrey Swan with a Lana Jenkings (the winner) of Genazzano FCJ College in Kew. Part of her speech was printed in the Melbourne Legacy newsletter and she was featured in an article in the Herald Sun on 26 June 1992, before she headed to Sydney for the National finals. The following was taken from a programme in 1996: "The Award aim is to promote enhanced oral communication skills for 12-14 year old students and to help young people appreciate the ideals of Legacy - voluntary service, caring and comradeship - and the need for remembrance. It began in 1988 in the Melbourne area with the support of the Ministry of Education and The Plain English Foundation. Entries have grown from 24 in the 1988 competition to over 300 in schools across the Stat, plus greater numbers participating in the process of selecting four contestants from each school. In 1995, a successful Interstate Championship was held with contestants from Victoria, New South Wales and Queensland. On 11 November 1996 the first National final was held with contestants from six states."A record of a Junior Plain Speaking contest that has been run by Legacy since 1988.Colour photo x 2 of Junior Plain Speaking contest in 1992 and a newspaper article.legacy promotion, speaking contest

From 1988 to 2021, Legacy held a public speaking contest for young secondary school students. It was initially called the Junior Plain English Speaking Award (JPESA) and later called Legacy Junior Public Speaking Award (LJPSA). Schools were eligible to send along up to 4 representatives to compete in a preliminary round. This is a photo of Lana Jenkins speaking in the Great Hall of the National Gallery of Victoria. Lana was the Victorian state winner in 1992. She got the opportunity to attend the Plain English Speaking national final being held in Sydney - which was a contest for an older age group, not run by Legacy but by the Plain English Foundation. The following was taken from a programme in 1996: "The Award aim is to promote enhanced oral communication skills for 12-14 year old students and to help young people appreciate the ideals of Legacy - voluntary service, caring and comradeship - and the need for remembrance. It began in 1988 in the Melbourne area with the support of the Ministry of Education and The Plain English Foundation. Entries have grown from 24 in the 1988 competition to over 300 in schools across the State, plus greater numbers participating in the process of selecting four contestants from each school. In 1995, a successful Interstate Championship was held with contestants from Victoria, New South Wales and Queensland. On 11 November 1996 the first National final was held with contestants from six states."A record of a Junior Plain Speaking contest that has been run by Legacy since 1988.Black and white photo of a contestant in the Junior Plain Speaking contest.legacy promotion, speaking contest, answer, jpesa

This is an example of Sydney Legacy promotional material from 1951s for Sydney Legacy. It promoted the War Orphans Appeal which was an early means of fundraising. It suggests that a person could make a pledge of a small amount of money weekly. For instance, 3 pence per week from 40 contributors would equal £26 and provide for 1 ward. The brochure shows different stages of junior legatees life, from baby to school, and post school roles such as office girl or tradesman. Each stage is supported by Legacy.An example of promotional material from the 1950s. Promotional brochure about fundraising for Sydney Legacy in 1951.legacy promotion, war oprhans

A press release from Melbourne Legacy in 1975 which relates a story of how Legacy works. The information was intended to be used by press and magazines etc. The title 'A high flier' is about 'Bill' a young 13 year old boy who lived with his mother, a widow, and 10 other children in poor surroundings. Legacy was able to organise assistance from War Service Homes to give them a chance of a home of their own. Legacy helped in the usual way, with educational expenses, school uniforms, and other school expenses. Bill achieved his leaving certificate, then matriculated and gained a Commonwealth scholarship. He chose to do Aeronautical Engineering at Melbourne University and Legacy provided a spot for him at Blamey House where he could live close to his studies. He went on to complete his studies at University of Sydney and helped by a research scholarship also the Imperial College of Science and Technology in London, then commenced a post-graduate PhD studies in Aerodynamics. He became a Research Lecturer at the Imperial College. The final paragraph mentions 'Bill is now nearly 30 and is on the threshold of a rewarding life, contributing to man's knowledge of aerodynamics and Legatees have repaid a debt to his father, one of their comrades.'A record of how Legacy promoted their work in the 1970s.Blue foolscap page x 2 with black type of a press release in 1975.Title 'A high flier'press release, case studies

This is an example of Melbourne Legacy promotional material from 2000. A poster that was printed to promote Legacy Week. A school girl is holding a Legacy Torch and a ADF member from the navy, army and air force are standing by her. A notice in the Bulletin on 17 August 2000 mentions it was produced by Sydney Legacy. The article mentions it was proposed to produce bumper stickers and Victorian Taxi Association had agreed to distribute the stickers for placement on taxis during Legacy Week. The main time of year for fundraising is September when Legacy holds 'Badge Week'. Often there is a celebrity who gives his or her time as 'Personality of the Year'. Examples are Sir Weary Dunlop (1992), Clive James (1993), the Scott family (1994), The Emmanuel brothers (1995), Daryl Somers (1996 and 1997), and Patsy Adam Smith (1994). Was in a folder with marketing material from the 1990s to 2009, see items 01240 to 01258. The collection shows the types of marketing materials that were produced and the celebrities that were helping Legacy.An example of promotional material from the 1990s and early 2000s. Marketing material and photos were compiled and released to newspapers, also printed as brochures and sometimes as stickers and collection tin wrappers.Colour A4 promotional poster from 2000 with a a school girl holding a Legacy torch surrounded by 3 ADF personnel.legacy promotion, badge appeal, legacy week, advertisements, adf personnel

Photos during Badge Week in September 2004. Badge sellers in school uniform outside Legacy house with President George MacKenzie and with the Sydney Swans mascot. A record of the fundraising for the Legacy Appeal in 2004.Colour photo x 2 of badge sellers in school uniform in Badge week.Printed on the back "

Bendigo Advertiser ''The way we were'' from 2003. Happy campers: do you recognize any of these bright, young faces from Gravel Hill primary school in 1946? Bendigo Advertiser ''The way we were'' from 2003. School days: Gravel Hill primary school grade 2, 1946. Names supplied by Alan McCaig. Back row L to R: Jimmy Pitson, Gerald Johnston, Unknown, Maxie Hutchinson, Barry Hope, Unknown, Ron Phillips, Eric Threlfall, Bill Hall, Bill Thorpe. Fourth row: Bernard Hinton, Des Braumann, John Chambers, John Caldwell, Brian Baker, Stan Climas, Kevin Paine, Alan McKean, Lenny Clark, Alan McCaig. Centre row: Neville Skelton, Ian Colwell, Larry Williams, Sydney Vaughan, Norman Skoglund, John Timmins, Brian Rowarth, John Cambridge, Mickey Gall, unknown. Second row: Ann Yandell, Phyllis Fisher, Adrienne Nuttall, Jean Bouch, Judith Ewing, Nola Grose, Unknown, Faye Masters, Unknown, Dorothy Stephenson, Unknown. Front row: Jim Allen, Tich Hamilton, Pam Smith, Marie Floreani, Annette Letitia, Denise Dowsey, Sylvia Coad, Alison Gibson, Colin Whitehead, Jim Hartwell. The clip is in a foldernewspaper, bendigo advertiser, the way we were

Marshall White is a former Merri-bek resident and artist. He completed a Fine Art diploma at the National Gallery Art School in 1973. After a severe motorcycle accident left him with quadriplegia in 1977, he returned to university, earning a Master in Painting from what is now the Victorian College of the Arts. White is considered a pioneer of digital art in Victoria. He taught art to inmates at Pentridge Prison, which provided him with access to early computers. Using a Commodore Amiga, Marshall pushed the boundaries of digital art. Strip 1 represents an early contribution to what was, at the time, an emergent art form. Inspired by William Blake and Arthur Boyd, White’s work delves into psychological spaces, addressing themes such as the apocalypse and White’s distain of religion. White's work exemplifies resilience and the transformative power of creativity in the face of challenges.Purchased

Keith Rash was a Ballarat signwriter who studied at the Ballarat School of Mines.Five examples of signwriting on metal. .3 ) Likenesses in four positions .4 ) Not cheap photos but good photos cheap .5) See yourselves as others see you.3) Novel and Dainty 1,500,000 in London 100,000 in Sydney 1,200,000 in S.Francisco 100,000 in Melbournesign writing, labels, signwriting, keith rash, advertisment, advertising, sayings

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: ERNEST MARCUSE / BANK OF VICTORIA / YACKANDANDAH Reverse: Y 2 / 013 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: YACKANDANDAH / ERNEST MARCUSE Reverse: Y 1 / 012 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: MARCUSE / YACKANDANDAH / Reverse: Y 3 / 014 / ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: (illegible) / BEECHWORTH Reverse: BEECHWORTH / MARCUSE BEECHWORTH NOSTALGIA BW-06 / B10 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: Charatome / Corning Buggy / Braise & Drag / believed to (illegible) built by Crawford and (illegible) / COBB & CO / WAGONETTE / B'WORTH MUSEUM Reverse: BEECHWORTH NOSTALGIA / BW-07(a) / B 8 / ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program