Rose Series Postcard number 965Copy of Photo Series postcard #965 with view looking west to Mt Dandenong Road and Ridge Road. Looking across to where the Log Cabin (Kellys) would now be.mount dandenong, dulce domum, photo series

Other number 03621.1Black and white photograph of Football Club officials John Kelly President, William Skip Stevens third coach and Jonathan Yates assistant coach Lakes Entrance Victoriaclubs, football

This Carte-de-viste (CdV) previously belonged to the donor's grandfather, Daniel Mullins who was a Police Officer stationed at Glenrowan soon after the Kelly gang siege. It is unclear; however, whether or not the man depicted in the photograph is Daniel Mullins or a different police officer. The Police Station at Glenrowan depicted in this CdV stood during the events of the Kelly gang's siege. Today, the siege has become an important part of Australian culture and Ned Kelly and the Kelly Gang (comprising of Ned Kelly, Dan Kelly, Steve Hart and Joe Byrne) has become ingrained in Australian history and mythology. A CdV is a sepia toned photograph mounted on card and is generally of a small size. This particular style was first patented by Andre Adolphe Eugene Disdéri (1819-1889) in 1854. In 1857, the CdV was introduced to England and after photographs of Queen Victoria, Prince Albert and their family were taken using CdV in 1860 the popularity of this method reached a peak. This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Items pertaining to the Kelly gang, including photographs like this one which depicts a police officer standing outside of the Glenrowan Police Station, are of great historical significance. Photographs like this can provide valuable information on the architecture, lifestyle and dress of colonial Australia. When studied, photographs have the ability to shed more light on the events of the Kelly gang and colonial Australia. This photograph is also of artistic significance because of the popularity of the CdV during the nineteenth century.A sepia toned photograph mounted on grey card with rounded corners. The image has been captured by an unknown photographer and depicts the outside the Glenrowan Police Station. In front of the Station stands an unidentified policeman and lying on the ground behind the policeman is a medium sized dog with dark colouring. The Police Station depicted in this photograph is a classic example of Australian country colonial architecture typically seen dating to the nineteenth century. It has the typical features of an Australian colonial 'miners' cottage' with the gable roof and a skillion at rear. A white picket fence is stands between the Station and the policeman. A small building is located at the rear of the Station which may have served as a lockup.BMM 8083kelly album, glenrowan, police, police station, photograph, ned kelly, australia, colonial australia, victoria, james bray, william e barnes, daniel mullins

Note signed by? B H ?heilland dated 1/7/09 mentioning Exchange n drawn by I H McColl in name of M P Kelly and script 200 shares in the Great Columbian Mining Co., 100 preference shares in The Commercial Bank of Australia Limited & Blank transfer for Bank Script signed by M P Kelly. He held the above as security for an advance of £109-9-7.business, stockbroker, kelly & allsop, kelly and allsop collection - letter to mr m p kelly, j h mccoll, great columbian mining co., the commercial bank of australia limited

These are from the series taken by Alison Kelly c1990One from a set of two colour photos of the public conveniences in Sinclair Parade c1990: LADIES/DONNE/(GYNAIKA) The Abel Tasman is visible in the background'Toilet block, Beaconsfield Paradebuilt environment - civic, natural environment - beaches and foreshore, transport - shipping, transport - ferries, alison kelly

Operating Theatre - Dr Davidson & Sr Kellyoperating theatre, davidson, kelly, 1940s, ballarat, hospital, prendergast

Dress worn by Ellen Kelly aunt of donorBlue and black Coat and Dress. Four cm black trim around all edges, and two patch pockets, eight black buttons down front.Aphrodite Australian madecostume, female

Black and white photograph of James Clancy a sympathiser of the Kelly Gang. Photograph shows a small head and shoulders portrait of a clean shaven man in a checkered jacket with white neck tie.james clancy, kelly sympathiser, clancy brothers, kelly gang, edward kelly, ned kelly

Regarding trotting history at Port Melbourne Speedway. Includes an extract from "Trove" of the "Record " Emerald Hill covering the opening of the speedway on 24th August 1918. MLA J L MURPHY (president of the club) opened the track in the presence of Port Melbourne Mayor J P CRICHTON and other dignitaries. The club was formed to encourage and support the breeding of trotters and enjoy the sport free from gambling.Four digital images relating to trotting in Port Melbourne. (.04) Pearl KELLY riding a trotter in harness (but without sulky) at Royal Melbourne Show. No certainty of a link to Port Melbourne.james laurence murphy, james peter crichton, sport - trotting, pearl kelly, george gath, 'darkie' gath, will whitbourn, cumming smith and co, john peck, dick cullen

Document in a Black frame. Contains 1. Reproduction of Ken McFadyen oil painting titled "Chopper Liftout" and description 2. Photograph of Ned Kelly Project Team and description of the project.framed document, uh1h iroquois, kenneth mcfadyen, raaf project ned kelly

Document: label showing details of Robert Denis Kelly's field unit, (22nd. A.A.S.C.), transport (Themistocles), Pay Book No. 101095, specimen signature and Reg. No. 10874. Rank Sergeant.person, robert denis kelly, world war 1, france

Colour photograph of Legacy members Marie Fish, Marion Kelly, James Turner Legatee Eileen Wilmot Norma Fiedler and Betty Gray at Christmas lunch at the RSL Lakes Entrancelegacy, veterans, rsl clubs

A small black and white photograph of Tom LloydTom Lloyd, Ned Kelly's cousin and sympathiser. The champion buck jumping rider of Victoria (in ink on rear)tom lloyd, ned kelly, edward kelly, kelly gang, police murders

This photo (sepia) of Miss Katrina Dawbarn was taken "circa 1909" standing outside the old Ballarat Shire Office. Miss Dawbarn was the daughter of Gilbert Dawbarn who was the Shire Secretary.Historical photo of the Ballarat Shire Office in1909.Sepia photo of Ballarat Shire Office 1909,with Katrine Dawbarn, daughter of Shire Engineer (Gilbert Dawbarn).Ballarat Shire Office 1909. Katrine Dawbarn daughter of Shire Engineer. Photo coutesy Kate Kellydawbarn katrina, ballarat shire offices 1909

Prior to the election of female Councillors and Mayors in the 1960’s, the Lady Mayoress role was one of the few ways women could officially undertake civic duties. Mayoresses made important contributions to their local communities through their charity work and as ambassadors for their region on a state and federal level. They also undertook some Mayoral duties on occasions when their husband was unavailable. Born in 1884 at Fryerstown, May Catherine Quick married David William Streader in 1910. May Streader served as Mayoress from 1946 - 1947 and died aged 103 years old in 1987. Reproduction of photographic studio portrait sitting behind oval mount.ll; Mrs D. W. Streader / Mayoress / 1946 - 47. lr R. Vincent Kelly / Bendigovincent kelly, studio photography, raymond kelly, city of bendigo mayoress, city of greater bendigo portraits, may quick, mayoress streader, city of bendigo mayor, mayor d.w. streader

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 coloured pencil landscape drawing on paper.Obverse: Marcuse 74 / Courthouse / Visitor Ned Kelly . B'worth Reverse: BEECHWORTH / COURTHOUSE / B5 / 06 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

Photographs (8) plus negatives of netball activities in the Heathmont/Ringwood area. In Agfa folder. Each has a detailed inscription. +Additional Keywords: Riddell, Kristy / Donelly, Kelly / Donnelly, Peter / Cidnage, Kate / Jones, Alma / Henry, Kathy / Poppas, Stacy / Cousins, Lydia / Jerome, Clare / Young, Lucy / Arnold, Holly1. Mullum U17 netball team Premiers, Melbourne East Netball Assn (3218_01.jpg) 2. Mullum U15 netball team Premiers versus Heathmont Baptists, Melbourne East Netball Assn (3218_02.jpg) 3. Mullum U17 netball team versus Southwood (3218_03.jpg) 4. Mullum U17 netball team versus Southwood in 1999 (3218_04.jpg) 5. Mullum U15 netball team Premiers, Melbourne East Netball Assn (3218_05.jpg) 6. Mullum U17 netball team in 1999 - Rear - Kerrie, Kristy Reddell, Kelly Donelly, Peter Donelly (coach), Kate Conage, Alana Jones - Front - Kathy Henry, Stacy Poppas, Lydia Cousins, Clare Jerve (3218_06.jpg) 7. Netball played at HE Parker Reserve, Heathmont in 1999 (3218_07.jpg) 8. Trophy presentation to Mullum U17 team (3218_08.jpg)

Contract of sale - 11 June 1895 - William Henry CUNDY to Arthur Allsop and Michael Kelly. Contract of sale and contract of 'Hiring and Letting' between William Henry Cundy of Barkly Place, Bendigo , Surveyor and Arthur Allsop and Michael Kelly, Financiers of Wills St, Bendigo Document witnessed by John F Gleeson, Managing Clerk to Crabbe, Cohen, Kirby, Solicitors, Bendigo The document consists of four pages and a memorandum of agreement between WH CUNDY and Arthur ALLSOP and Michael KELLY for the purchase and re-hire of a building and it's contents. There is a detailed list of contents for each of the rooms in the house. This number also includes a research sheet re the death of Mr. Charles Cohen, Solicitor.bendigo, history, housing/cultural, william henry cundy, arthur allsop, michael kelly, crabbe, cohen, kirby, john f gleeson, barkly place, wills st, milroy st.

Wearer, Ellen Kelly, aunt of Julie Jones, donorQuilted bed jacket, pink nylon; raglan sleeves; collar & front trimmed with nylon pleated trim.costume, female nightwear