Licensed Gold Buyer Brass Sign from Union Bankstawell

Five Japanese yen bank notes. These are rectangular and made of paper.japanese currency, yen

Bank note - One Pound, British Armed Forces issue.documents, ww2, army

William M Pyke was born in 1815, Wiltshire England and died in 1850, 35 year old.William M Pyke headstone, located on the banks of Toolern Creekpioneer families, local identities

This coloured photograph shows the re-floating of the P. S. Adelaide on a soil ramp, being encouraged (rear entry) down the temporary slipway onto the river. The temporary slipway is clearly visible with a workman (possibly Kevin Hutchinson) standing at thelast log as the boat nears the waters' edge. A winching float and an outboard motor boat are at the right. Spectators line the banks of the ramp. Part of a photo sequence no.P000041; P000045; P000046; P000047; P000048 of P. S. Adelaide re-floating.The re-floating of the P. S. Adelaide was a Significant community social event evident by the number of spectators in the photograph. The community had invested a great deal of time and money into re-floating the paddlesteamer. The newspaper covered the event in detail with a number of action shots as the boat made its rear entry from the temporary slipway onto the river. Part of a photo sequence no.P000041; P000045; P000046; P000047; P000048 of P. S. Adelaide re-floating.Colour photograph of the P. S. Adelaide on a soil ramp, being encouraged (rear entry) onto the river. A winching float and an outboard motor boat are at the right front. Spectators line the banks of the ramp. Temporary slipway constructed of logs is clearly visible before the boat enters the water.

P. S. Marion Dimensions: 107 ft 11 in X 5 ft 3 in Tonnage: 157 tons Built: 1897, at Milang, S. A. References: Book: "Murray River Paddlesteamers" by D. Wardle. pp.22 Riverboats and Rivermen by W. Drake & M. PagePaddlesteamers were a common form of transport along the Murray river in the early 20th century. This photo shows a number of travellers on the boat, judging by their attire, workmen, cook, men in suits and ties as well as a group of people sitting on the bank, possible a woman and children with dog waiting for the boat to depart. There is also a horse drawn wagon with a number of people on and around it that could be waiting to pick up goods (or have unloaded) from the boat. At the back of the boat stacks of wheat bags (?) are visible.Black and white photograph of P. S. Marion moored by a river bank. There is a group of men standing towards the bow and a horse drawn carriage on the bank near the stern. Copy of an original photograph.On the front: MARION on the bow of the boat and on the wheelhouse. On reverse, in pen: Marion. where? Stamped in black: National Library of Australia.riverboats,, paddle steamers, p. s. marion

Double-sided page of Bank Account ( S A Bush) with 'The Colonial Bank of Australasia' (Bairnsdale Branch). Account current with Mr S A Bush, Storekeeper, Bairnsdale. Dec 1887 - Feb 1888person, individual, bush collection - personal, bendigo, bush collection, collection, business, commerce, retail

Documents: sheaf of documents pinned in top right hand corner from The Bank of Australasia and Hiskens and Leonard regarding bonds sold. Letter from bank is first document, with accompanying receipts.organization, mining, deborah gold mines nl, mccoll, rankin and stanistreet: deborah gold mines nl, bonds, leonard and hiskens

The timber and cable swing bridge straddled the Deep Creek at Bulla behind the Bulla school. It enabled children who lived across the river to travel directly to school instead of going the long way around the road, a possible distance of 2-3 kms.A coloured photograph of the timber and cable swing bridge which was constructed across the Deep Creek at Bulla. Trees are growing along the river bank and there is a row of conifers growing along the opposite bank.swing bridges, deep creek, george evans collection

Black and white photograph"Written on back of photograph" Mullum Mullum Creek North bank view towards the West. Taken West of Harrison St.. Weed infested scrub on banks.

Black and white photograph"Written on back of photograph" Mullum Mullum Creek View downstream from North bank. A most pleasant part near New St (South bank)

Four photos on a page from an albumCamel corps on the bank of the suez canal Nov 1914 Private ... 8th battalion A.i.f Camel corps on arabian bank of suez canal nov 1914ww1, world war 1, a.i.f, november, 1914, camel corps, portrait, private, suez canal, arabian bank

Yields information about how the centenary of the State Savings Bank of Victoria was celebrated on tram car posters.Digital image from the Wal Jack Ballarat Album of photographs of the front of Ballarat No. 43 (Note Wal's albums notes says No. 41) carrying a sign celebrating the Centenary of Service for the State Savings Bank (of Vic) with date 15 Nov 1956 on sign. Taken by Wal Jack, 20-12-1956. See image i2 for rear of photograph. See image i3 for hi res scan of print. See image i4 for hi res scan of negative On rear in blue ink "SEC Ballarat State Savings Bank centenary poster placed on No. 43, Wendouree Depot 20-12-56" with Wal Jack stamp in top right hand corner with number "T242" written in.trams, tramways, advertisements, state savings bank, centenary, tram 43

Document: McColl, Rankin & Stanistreet Collection: Central Deborah Gold Mine NL - bank statements of Central Deborah Gold Mining Co. NL with ANZ Bank. Brown paper wrapper tied up with brown string contains bank statements. Handwritten summary prepared by Chris Bradley ( 2009 ) inserted in front of archive.organization, business, central deborah gold mine, mccoll, rankin & stanistreet collection: central deborah gold mine nl. bank statements, accounts

Document: McColl, Rankin & Stanistreet Collection: Brown hardcover folder containing statements of account of Central Deborah Mine with ANZ Bank, English, Scottish and Australian Bank and the Union Bank. Details gold advances and mint returns. Two handwritten sheets on advances and mint returns completed by Chris Bradley (CVA volunteer 2009).organization, business, central deborah gold mine, mccoll, rankin & stanistreet collection: central deborah gold mine nl, goldmining, accounts, bank accounts

Sepia photograph taken from a point just north of the bridge over the Yarra River at Yarra Glen. A small herd of cattle and a horse are on the river bank and in the water. A horse with rider stands on the bank.On back of postcard at the top "POST CARD". On the left hand side "THIS SPACE MAY BE USED FOR PRINTED OR WRITTEN MATTER”. On the right hand side "ONLY THE ADDRESS TO BE WRITTEN HERE”. In a box in the right hand corner "A HALF-PENNY STAMP TO BE PLACED HERE". Along the left hand margin "Ajax series. Printed in England". horse, yarra river, yarra glen, cattle, horse and rider, river

Six paper bags of the Commercial Bank of Australia Limited for deposits $10 of ….cents coins. Three small paper bags of the Commercial Bank of Australia limited for deposits of $ 2 of 5 cents coins.numismatics, equipment, bags

The building was originally the Colonial Bank of Australasia and has a series of occupants, include a real estate firm in the 1970's20cm x 10cm black and white photograph of 1 Powlett street, former colonial bank of Australasia. corner of Powlett Street and Lancefield Road. Two story light coloured rendered building with signage for "Real Estate House" on top of the ground floor. Other signage painted on the Lancefield Road side of the building include: "Land specialists to Kilmore & district". The building also has an adjoining cottage on the Lancefield Road side of the property. There is also a figure crossing the road and five vehicles in the background of the photograph, three regular vehicles and two possible emergency service vehicles. A street sign can be seen pointing to: Lancefield, Kyneton, Foote Street, Melbourne and Seymour.PHO-00003banks and banking, real estate agents

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: BANK OF VICTORIA / YACKANDANDAH / ERNEST MARCUSE / Reverse: Y 4 / 015 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Document: Bank account book for 'Central Napoleon Gold Mining Co N.L.', with 'The English Scottish & Austrlian Bank Ltd', Green Cloth cover lable glued on front, not quite half full, Markings: Handwriting: 'Central Napoleon Gold Mining Co N.L', Print: 'In account current with The English Scottish & Australian Bank Ltd'.organization, business, industrial - mining, mccoll rankin & stanistreet, mining, gold mining, central napoleon