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 / YACKANDANDAH / Reverse: Y 10 / 016 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: YACKANDANDAH / 80 Reverse: Y 5 / 018 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: BANK OF VICTORIA / YACKANDANDAH / Reverse: Y 6 / 017 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

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

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: ABBOT BAGGY / B'WORTH / CARRIAGE MUSEUM Reverse: B7 / Beechworth Nostalgia / BW - 07 B (crossed out) / 008ernest 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: BEECHWORTH CARRIAGE MUSEUM / MARCUSE Reverse: BEECHWORTH NOSTALGIA / BW-08 / B 9 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: B'worth / Marcuse Reverse: B6 / Beechworth Nostalgia / BW - 07 (crossed out)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 coloured pencil landscape drawing on paper.Obverse: BEECHWORTH / VIC. / MARCUSE Reverse: BEECHWORTH NOSTALGIA / BW – 03 (on masking tape) 003 (pencil) 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 coloured pencil landscape drawing on paper.Obverse: Opposite Crown Hotel / Tanswell Hotel / BEECHWORTH / (on tape) Reverse: BEECHWORTH NOSTALGIA / BW – 05 (on masking tape) 004 (pencil) 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 coloured pencil landscape drawing on paper.Obverse: Marcuse / Beechworth Old Courthouse / Reverse: B4 / BEECHWORTH OLD COURTHOUSE / BW - 09 (on masking tape) COURTHOUSE / BEECHWORTH / VICTORIA / NATIONAL TRUST / CLASS (A) ERNEST MARCUSE / 17 CADDOCK AVE / CAUFIELD / VIC / 53-7374 001 (pencil) 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 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

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 / B.worth (in pen) Reverse: BEECHWORTH NOSTALGIA / BW – 01 (crossed out) / B2 / CORNER CAMP + FORD STREET / (on masking tape) 001 (pencil) 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 coloured pencil landscape drawing on paper.Obverse: MILLS / DISPENSARY / MARCUSE 83 / YACKANDANDAH Reverse: Y 12 / 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, yackandandah

A Mathieson & Son History: In 1792 John Manners had set up a workshop making woodworking planes at 14 Saracens Lane Glasgow. He also had employed an apprentice Alexander Mathieson (1773-1851). But in the following year at Saracen's Lane, the 1841 census describes Alexander Mathieson as a master plane-maker now at 38 Saracen Lane with his son Thomas Adam working with him as a journeyman plane-maker. Presumably, Alexander must have taken over the premises and business of John Manners. Now that the business had Thomas Adam Mathieson working with his father it gradually grew and became more diversified, and it is recorded at the time by the Post-Office Glasgow Annual Directory that by 1847-1848 Alexander Mathieson was a “plane, brace, bit, auger & edge tool maker.” In 1849 the firm of James & William Stewart at 65 Nicolson Street, Edinburgh was taken over and Thomas was put in charge of the business, trading under the name Thomas A. Mathieson & Co. as plane and edge-tool makers. Thomas's company went on to acquire the Edinburgh edge-tool makers “Charles & Hugh McPherson” and took over their premises in Gilmore Street. In the Edinburgh directory of 1856/7, the business is recorded as being Alexander Mathieson & Son, plane and edge-tool makers at 48 Nicolson Street and Paul's Work, Gilmore Street Edinburgh. The 1851 census Alexander is recorded as working as a tool and plane-maker employing eight men. Later that year Alexander died and his son Thomas took over the business. Under the heading of an edge-tool maker in the 1852/3 Post-Office Glasgow Annual Directory the firm is now listed as Alexander Mathieson & Son, with further entries as "turning-lathe and vice manufacturers". By the early 1850s, the business had moved to 24 Saracen Lane. The directory for 1857/8 records that the firm had moved again only a few years later to East Campbell Street, off the Gallowgate area, and that through further diversification was also manufacturing coopers' and tinmen's tools. The ten-yearly censuses report the firm's growth in 1861 stating that Thomas was a tool manufacturer employing 95 men and 30 boys; in 1871 he had 200 men working for him and in 1881 300 men. By 1899 the firm had been incorporated as Alexander Mathieson & Sons Ltd, even though only Alexander's son Thomas appears ever to have joined the firm so the company was still in his fathers' name. In September 1868 Thomas Mathieson put a notice in the newspapers of the Sheffield & Rotherham Independent and the Sheffield Daily Telegraph stating that his firm had used the trade-mark of a crescent and star "for some time" and that "using or imitating the Mark would be proceeded against for infringement". The firm had acquired its interest in the crescent-and-star mark from the heirs of Charles Pickslay, the Sheffield cutler who had registered it with the Cutlers' Company in 1833 and had died in 1852. The year 1868 seems also to be the one in which the name Saracen Tool Works was first adopted; not only does it figure at the foot of the notice in the Sheffield press, it also makes its first appearance in the firm's entry in the Post-Office Glasgow Annual Directory in the 1868/9 edition. As Thomas Mathieson's business grew, so too did his involvement in local public life and philanthropy. One of the representatives of the third ward on the town council of Glasgow, he became a river bailie in 1868, a magistrate in 1870 and a preceptor of Hutcheson's Hospital in 1878. He had a passion for books and was an "ardent Ruskinian". He served on the committee handling the bequest for the setting up of the Mitchell Library in Glasgow. When he died at Coulter Maynes near Biggar in 1899, he left an estate worth £142,764.  Company's later years: Both Thomas's sons, James Harper and Thomas Ogilvie were involved in the continuing life of the firm. James followed in his father's footsteps in becoming a local public figure. He was appointed Deputy Lieutenant of the County of the City of Glasgow and was made a deacon of the Incorporation of the Hammermen of Glasgow in 1919. His brother Thomas Ogilvie was recorded as tool manufacturer and employer in the 1911 census. Thomas Ogilvie's son Thomas Alastair Sutherland Ogilvie Mathieson was born in 1908 took a rather different approach to engineering, however, by becoming a racing driver. In 1947 he wed the French film actress Mila Parély. The firm had won many awards at world fairs for their goods. At the Great Exhibition, London, 1851. Prize medal for joiners' tools in the class of Cutlery & Edge Tools, Great London Exposition, 1862. Prize medal honoris causa. International Exhibition, Melbourne, 1880. Gold medal International Exhibition of Industry, Science and Art, Edinburgh, 1886. Prize medal James Howarth & Sons History: James Howarth and Sons, of Broomspring Works, Bath-street Sheffield were among leading manufacturers of edge tools and joiners tools. The business was commenced in 1835, by James Howarth who was joined by his sons in 1863. Howarth manufacture light and heavy edge tools of all kinds, including a variety of joiners’ tools, hammers, skates, augers. The firm soon was extended and began exporting their products to the USA, Canada, Australia, China, and many other overseas destinations as well as to the home market. They were exhibitors at the London Exhibitions of 1851 and 1862, and Paris in 1855, receiving awards. Howarth was primarily operating from Sheffield. J Howarth & Sons produce goods of a very high class and were also engaged in the manufacture of steel, file, saw, and similar trades. Upon the death of James Howarth, the firm was managed by his four sons James, Samuel, Edwin, and John Howarth. The firm was discontinued in 1913, and its trademark was acquired by Robert Sorby and Sons in 1922.A significant tool made in the late 19th century by a known makers and sought after by collectors of vintage wood working tools.Smoothing Plane Coffin type. 2" stamped on one end and Tertius Keen & Co (plane maker.) Blade has James Howarth Warranted Cast Steel Sheffield (maker of blade only.)flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

The ship's steering gear was used for steering and navigation of a vessel - it was a very important part of the ship's equipment. This steering gear was part of the original vessel 'Reginald M', which became part of the exhibitions at Flagstaff Hill Maritime Village. The steering gear was manufactured by the Carron Company. ABOUT THE CARRON COMPANY The Carron Company established its ironworks on the banks of the River Carron in Stirlingshire, Scotland, in 1759, and became an incorporated company in 1773. One of the notable items produced by the company was the Carronade, a short-barrelled naval cannon, being produced until the 1850s. The company was the largest ironworks in Europe during the 19th century. It supplied ammunition and armaments, steamboat engines, pig iron, cast iron goods such as balustrades fire grates and bath tugs, pillar boxes and telephone boxes, and even cast iron rings for underground tunnels. In 1982 it became insolvent and was taken over by the Franke Corporation, using the brand Carron Phoenix. ABOUT THE 'REGINALD M' The Reginald M’s purpose was to serve the coastal trade of South Australia, to carry cargo cheaply and efficiently. It is believed that the keel was in fact hewn from two telegraph poles! Its builder frequented all the salvage yards for materials and fittings. The vessel “Reginald M” was a two-masted coastal ketch, owned and built by Mr. Jack (John) Murch of Birkenhead, Port of Adelaide, South Australia. Its construction took approximately 6 months and it was launched at Largs Bay in 1922. Reginald M had a very shallow draft and a flat bottom that enabled it to come close to shore and to sit high and dry at low tide or to be beached on sand. The flat bottom was also to make the ship able to skim over reefs. Wagons could load and unload direct from her side. Her cargo included Guano, Barley, Wool, Horses, Cattle, Timber, Explosives, Potatoes, Shell Grit and Gypsum. On April 9th 1931Reginald M weathered a large storm in St Vincent Gulf, SA. The vessel suffered much damage; mast snapped and the crew laboured for four hours to free her by chopping off the past and rigging. The crew patched her up and slowly returned to Port Adelaide with only a portion of the insured cargo being damaged. Her crew members at the time were owner Mr John H Murch of Wells Street Largs Bay, Skipper Mr R Murch – John’s brother, Murray – son of Captain Murch and Seaman John Smith. Reg Webb purchased Carribie Station, at Marion in the Warooka District, south of Adelaide, in 1921. He cleared the land and farmed sheep and grain. In 1923 he shipped his own wool and grain from Marion Bay, having first carted 300 bags of the barley grain, 12 bags at a time, along the unmade track to the jetty. A photograph donated to Flagstaff Hill, dating about 1929 - 1942, shows two men on the Reginald M, holding between them their fishing catch of a large hammer shark. The photograph is stamped “GRENFELL STUDIO PORT LINCOLN PRINT” and titled “hammer shark caught on Reginald Emm”. The donor’s family lived on the Your Peninsular and despatched their grain from a chute at Gleeson’s Landing to the awaiting transport vessel. Reg knew the Murch Brothers from Port Adelaide. The brothers had been using their ketch REGINALD M to ship Guano from the Islands, led by Captain Richard Murch. Reg approached them in 1934 about shipping grain from Marion Bay. The brothers visited the bay and thought it was an ideal place. They showed Reg where to stack his grain and they measured up the cliffs. When Reg was ready, they brought down and installed a ninety foot wooden chute. The bags of grain were then individually sent down the chute, landing in a waiting small boat then rowed to REGINALD M, 14 bags at a time. After 10 hours REGINALD M would be fully loaded with 1300 bags of grain and shipped to waiting ports. At one time a wild storm destroyed the chute but it was rebuilt and strengthened. REGINALD M was involved in shipping the grain from there until 1938. In 1940 Able Seaman Allan H Lucas served on Reginald M between September and December, being engaged and discharged from Port of Adelaide. His Certificate of Discharge was signed by ship’s Master W S Murch. It seems that at some stage Reginald M was used as a Customs vessel, as one photograph in Flagstaff Hill’s collection shows “H.M.C. No. 3, Pt Adelaide” on the bow. In 1969 the last freight left Marion Bay on the ketch REGINALD M carrying grain, wool and explosives. In late 1970 she was sold to the Mt. Lyell Mining and Railway Company and was used by them as a barge to carry explosives. In 1972 the Navy League of Strahan, Tasmania, purchased her for use by the Strahan Sea Cadet Unit to use at Macquarie Harbour and renamed her T.S. Macquarie. However this plan for use of Reginald M did not come to pass. In 1974 Mr. Andrew Rennie, of East Brighton, Melbourne, bought her for a similar purpose. , paying $5,000 and donating a ‘Cadet of the Year” trophy to the Sea Cadets. He sailed her from Strahan to Melbourne, planning to use her for pleasure sailing. Also in 1975 Reginald M was sold to Melbourne Ferry Company at auction. Later in 1975 the Reginald M was bought by Flagstaff Maritime Museum for $20,000 . She has been restored and is now one of the exhibits in the Village lagoon or lake. It was restored in 2006 using funds from a $4,000 government grant. Flagstaff Hill Maritime Village’s Collection holds several other artefacts associated with Reginald M. They include photographs of the Reginald M, including one photograph of her in Outer Harbour, S.A. dated 1947, with Skipper- R.F. Dale and Owner- John Murch. Another shows her docked at Port Adelaide, with the lettering H.M.C. No. 3 Pt ADEL (standing for His/Her Majesty’s Customs). There is a black and white photo of her at a wharf and another showing a person on board.The steering gear is significant through its association with the Carron Company, the largest ironworks in Europe in the 19th century, and the manufacture of the short barrel, lightweight naval gun - the Carronade. The steering gear is significant for its association with the vessel REGINALD M is a coastal trading ketch from South Australia built in 1922. It is one of very few sailing coastal trading vessels still extant, and its flat bottom, single chine shape illustrates a very simple but robust method of construction, compared to other round bilged examples of trading vessels. She is now listed on the Australian Register of Historic Vessels (ARHV Number: HV000562.) Ship's steering gear that was part of the original vessel 'Reginald M', which was constructed in 1922. Inscription on both sides. Made by the Carron Company, UK."CARRON COMPANY"flagstaff hil, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, coastal trader, trading vessel, vessel reginald m, ketch, john murch ship builder, reg webb, carribie station, mt lyell copper company, queenstown navy league, andrew rennie, melbourne ferry company, r.f. dale, port adelaide vessel reginald m, macquarie training vessel, grenfell studio port lincoln, ship steering gear, metal steering gear, ship's gear, ship's navigation, carron company

Information relating to Charles Anderson and Charles Anderson Grove, Lake Gardens, Ballarat. The Old Colonists' Association Ballarat Inc. is a not for profit charitable organisation providing accommodation for elderly people. It manages a 27 Home retirement village at Charles Anderson Grove, Ballarat. Accommodation is offered at significantly below market rates. It has been providing low cost accommodation to the elderly since the 1920s. The Association Council overseas the running of this facility on a voluntary basis. HISTORY OF THE BALLARAT OLD COLONISTS' ASSOCIATION HOMES AT CHARLES ANDERSON GROVE, LAKE GARDENS One of the original objectives of the Association was “to provide the shelter of a house for those Pioneers of the Goldfields whom the reverses of fortune have deprived of the means of procuring the comforts of life in their declining years.” While the first home at Charles Anderson Grove was built in 1925 the Association had previously provided relief for needy pioneers from the time it was formed in 1883. Relief included monthly monetary payments, loads of firewood, medical assistance and distribution of Christmas boxes of groceries to deserving pensioners and in some cases payment of burial costs. Records indicate that in September 1922 three of the pensioners being assisted by the Association were accepted as residents in the newly erected Hassell Homes in Gillies Street (now demolished-opposite the High School). The first site for an Asylum for Indigent Members of the Old Colonists' Association was temporarily reserved from sale in October 1891. The site was approximately 28 acres in area in Mt Clear nearly opposite Midvale Shopping Centre in Main Road. The site was heavily timbered and when cleared over 260 tons of wood was sold to the Woah Hawp Gold Mining Company. A set of gates were erected but no homes built, although a plan for this reserve was drawn which showed twenty buildings ranging from one to four unit per building. The reserve was revoked in November 1909. The second site temporarily reserved in November 1909 as an Asylum was in Alfredton and consisted of some 7 acres and was adjacent to land reserved for an Abattoirs for the Ballarat Council. The reserve was revoked in February 1912 as it was deemed more appropriate to be added to the Abattoir site. Council suggested four (4) other sites in exchange for this land and they were inspected by the President, Vice President and Secretary on 22 December 1912. The first site inspected was land on the west side of Creswick Road opposite the brick kilns (now occupied by the showgrounds and oval). The land was described as being good quality, well fenced, no trees, good drainage and ample acreage but some distance from trams. The second site was Perry Park which was described as being good land, well fenced, having frontage to Gillies Street, good drainage and about 26 acres (but subsequently reduced to 10 acres). It was closely planted with Pinus Insignias and Wattle and had easy access from the Botanic Gardens tram. The third site was the North West portion of Victoria Park (corner of Sturt and Gillies Street) and was described as good land, well fenced and drained and well located. The fourth site was the South West corner of Victoria Park and known as Pound Paddock (corner of Winter Street and Gillies Street). It was considered to be low lying and too close to the Abattoir, and was also a considerable distance from trams. While the third site was recommended as the most suitable for the erection of homes it was considered unwise from the point of view as citizens to reduce the acreage of the park and therefore it was recommended that the Perry Park site be asked for as the most acceptable to the Association for the building of homes. The site was eventually temporarily reserved for an Asylum for Indigent Members of the Association in April 1914 with the gates from Mt Clear having been removed to the site a year earlier and eventually erected in 1917 for £12.10.0. In the same year the first 290 pine trees were advertised for removal in July and sold for £16. A sign indicating that the site was reserved for the erection of cottages was erected in September 1917. Stripping of the wattle bark (for tanning) and the cutting of the wood occurred in November 1918 with the land then being leased until it was required for the construction of the first homes in 1924. While the site was the third to be reserved it was the only one which was used for its intended purpose. It was named as Charles Anderson Grove in honour of Charles Anderson who joined the Association in 1918 and was President of the Association from 1942 to 1944. CHARLES HENRY GRATTAN ANDERSON C.H.G. Anderson (Electoral Returning Officer) was elected to membership of the Old Colonists' Association, Ballarat, in October 1918. He was elected to the Association Committee in 1926, and appointed Treasurer of the Association on the resignation of F. Ellis until the end of the financial year in 1933. In 1936 Charles Anderson indicated he would not be available for the President's Chair and that he would retire from the Committee owing to pressure of work. C.H.G. Anderson was welcomed as a new member of the Association in 1938, and served as President of the Old Colonists' Association from 1942-1944. Midway through 1949 Charles Anderson was appointed Members Secretary and Manager of the Ballarat Old Colonists' Club at £5.0.0 per week and 10/- for entertainment, to commence work prior to 01 August 1949. He was to do 30 hours per week and be present on Friday and generally on Saturday nights. In 1957 a minute of sympathy was extended to Club Manager Charles Anderson on the loss of his son. In 1958 a bonus of £20.0.0 was paid to Charles Anderson in recognition of his service in assisting the Secretary/Manager taking over under difficult conditions. In March 1964 the Shire of Ballarat would not permit a private road to be named Anderson Grove as Anderson Street already existed in Ballarat but Charles Anderson Grove was deemed acceptable. A recommendation of the Committee was put to the AGM in 1967 that Charles Anderson be made a Life Member. In 1969 an Association meeting observed a minutes silence in memory of Chas Anderson. Charles Anderson was also a Committee member of Ballarat Mechanics' Institute from February 1940 to February 1970. He was President in 1948. Black and white photographic portrait of Charles Anderson.charles anderson, charles anderson grove, ballarat old colonists' club, old colonists' association, ballarat, ballarat mechanics' institute, hassell homes, woah hawp gold mining company, firewood, retirement village

Specific focus on history of and impact to the Eltham War Memorial property. Contents: Eltham Major Activity Structure Plan Comments Sheet; Response by Harry Gilham, 22 June 2004 Minutes for the policy and Services Committee of Nillumbik Shire Council held Wednesday 11 August 2004 Photocopy of Eltham War Memorial Trust Booklet cover and Honour Roll Board in Eltham War Memorial Hall Photocopy of newsclippings - Eltham War Memorial Trust: Ready Now for Forward Movement; Acknowledgements £722; publication unknown, c.1946 and Eltham War Memorial Trust: "Garden of Remembrance"; Baby Health Centre First Building, The News: The Newspaper of the City of Heidelberg and of the Shire of Eltham, 11 April 1947 (EDHS_04588) Abbreviated notes of the Eltham War Memorial Trust, Harry Gilham, February 1997 Notes prepared by Harry Gilham pertaining to draft Eltham Major Activity Structure Plan, 2004 referencing Memorial Hall Site Title (p45), EGAG on heritage (p73) and Design Guidelines (p73) Copy of Certificate of Title issued to Eltham War Memorial Trust Ordinary Meeting of Council Agenda, 15 September 2004, p55 with notes on vote for motion that any reference to the sale of the War Memorial be removed Letter from Cr Tony Raunic, Mayor to Harry Gilham regarding Eltham Major Activity Centre Structure Plan advising the removal of any reference to sale of the War Memorial and detailed consultation to be held with stakeholders regarding the former Shire of Eltham Office site; 8 October 2004 Copy of fax sent by John Cohen, OAM, JP to Diamond Valley News, re his support for the appeal for protection of the Eltham War Memorial 3 July 2004 Copy of letter sent by John Cohen, OAM, JP to the CEO, RSL Victoria requesting their opposition to sale of the Eltham War Memorial, 19 August 2004 Copy of letter sent by John Cohen, OAM, JP to Brigadier J.R. Deighton, State Secretary, Victorian RSL re his comments in Diamond Valley Leader regarding the Eltham War Memorial, 27 August 2004 Copy of letter sent by John Cohen, OAM, JP to Brigadier J.R. Deighton, State Secretary, Victorian RSL advising the War Memorial had been removed from the wider proposal of the Eltham Activity Centre, 16 September 2004 Fax from Catherine Dale, CEO, Nillumbik Shire Council to John Cohen re Renovation and Maintenance of Victorian War Memorials, 6 October 2004 Letter from Barry Rosewall, President, Eltham RSL to John Cohen advising the sub-branch strongly opposes the sale of the Eltham War Memorial, 20 October 2004 Fax from Bill Forrest, Interim CEO, Nillumbik Shire Council to John Cohen re Renovation adn Maintenance of Victorian War Memorials, 8 November 2004 Copy of letter from John Cohen to Bill Forrest, Interim CEO, Nillumbik Shire Council re Maintenance of Eltham War Memorial, November 2004 Handwritten notes prepared by Harry Gilham in preparation of presentation to Council pertaining to draft Eltham Major Activity Structure Plan, 2004 Letter from Eric Mack to the Hon. Steve Herbert,, Member for Eltham regarding draft Major Activity Centre Structure Plan, 22 June 2004 Letter from Eric Mack to Nillumbik Shire Council CEO and Councillors regarding draft Major Activity Centre Structure Plan, 2004 Reply to Eric Mack from the Hon. Steve Herbert, Member for Eltham regarding his letter of 22 June, 27 July, 2004 Copy of letter from John Cohen to President and Exectuive of the Eltham RSL regarding the Eltham War Memorial, 16 July 2004 Notice issued by Cr Greg Johnson of 11 August meeting by Council's Policy and Services Committee to consider a proposal to sell the Eltham War memorial and old shire office properties, 6 August 2004 Letter from Harry Gilham, President, Eltham District Historical Society to Diamond Valley Leader wishing to correct a historical inaccuarcy being circulated in the Draft Structure Plan for the Elham Major Activity Centre, 17 June 2004 Newspaper clipping - Protect war memorial, Harry Gilham, President, Eltham District Horical Society; Letter, Diamond Valley Leader, June 30, 2004, p16 Newspaper clipping - Sell-off a betrayal of trust, Ken Eckersall; Letters, Diamond Valley Leader, c.2004 Newspaper clipping - Don't insult memory of fallen servicemen, John Cohen; Letters, Diamond Valley Leader, c.2004 Newspaper clipping - Up in arms against sell-off, Dave Crosswaite, Diamond Valley Leader, July 14, 2004, p5 (War veterans and local historians call upon Nillumbik Council to reject moves to sell Eltham War memorial buildings to a private developer. Features a picture of John Cohen, Harry Gilham and Dr Ken Eckersall. On same page - "First Aboriginal mural by trust opens" by Dave Crossthwaite about a mural celebrating stories and culture of the Wurundjeri people being unveiled at the YMCA-run Eltham Leisure Centre.) Newspaper clipping - Shire plan 'sacrilegious' by Dave Crossthwaite, Diamond Valley Leader, Wednesday, August 19, 2004, p1 (Residents fight war memorial sale) Newspaper clipping - Our say on sale of land; Have you say, Diamond Valley Leader, August 18, 2004, p22 Newspaper clipping - School hall is not ratepayers' worry; Have your Say, Diamond Valley Leader, August 18, 2004, p23 Newspaper clipping - Clash over land sale by Dave Crossthwaite, Diamond Valley Leader, August 25, 2004, p1 Newspaper clipping - Mayor beset over arts agenda claim by Dave Crossthwaite, Diamond Valley Leader, August 25, 2004, p5 Newspaper clipping - Public assets are not for sale; Letters, Diamond Valley Leader, August 25, 2004, p11 Newspaper clipping - A lot of work has gone into shire structure plan; Letters, Diamond Valley Leader, August 25, 2004, p10 Newspaper clipping - Don't let a dream stay hijacked; Letters, Diamond Valley Leader, September 1, 2004, p11 Newspaper clipping - Future of memorial site on hold until poll by Caroline Gonzalez, Diamond Valley Leader, September 20, 2004 Newspaper clipping - Troops enlist for campaign by Fiona Willan, Diamond Valley Leader, 18 July 200751 pages of various types, A4, printed, handwritten notes, letters and newspaper clippingscr. greg johnson, diamond valley leader, eltham district historical society, eltham leisure centre, eltham major activity structure plan, eltham rsl sub-branch, eltham war memorial, eric mack, harry gilham, john cohen, ken eckersall, letters, nillumbik shire council, protests, steve herbert mp, wurrundjeri

Martha Watson was born on 17 October 1888 in Ballarat, Victoria, Australia as the first child of Robina (Ruby) WATSON. She died on 23 March 1976 in Geelong, Victoria, Australia. Memories of Martha by Valcia nee Twigg Lowrie, granddaughter of Arthur Watson. My memories and recollections as told to me my Grandmother ‘Mum’ Myers. As a child she had scarlet fever and did not attend school during the illness and missed a lot of school (Macarthur Street State School). When she was meant to return to school having fallen behind her classmates, confused and behind with the school work, she instead spent her time wandering around Lake Wendouree feeling too ashamed to attend school. Her uncle Arthur, born in 1874, whom she idealized, was a type of father/mentor figure who played and important part in her early life. He moved to Queensland in the early 1900’s and they did not meet again until he visited Melton in 1949, he died in 1954. He was a champion rower in Victoria and Queensland and a noted cyclist who rode in three Warrnambool to Melbourne races, and footballer. Her mother’s death certificate reveals her place of death as the Ballarat Hospital on 8th September 1903 aged 36. Martha was not told of the death of her mother, it was some time later when she found out her mother had died. She was greatly distressed when she eventually found out. The grief and the circumstance of her mothers death and her unfortunate life had a permanent effect on Martha’s life. Robina was buried in Open Ground at the New Cemetery Ballarat. Marjorie likened to this to the death of Mozart at the age of 35 who was also buried in a common grave. Martha also told me the stories about how as a child she played at the cemetery, taking the oranges placed as offerings on the Chinese graves and being chased away in fright when caught by a Chinese man. Her description left a vivid impression on my mind. The Burnbank street house was just across the road from the cemetery. The pieces of this story I had heard made sense when I visited the location in recent years. Martha’s described how Nanna would sing on the front verandah, and send her off to t get drink for her. This situation might help explain the reason for Martha’s strong aversion to alcohol. As a young girl it had been distressing to her. Nanna was a colourful and theatrical personality and danced with the Duke when he visited Ballarat. She was also known to have stated that she would marry a man who could give her a bucket of gold, possibly around the time after her first husband, Charles death, she had her young boy Edward to bring up. Martha was about 13 years old when Nanna Watson left Ballarat going to Queensland to visit her son Arthur. Martha slept that night afraid and alone in the empty house. The person who was meant to collect her did not come until the next day. She went to work for a family, a woman with children, they took most of the money that Nanna had left with Martha. There was a new baby in the house and the Scottish man in the house behaved suspiciously towards Martha. She was afraid of him and would hide from him under the bed. At this young age she managed to survive on her wits and sense of self preservation. It is not known how long she worked with this family. The place was from my impression, away from the town of Ballarat. Her very difficult formative years are testament to her strength of character and determination to succeed in life and ambition to provide the best opportunities for her own children. In 1905 Martha received a post card from Uncle Arthur in Brisbane addressed – c/o Mrs Styles 14 High Street Ballarat. Dolly Styles was a Ballarat friend and she kept in contact with her for many years. A letter reveals her living in Minyip in her older years. Martha is thought to have spent a few years working before she arrived in Melton. Miss Shebler hired Martha to help her in the care of her father and to assist with work in the Golden Fleece Hotel. Mr Shebler was a nice old man and mostly confined to his room and somewhat childlike as described by Martha. [The elderly Mr August Shebler died in February 1908]. Martha’s exact arrival in Melton is not known, but could be estimated as late 1906 to early 1907. In her room at the hotel she could hear the spring cart of Mr Minns going on the milk delivery rounds in the very early hours of the morning after coming across the creek from his house When she was 19, she married Frederick Thomas MYERS, son of Henri MIERS and Ann DOWLING, on 30 April 1908 ( Fitzroy, Victoria, Australia). Frederick Thomas MYERS and Martha Mary WATSON had the following children: 1. Frederick John Watson MYERS was born on 01 October 1908 in Melton, Victoria, Australia.He died on 07 February 2001.He married Mary June BATTYE on 18 September 1948 in Victoria, Australia. 2. Marjorie Gretchen MYERS was born on 21 February 1912 in Melton, Victoria, Australia.She died on 10 September 2004 in Frankston, Victoria, Australia.She married Herbert Vivian BUTLER on 07 January 1939 in Victoria, Australia. 3. Eva Edna MYERS was born on 15 October 1918 in Melton, Victoria, Australia.She died on 31 January 2008 in Bacchus Marsh, Victoria, Australia.She married Ernest Wesley BARRIE on 25 October 1941 in Melton, Victoria, Australia. 4. Arthur Bruce MYERS was born on 29 April 1925 in Melton, Victoria, Australia.He died on 26 March 2015 in Melbourne, Victoria, Australia.He married Olive Irene NORTON in April 1953 in Balliang, Victoria, Australia (or Church of Christ Footscray? (WB)). 5. Maxwell Douglas MYERS was born on 10 August 1927 in Melton, Victoria, Australia.He died on 03 May 2005 in Geelong, Victoria, Australia.He married Rosemary Rebecca BARRIE on 31 August 1951 in Melton, Victoria, Australia. Valcia nee Twigg Lowrie granddaughter of Arthur Watson, daughter of Mercia and Val Twigg did extensive research on the Marshall family of Lerwick Shetland Isle obtaining birth information of the Scottish forebears. She also got the birth/marriage and death certificates of the Ballarat connection of Robina’s husbands and children. Copies were sent to Edna and Wendy during the early 1990’s. Bruce and Irene also obtained certificates and Myers family information. Wendy applied for certificates at this time.Photographs of Martha (Watson) Myers taken at different times of her life

10934.28a - Receipt 3823 Receipt dated: 11 July 1939. Cream, rectangular paper The receipt header reads "Reed Bros." in large, bold capital letters. The Reed Bro's were wholesalers and general merchants, manufacturing aerated waters, cordials, tonics, sauces, vinegar, and pickles. below the company name, it lists the company's: Address - 10 Bridge Street, Bendigo. Contact Info - Phone 471, P.O. Box 66. There is a prominent diagonal black line through the page indicating that the receipt had been paid. Handwritten in blue pencil. The receipt indicates the purchase of tomato sauce, vinegar, water and additional items. Purchased for the amount of 29 pounds, 7 shillings and 6 pence. 10934.28b - Receipt 2606 Receipt dated: 15 Jan 1946. Cream, rectangular paper The receipt header reads "Reed Bros." in large, bold capital letters. The Reed Bro's were wholesalers and general merchants, manufacturing aerated waters, cordials, tonics, sauces, vinegar, and pickles. below the company name, it lists the company's: Address - 10 Bridge Street, Bendigo. Contact Info - Phone 471, P.O. Box 66. There is a prominent black X through the page indicating that the receipt had been paid. Handwritten in blue pencil. The receipt indicates the purchase freight shipping. 10934.28c - Receipt 1006 Receipt dated: 16 Nov 1945. Cream, rectangular paper The receipt header reads "Reed Bros." in large, bold capital letters. The Reed Bro's were wholesalers and general merchants, manufacturing aerated waters, cordials, tonics, sauces, vinegar, and pickles. below the company name, it lists the company's: Address - 10 Bridge Street, Bendigo. Contact Info - Phone 471, P.O. Box 66. There is a prominent diagonal green X through the page indicating that the receipt had been paid. Handwritten in blue pencil. The receipt indicates the purchase of vinegar and other items, including delivery. Purchased for the amount of 8 pounds and 8 pence. 10934.28d - Receipt 23588 Receipt dated: 21 Jan 1948. Cream, rectangular paper The receipt header reads "Reed Bros." in large, bold capital letters. The Reed Bro's were wholesalers and general merchants, manufacturing aerated waters, cordials, tonics, sauces, vinegar, and pickles. below the company name, it lists the company's: Address - 10 Bridge Street, Bendigo. Contact Info - Phone 471, P.O. Box 66. There is a prominent diagonal black line through the page indicating that the receipt had been paid. Handwritten in blue pencil. The receipt indicates the purchase of water, tomato sauce, vinegar and other items. Purchased for the amount of 57 pounds, 7 shillings and 10 pence. 10934.28e - Receipt 1152 Receipt dated: 26 Nov 1945. Cream, rectangular paper The receipt header reads "Reed Bros." in large, bold capital letters. The Reed Bro's were wholesalers and general merchants, manufacturing aerated waters, cordials, tonics, sauces, vinegar, and pickles. below the company name, it lists the company's: Address - 10 Bridge Street, Bendigo. Contact Info - Phone 471, P.O. Box 66. There is a prominent black X through the page indicating that the receipt had been paid. Handwritten in blue pencil. The receipt indicates the purchase of vinegar and freight delivery. 10934.28f - Receipt 0548 Receipt dated: 19Nov 1945. Cream, rectangular paper The receipt header reads "Reed Bros." in large, bold capital letters. The Reed Bro's were wholesalers and general merchants, manufacturing aerated waters, cordials, tonics, sauces, vinegar, and pickles. below the company name, it lists the company's: Address - 10 Bridge Street, Bendigo. Contact Info - Phone 471, P.O. Box 66. There is a prominent black X through the page indicating that the receipt had been paid. Handwritten in blue pencil. 10934.28g - Receipt 24769 Receipt dated: 9 Nov 1945. Green, square shaped paper. The receipt header reads "Reed Bros." in large, bold capital letters. The Reed Bro's were wholesalers and general merchants, manufacturing aerated waters, cordials, tonics, sauces, vinegar, and pickles. below the company name, it lists the company's: Address - 10 Bridge Street, Bendigo. Contact Info - Phone 471, P.O. Box 66. There is a prominent green X through the page indicating that the receipt had been paid. Purchase details stamped in black and red ink. The receipt indicates the purchase of tomato sauce, additional items. Including delivery. Purchased for the amount of 9 pounds, 5 shillings and 4 pence. 10934.28h - Receipt 13628 Receipt dated: 19 Sep 1941 Green, square shaped paper. The receipt header reads "Reed Bros." in large, bold capital letters. The Reed Bro's were wholesalers and general merchants, manufacturing aerated waters, cordials, tonics, sauces, vinegar, and pickles. below the company name, it lists the company's: Address - 10 Bridge Street, Bendigo. Contact Info - Phone 471, P.O. Box 66. There is a prominent Blue X through the page indicating that the receipt had been paid. Purchase details stamped in black and red ink. Additional notes written in grey lead pencil. The receipt indicates the purchase of tomato sauce, apple sauce, vinegar and additional items. Purchased for the amount of 13 pounds, 12 shillings and 3 pence. 10934.28i - Receipt 13217 Receipt dated: 15 July 1941. Green, square shaped paper. The receipt header reads "Reed Bros." in large, bold capital letters. The Reed Bro's were wholesalers and general merchants, manufacturing aerated waters, cordials, tonics, sauces, vinegar, and pickles. below the company name, it lists the company's: Address - 10 Bridge Street, Bendigo. Contact Info - Phone 471, P.O. Box 66. There is a prominent blue X through the page indicating that the receipt had been paid. Purchase details stamped in black and red ink. The receipt indicates the purchase of banana and peanut spreads. Including delivery. bendigo, morton's stores, reed bros.

This surgical aparatus was used for after-treatment of suprapubic cystotomy in conjunction with a rubber belt. It was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) According to Berry, her mother Gladys made a lot of their clothes. She was very talented and did some lovely embroidery including lingerie for her trousseau and beautifully handmade baby clothes. Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . Its first station was in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill and purchased a share of the Nelson Street practice and Mira hospital (a 2 bed ward at the Nelson Street Practice) from Dr Les Middleton one of the Middleton Brothers, the current owners of what previously once Dr Tom Ryan’s practice. Dr Tom and his brother had worked as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He had been House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan had gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. When Dr Angus took up practice in the Dr Edward and Dr Tom Ryan’s old premises he obtained their extensive collection of historical medical equipment and materials spanning 1884-1926. A large part of this collection is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. and an ALDI sore is on the land that was once their tennis court). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served with the Australian Department of Defence as a Surgeon Captain during WWII 1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. He had an interest in people and the community They were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. (special reference Diagram in "1948 Catalogue of Surgical Instrumments", Felton, Grimwade and Duerdins Pty Ltd."The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine, administration, household equipment and clothing from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Surgical aparatus, part of the W.R. Angus Collection. Oval, bowl shaped aparatus with straight sides, 2 hooks on each side (for attaching straps) 2 short hollow tubes 3rd side (for attaching drainage tubes), hole in centre of base. used for after-treatment of suprapubic cystotomy in conjunction with a rubber belt. Made by Warner & Webster, Melbourne. (Rubber belt not included) Impressed maker's mark in diamond lozenge " WARNER & WEBSTER MELBOURNE". flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, dr ryan, surgical instrument, t.s.s. largs bay, warrnambool base hospital, nhill base hospital, mira hospital, flying doctor, medical treatment, surgical aparatus, treatment of suprapubic cystotomy, surgical after-treatment aparatus, warner and webster melbourne

TBATBATwo boxes, paper. 1. Anti-Hanging Committee - regarding hanging. 1962. 2. Ballarat Banking Co. Ltd. Chairman's address and 145th report. August 1954. 3. Country Municipal Association circular regarding conference on centralisation, Ballarat. 22 November 1916. 4. Geelong Town Band's weekly performance programme. n.d. 5. Ironmasters' Association of Victoria rules and regulations agreed upon at the General Iron Trades' Conference, Melbourne. 1891. 6. Melbourne Eight Hours Anniversary programme. 1901. 7. Museum of Applied Science of Victoria, on gas from our brown coal. n.d. 8. New Australian Trade Unionist Committee regarding rally to protect shooting of Polish workers. 195-? 9. Circular from Ballarat Trades and Labour Council to Ironmoulders' Society regarding the Congress. 1891. 10. List of subjects to be discussed at Congress. 11. Circular from Melbourne Trades Hall Council regarding financial help for Congress. 1891. 12. Reports of Standing Orders Committee appointed by the Congress, 23-29 April 1891. 13. Trade Mark Committee report. 14. Committee on Federation report. 15. Draft scheme of Federation (Australasian Federation of Labor). 16. Draft scheme of Federation (Australasian Federation of Labor) to the Labour Councils and Unions of Australasia. (2 copies.) 17. Asian and Pacific Regions Peace Conference, Peking, October 1962. Report on Peking, Melbourne. 1962. (2 copies). 18. Australian Bureau of Census and Statistics. Labour and Industrial Statistics, Melbourne. 1911. 19. Australia. Laws, Statutes, etc Trade Marks Bill, 1905. Workers' Trade Marks. Melbourne, 1905. 20. Australian Council of Trade Unions. Agenda paper for ... Congress, 1953. Melbourne, 1953. 21. Australian Labor Party. Work of the Labor government. Melbourne, 1928. 22. Australian Textile Union, Victorian Branch. Wages Sheet. Melbourne, 1953? 23. Baker, W.A. The Commonwealth Basic Wage. 1907-1953. Sydney, 1953? 24. Building Workers' Industrial Union. Building Workers support your convention. n.p. 1954? 25. Carters' and Drivers' Union. Committee of Management. Important to members of Carters and Drivers' Union. Melbourne, 1936. 26. Dougherty, Tom. Santamaria unmasked. Melbourne, 1954? 27. Eight Hours' Anniversary Sports Programme, 1893. Ballarat 1893. 28. Eight Hours' Anniversary Programme, 1894. Ballarat, 1894. 29. Fadden, Arthur W. The menace of political banking. Sydney, 1945. 30. Federated Clerks' Union, Victoria Branch. The Fennessy Story. The Braun Story. n.p., 1954. 31. Federated Clerks' Union, Victoria Branch. Manifesto, n.p., 1955. 32. Greater Ballarat Association. Seventeenth annual report. Ballarat, 1954. 33. Langridge, H.E. Employers in the Labor Party. Melbourne, 1914. 34. Metal Trades Federation. National Conference of Federal Council and delegates from State branches. Sydney, 1960. 35. Municipal Association of Victoria. Arbitration aware regarding employment of members of the Municipal Officers Association of Australia. Melbourne, 1950. 36. Municipality of the Town of Ballarat East. Annual report, 1919. Ballarat, 1919. 37. Plumbers and Gasfitters Employees' Association of Australia. Melbourne Branch. Why did Menzies abdicate when he had a working majority and 18 months to go? Melbourne, 1955? 38. Plumbers and Gasfitters Employees Union of Australia, Melbourne Branch. Who are the wreckers in the Australian Labor Party? Melbourne, 1955. 39. Spence, W.G. The ethics of New Unionism. Sydney, 1892. (42 copies) 40. Trades Hall Council, Melbourne. Statement of accounts, 1959. Melbourne, 1959. 41. Universal Business Directories (Australia) Pty. Ltd. Home edition for Ballarat. Melbourne, 1954. 42. Victoria, Apprenticeship Commission. Twenty-seventh annual report. Melbourne, 1956. 43. Victorian Labor College. Labor Colleges. Melbourne 191? (3 copies) 44. W.F. Williams. An appeal to the workers of Victoria. n.p., 19?? 45. Workers' Industrial Union of Australia. Preamble, classification and rules. Melbourne 1919? 46. ACTU Bulletin, 1955, Vol 2, No. 2 47. Amalgamated Engineering Union monthly journal, 1954, No. 3. March 48. American Economist, (New York), 1893, Vol 12, No 12, September 49. Australian Worker, (Sydney), 1955, Vol 64, No. 10, May; No. 15, September (held by ANU and at Trove online) 50. Building Workers' Organiser, official organ of the Building Trades Federation, 1954, June 51. Bulletin issued by the Economic Information Service, Melbourne. No. 2 1954, Nos. 10, September; 13 August; 1956, No 14, January 52. Ballarat Courier, 1890, Vol 46, No. 7096, April 53. Ballarat Star, 1888, Vol 33, No. 95, April 54. The Clerk, official journal of Federated Clerks' Union, Victorian Branch, 1955, Vol 10, No. 2, February/March 55. Common Cause, official journal of the Miners' Federation of Australia 1954 Vol 19, No. 10, March; No. 12, April 1955 Vol 20, No. 12, April; No. 19, May 1955 Vol 20, No. 23, June; No 28 July 1955 Vol 20, No. 29, August 1956 Vol 21, No. 17, May 56. Evening Echo, Ballarat, 1915, No. 6673, September 57. Evening Post, Ballarat, 1889, Vol 38, No. 6326, March 58. Industrial Herald, published by Labor Press, Geelong 1952 Vol 34, No. 35, June 1954 Vol 36, No. 20, March; No. 23, April 1954 No. 36, July; No. 39 July 1958 Vol 40, No. 19, March 59. Labor Call, published by Industrial Printing and Publicity Co., Melbourne. 1953, Vol 46, No. 2417, September 60. Labor Supplement. 1952, November 1954, February; March 61. Light, Ballarat diocesan journal. 1955, September. 62. Locomotive journal, published by the Australian Federated Union of Locomotive Enginemen. 1954, Vol. 16, No. 4, January. 63. People's Tribune Supplement, ed. by E.E. Jones, Melbourne. 1886, Vol 5, No. 20, April. 64. Railways' Union Gazette, published by J.D. Michie, Melbourne. 1919, June, Frank Byett in memoriam edition. 65. Rehab News issued by Central Ex-Servicemen's Office, Melbourne. 1946, Vol 2, No. 30, May. 66. Sheet Metal Workers, official organ of the Sheet Metal Working, Agricultural Implement and Stovemaking Union of Australia, Sydney. 1954, No. 107, February. 67. Socialist Comment, Socialist Party of Australia, Melbourne. 1937, No. 2, February. 68. Tocsin, A.L.P. Victorian Branch. 1955?, No. 2, October; No. 4, December. 1956, No. 5, February. 69. Tribune, CPA Sydney. 1965, No. 958, August. 70. UN World, published by Egbert White, New York. 1948, Vol 2, No. 11, December. 71. Miscellaneous newspaper cuttings. Posters 72. Eight Hours' Anniversary, Ballarat, 22 April 1892. 73. Eight Hours' Anniversary, Ballarat, 21 April 1894. 74. Eight Hours' Anniversary, Ballarat, 21 April 1913. 75A. Eight Hours' Anniversary, Ballarat, 3 April 1922. 75B. Electoral Rolls, persons entitled to be enrolled and to vote, 1922. 76. Progress, prospectus of debentures to publish a daily Labour paper to be called "Progress". 1904, Vol 1, No. 1, December. Cards 87. Smoke night social 88. Bi-election 89. How to vote card Roneoed material 77. Circular letter regarding new morning newspaper. n.d. 78. Circular letter from Trades Hall Council, Melbourne. 21 March 1955. 79. Article, History of the recent ALP dispute. n.d. 80. Article: What is freemasonry (from Ballarat St. Patrick's Gazette, October 1854). (2 copies) 81. Information summary of HRH Duke of Edinburgh's study conference on the human problems of industrial communities. ALP Broadcasts from Station 3KZ 82. Incentive payments by Norman A. Gibbs. 17 August 1953. 83. Escalating wages by F.J. Riley. 25 February 1954. 84. Margins by F.J. Riley. 4 March 1954. 85. Freezing margins by F.J. Riley. 17 March 1954. 86. The struggle across the Ages (No. 2) by F.J. Riley. 7 May 1954. ballarat trades and labour council, ballarat trades hall, unions, anti-hanging committee, hanging, ballarat banking co. ltd., country municipal association, geelong town band, ironmasters' association of victoria, general iron trades' conference, museum of applied science of victoria, new australian trade unionist committee, ironmoulders' society, melbourne trades hall council, btlc, intercolonial trades and labor union congress, 7th., trade mark committee report, committee on federation report, australasian federation of labor, asian and pacific regions peace conference, australian bureau of census and statistics, abs, australian bureau of statistics, trade marks bill, actu, australian council of trade unions, australian labor party, alp, australian textile union, w.a. baker, building workers' industrial union, carters and drivers' union, tom dougherty, eight hours' anniversary sports programme, labour and industrial statistics, workers' trade marks, building workers, santamaria, arthur w. fadden, federated clerks' union, fennessy, braun, greater ballarat association, h.e. langridge, metal trades federation, municipal association of victoria, ballarat east, plumbers and gasfitters employees' union of australia, menzies, w.g. spence, new unionism, universal business directories, victoria apprenticeship commission, victorian labor college, w.f. williams, workers' industrial union of australia. preamble, classification and rules. melbourne, 1919?, amalgamated engineering union, american economist, australian worker, building workers' organiser, building trades federation, economic information service, the courier, ballarat star, the clerk, common cause, miners' federation of australia, evening echo, evening post, industrial herald, labor call, labor supplement, light journal, locomotive journal, australian federated union of locomotive enginemen, people's tribune supplement, railways union gazette, frank hyett, rehab news, central ex-servicemen's office, sheet metal worker, sheet metal working, agricultural implement and stovemaking union of australia, socialist comment, tocsin, tribune, un world, eight hour anniversary, electoral rolls, progress, freemasonry, st patrick's gazette, hrh duke of edinburgh, incentive payments, wages, f.j. riley

Murray's Bridge over the Diamond Creek on the Diamond Creek Trail just prior to demolition and replacement with a new steel bridge. Heritage advice obtained by Nillumbik Shire Council, following a suggestion by the Eltham District Historical Society (EDHS), is that the original bridge appears to have been a simplified version of the Country Roads Board’s (CRB) standard timber bridge design of the early-to-mid 1920s. In c1990 Murray’s bridge was renovated with three recycled steel girders as part of a bike/pedestrian path in the reserve. During these alterations many parts of the bridge were removed, and some were replaced. Heritage advice indicates the condition of Murray’s bridge is poor. The remaining original parts are all in poor condition, with severe weathering, splitting and rot, especially to the stringers retained on the bridge. Heritage advice is that Murray’s Bridge does not have sufficient significance in the cultural history of the Nillumbik area to warrant inclusion in the Nillumbik Shire Heritage Overlay and also does not have sufficient significance as a rare survivor to warrant inclusion in the Nillumbik Shire Heritage Overlay. There are no indications in the historical record that this site was individually important to the cultural history of this area. EDHS is comfortable with the heritage advice provided to Council and has worked closely on this project with Council. EDHS has suggested some of the removed timbers be used in the vicinity of the bridge for landscaping and possibly seating, so as to retain these remnants close to the site of the original bridge, which is the last old timber bridge along the lower reaches of the Diamond Creek. Mary (Sweeney) Murray and John Wright Murray selected 80 acres, Lot C Section 16 and Lot 5 Section 17 Parish of Nillumbik, under an occupation license in 1866. John died in 1867 and freehold was granted to his son John in 1873. The farm was known as ‘Laurel Hill’. John Junior was an Eltham Shire councillor and sometime president from 1887 up until 1897. He added Lot A Section 16 to the farm in ca1888. John and his younger brother James arranged to rent/purchase Lot B Section 17, across Diamond Creek to the west, in ca1900. It appears that John and James farmed separately for a few years, with a new homestead built for James ad family on the high point of Lot B Section 17 in ca1910. John sold off Lot 5 Section 17 in 1912. When John died in 1912 James took over the land on both sides of the Diamond Creek. The old homestead on the west side of the Creek disappeared. A farm bridge over Diamond Creek from this period may have been located close to the northern boundary of the farm. John Langlands, owner of the farm known as ‘Ihurst’ on the west side of Diamond Creek to the south of the Murray’s land, died in 1907. In 1909 his land was then subdivided into 100 lots to become the ‘Glen Park Estate’. Other similar subdivisions of nineteenth century farms around Eltham in this period included the ‘Franktonia (or Beard’s) Estate’ to the northeast and ‘Bonsack’s Estate’ between Eltham and Greensborough. Soon after the opening of the railway extension line from Eltham to Hurstbridge in 1912, Glen Park and nearby residents including James Murray agitated for a railway station or siding to be located half-way between Eltham and Hurstbridge, so that the Glen Park residents who used the railway daily did not have to walk into the Eltham or Hurstbridge stations. Some believed Coleman’s Corner (opposite Edendale Farm) was an appropriate spot for the platform. James Murray was among those who thought the railway should be located on his land, closer to half-way between Eltham and Hurstbridge stations. The Railways Commissioners warned that the locals would have to fund these works themselves. The Glen Park Estate residents initially had difficulty accessing Eltham by road, with only an old low-level bridge over Diamond Creek at the south end of their estate. A new timber trestle bridge across the creek, now on Wattletree Road, was opened in 1915. Road access to the north was gained in 1927 when the new Murray’s Road, which crossed the Murray’s land, was built. Residents continued to agitate for a Glen Park station. By 1926 the Railways Commissioners’ preferred site was on the Murray’s land. They arranged an estimate of cost of a full-length platform. The estimate was too much for the locals, who in 1928 argued unsuccessfully for a shorter and hence cheaper platform. By 1929 Murray had agreed to donate the land, but the locals would still have to fund the works. Murray decided, unilaterally it would appear, to commence work on a timber trestle road bridge over Diamond Creek to link the new Murray Road to the proposed station. Late in 1929 he stopped work on the bridge, for reasons unknown, but started work again and completed the bridge in 1931. There is no further newspaper evidence of the campaign for the Glen Park station until 1939, when Murray and another local, Mr Maxwell, met the Railways Commissioner. The Glen Park locale now included 45 homes on the west side of the creek and 20 on the Eltham side. Most of the residents used the train every day. The Commissioner remained adamant that only a full-length platform could be built for safety reasons. It appears the campaign dissolved at this point. The increasing move to cars may have had an impact. There is no evidence of Murray’s bridge ever being connected to Murray’s Road, or of it having wide use for any purpose by locals. James Murray died in 1947 and the farm was taken over by his son James (Jim). Jim started to sell off parts of the farm in the 1980s, retaining a few acres around the ca1910 homestead and building a new house there. Recreation reserves were established along the creek. In ca1990 Murray’s bridge was renovated with steel girders as part of a bike/pedestrian path in the reserve. The old farmhouse was demolished in ca2014. * * * A theory posted on local community Facebook groups was that the bridge was built in the 1860s and was built to be more robust than was necessary for the movement of cows from one side of the creek to the other. It was suggested the robustness was necessary to support the weight of gold ore being transferred from a mine on Murray’s land to a railway siding near Murrays Bridge (presumably for transfer and processing at Diamond Creek). Perhaps this may have been one of the motivators for Murray, who really knows? Knowing when mining operations ceased on his land and how that fits the overall timeline would be useful but at the time the bridge was built, local gold production was minimal at best. The known facts are: • The railway line came to Eltham in 1902. • The extension of the railway from Eltham to Hurstbridge was constructed in 1912 so no railway line even existed through Murray's property until 1912 and the Victorian Railways maps at the time show no such siding on Murray’s property. • In 1923 a new company was formed in anticipation of the old Diamond Creek Gold Mine being re-opened. The mine had been previously closed and flooded. It was noted in the press at the time that the mine was within a mile of the railway. Nothing really came of this. • Construction of Murrays Bridge was commenced by James Murray in early 1929 in anticipation of a proposed flag station being nominated on his land, but work ceased shortly afterwards. The proposed flag station was commonly referred to as Glen Park as the residents of the Glen Park Estate wanted Option 1, located near them with the platform adjacent to Colemans corner. This was probably never going to fly as it was virtually in eyesight of Eltham station. Allandale Road was the third option, but the Commissioners' preferred option was No. 2 - on Murray's property. • The Railway Commissioners were not going to finance any such station and the works had to be funded by private landowners and residents, hence Murray investing in this himself. • Murray recommenced work two years later and finished his bridge in 1931 but unfortunately for him, the proposed flag station never eventuated. The bluestone siding you reference may well have been built by Murray as part of the proposed station platform. • Up until then, apart from the Main Road bridge, which was washed away in 1924, virtually all local crossings over the Diamond Creek were low lying bridges – Kaylocks Bridge at Brougham Street, Diamond Street bridge, Glen Park Road bridge. It is expected that Murray also had a low-lying bridge to connect his land either side of the creek. These were all washed away or severely damaged multiple times in the 1920s. Lessons were learnt, and Murrays Bridge appears to have been built in accordance with Country Road Board standards of the time. Flood damage was ongoing, and even more recently constructed raised bridges kept getting washed away, e.g., the new Wattle Tree Road bridge in 1958 just months after completion. Murray’s bridge was reinforced with steel some 30 years ago presumably to provide additional floodwater resistance, given the history of bridges disappearing in floodwaters. • In March 1932 it was reported in the Advertiser that there were still some prospectors operating around Eltham North who apart from further scarring the face of the earth over the previous two years had gained significant experience but little gold - hardly a driving factor for constructing a dedicated railway siding and bridge to transfer gold ore. It is far more probable that James Murray was hoping to have the railway station located on his property and invested his money by building the bridge to lead to it as well as a station platform. Had the station eventuated, it may well have driven up the value of his land for subdivision and new housing estates like the Glen Park Estate. That did not eventuate. Whilst the bridge was indeed old (90 years), the core structure being completed in 1931, it had been modified substantially from original and hence had no significant historic value – i.e., it was not a representative example of its type, construction, and age. Given that the bridge was not worthy of saving, the Eltham District Historical Society with Council’s support, and the Eltham Woodworkers group endeavoured to see what suitable sized timbers were salvageable to fabricate a commemorative seat. Unfortunately, the experts at the Woodworkers group were unable to salvage any suitable length/width timbers to fabricate the seat due to the presence of rot. Last remaining wooden trestle bridge on the Diamond Creek Trail just prior to demolition and replacementBorn digital image (27)diamond creek (creek), diamond creek trail, murrays bridge, ‘laurel hill’, john wright murray, mary (sweeney) murra, john murray jnr, james murray, john langlands, ‘ihurst’, ‘glen park estate’, beard's estate, franktonia, bonsack's estate, glen park estate, glen park railway station

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

Transcript of the Maggs Family History, given by Joan Walker, former member of RDHS:- Pioneer Family - Maggs • James Maggs and wife Harriet Banfield migrated to Melbourne on the “Ticondergoa” which sailed from Birkenhead on 4th August 1852 with 812 assisted immigrants. • In 1856 James purchased 7 acres of land, part of section 75, in the parish of Nunawading where he developed an orchard. • Three children died young – Emma (before 1862), Jemima at Ticonderoga Bay and Mary Jane aged 3 weeks at Koonung Creek. Three sons and a daughter survived them. Harriet died in 1875, James in 1888 both buried in Box Hill cemetery. • Their sons Joseph, Samuel and James all established orchards in the Ringwood/Croydon district. Samuel Maggs • Born 11 May 1851, Somerset, England and grew up on his fathers property in Springfield Road, Blackburn, one block east of Surrey Road. • On 4 October 1876 Sam married Eliza Ann Barnes. • 1881 purchased a block, Allot. 39 Parish of Warrandyte and developed an apple and cherry orchard. The orchard occupied the area between White Horse Road and Mullum Mullum Creek from Oban Rd east to where White Horse Road takes a slight turn to the right, near Burnt Bridge. • Son George b.28 December 1876 Warrandyte married Annie Smith d.9 May 1947. • Daughter Eliza Jane b.27 July 1878 Ringwood married William Dobbin, d.31 May 1946 Camberwell. • Son James b.15 May 1880, Lilydale married Catherine Atkins d.28 July 1940 Ringwood buried Box Hill. • Daughter Jemima b.16 December 1881 Warrandyte married Edward Lindsay in 1905, d.2 November 1955 and buried in Box Hill. • Daughter Jane b.22 May 1884 Warrandyte married Thomas S Knee in 1912 d.31 January 1971, buried at Box Hill. • Son Samuel William b.1 Jan 1889 Ringwood married Mina Lillian Schuhkraft in 1911 d.15 Jan 1955 Ringwood. Joseph Maggs • Born 5 June 1845, Somerset England. • Married Mary Ann Reid in April 1867 at Templestowe. • Bought Sec. 26a, in Ringwood on the corner of Eastfield Road an Mt Dandenong Road in February 1870. Planted 4 acres with fruit trees. Was also a wood carter. During the 1880s white clay was mined here, which he carted for the Victorian Porcelain Clay Coy. • Daughter Emma b.8 Jan 1868 Templestowe d. 3 August 1939, Richmond married May 1890 Fredrick W. McGinnis. • Daughter Agnes b.16 June 1869 Templestowe married John D Miller c.1894. d.3 February 1912 Heathmont, buried Box Hill. • Son Albert b.1 May 1871 Nunawading d.15 Nov 1893. • Son Hubert b.10 May 1873 Nunawading married Isabella Atkins in 1898 Ringwood d.11 August Wagga Wagga and buried there. • Daughter Harriet Annis b.13 August 1875 Box Hill d.21 Sept 1875. • Son Joseph b.25 September 1876 Box Hill d.3 Oct 1900 Mitcham. • Daughter Harriet Annis b.18 Aug 1879, Ringwood married James R Miller d.8 May 1945. • Son William b.3 Sep 1881 married Mary E Hardidge. D.6 April 1950 South Melbourne. • Daughter Dora Jane Dulcie b.13 December 1883 Ringwood d.1973. • Daughter Delia Rose b.20 February 1886, Ringwood married William J Sharkie d.30 October 1914 James Maggs • Youngest (born 28 April 1862, Blackburn) and only Australian born son was also an orchardist. • Married Marianne Hardidge in 1880 (divorced in 1906) purchased land in what is now Kalinda Road, adjoining Sam’s land. • James lived with Teresa Shanks in the Hawthorn and Prahran districts and became a taxi driver. Died in 1925, buried at Box Hill. Marianne became a midwife who delivered over 500 babies in the area – was known as Nurse Polly Maggs, died in 1941 aged 81. • Daughter Mary Ann Hase Polly b.5 July 1881 Ringwood married Thomas Lawford d.9 November 1961 buried at Box Hill. • Daughter Jane Emma b.9 May 1883 Ringwood married Frederick Bloom 1910 d.28 July 1954. • Daughter James John b.17 Jan 1885 Ringwood married Johanna Ida Edith Bloom in 1912 d.24 August 1962 buried at Box Hill. • Daughter David Joseph b.31 Jan 1887 Ringwood married Violet Lepp married 1916, d.11 July 1966. • Son Samuel Arthur b.11 March 1888 Ringwood married Bertha Anna Pump in 1913 d.7 August 1957. • Son John William b.16 April 1890 Ringwood married Lillian Mabel May Smith in 1909 d.18 February 1959 Cobram. • Daughter Eliza Anne b.6 March 1892 Ringwood d.April 18 1892. • Son Robert Thomas b.7 March 1893 Ringwood married Edith E Britnell in 1919 d.12 March 1981 buried Box Hill. • Son Albert Edward b.12 April 1895 Ringwood married Florence Sarah Pearce in 1918 d.30 January 1976 buried at Springvale. • Daughter Evaleen Victoria b.28 Aug 1897, Ringwood married Sydney Till married 1920 d.5 September 1989 buried at Box Hill. • Daughter Harriet Banfield Chrissy b.14 December 1899 Ringwood d.28 Dec 1979 buried Box Hill. Jane Maggs • Born 19 December 1858 in Blackburn. Died 5 July 1926 buried at Box Hill. Married William Cook and had one child, Harriet Amy Cook who never married and lived in Whitehorse Road, Mitcham until her death in 1962. Details, extract from Family Tree Maker family tree:- Descendants of James Maggs Generation No. 1 1. JAMES5 MAGGS (JOSEPH4, WILLIAM3, WILLIAM2, SAMUEL1)1 died 24 Sep 18881. He married (1) HARRIET MARTHA BANFIELD1 23 Dec 1841 in Bristol, Somerset, England1. She was born 19 Jun 1817 in Clutton, Somerset, England1, and died 12 May 1875 in Nunawading, Victoria, Australia1. He married (2) ROSENA MAHON1 09 Dec 1875 in Fitzroy, Victoria, Australia1. She was born in Deptford, London, England1. Notes for JAMES MAGGS: JAMES MAGGS, and his wife HARRIET BANFIELD, migrated to Melbourne on the "Ticonderoga", which sailed from Birkenhead 4th Aug 1852 with 812 assisted immigrants aboard. In the close confines of the ship fever broke out and by the time she arrived off Port Phillip Heads on or about 2nd Nov, 100 deaths had been recorded in the log and hundreds were too weak to help themselves. Captain Wylie of the coastal trader "Champion", informed Captain Ferguson, the harbourmaster at Williamstown, of the tragic plight of the passengers and crew, and he came with two doctors, in the "Empire", to their aid. They anchored just inside Port Phillip Heads on 5 Nov. at the "Sanatory Station", declared but not yet established by the local authorities. Those who were well enough were put ashore in tents made of spars and sails. The "Lysander" was despatched from Melbourne to act as a hospital ship, and 2 houses, built of the local limestone, were commandeered as a quarantine station. For six weeks the survivors were held near Point Nepean at a place still known as Ticonderoga Bay while the fever, propably typhus, a louse borne epidemic disease, ran its course and a further 68 passengers, 2 crew members and 4 newborn babes succumbed to the scourge. Among them was Jemima Maggs, 3 year old daughter of James and Harriet. The dead were buried at the waters edge, in a grove of titree, a site now marked by Heaton's monument. The remainder of the family, including Samuel, just one year old, lived through the ordeal to make a new life in Australia. James obtained work with Robert Wilson of Bulleen for a period of 3 months at a wage of 52 pounds per annum with rations. By 1856 he was able to purchase 7 acres of land, part of section 75, in the parish of Nunawading at 5 pounds per acre. Here he developed an orchard by means of various mortgages including one taken out 17 July 1872 for 50 pounds from the Victorian Permanent Property Investment & Building Society. Three of their seven children died young, Emma before 1862, Jemima at Ticonderoga Bay, and Mary Jane, the first of their three Australian born children, aged 3 weeks at Konung Creek.Three sons and a daughter survived them. Harriet died in 1875, James lived until 1888 and both are buried at the Box Hill Cemetery. Their sons, Joseph, Samuel, and James all established orchards in the Ringwood/Croydon district. Bur Reg 308 Box Hill Grave #64 Presbyterian More About JAMES MAGGS: Ancestral File Number: LN0V-G01 Burial: 26 Sep 1888, Box Hill, Victoria, Australia1 Christening: 20 Oct 1816, Clutton, Somerset, England1 Record Change: 03 Oct 20041 More About HARRIET MARTHA BANFIELD: Ancestral File Number: LN0V-N11 Burial: 14 May 1875, Box Hill, Victoria, Australia1 Christening: 31 Aug 18171 Record Change: 29 Nov 20041 More About ROSENA MAHON: Record Change: 01 Dec 20011 Children of JAMES MAGGS and HARRIET BANFIELD are: i. EMMA6 MAGGS1, b. 13 Nov 1843, Clutton, Somerset, England1. More About EMMA MAGGS: Record Change: 08 Jul 20031 2. ii. JOSEPH MAGGS, b. 05 Jun 1845, Clutton, Somerset, England; d. 24 Jun 1886, Ringwood, Victoria, Australia. iii. JEMIMA MAGGS1, b. 25 Oct 1848, Clutton, Somerset, England1; d. 1852, Ticonderoga Bay, Victoria, Australia1. More About JEMIMA MAGGS: Record Change: 24 Jan 20031 3. iv. SAMUEL MAGGS, b. 11 May 1851, Clutton, Somerset, England; d. 30 Aug 1942, Croydon, Victoria, Australia. v. MARY JANY MAGGS1, b. 03 Dec 1855, Konung Creek, Victoria, Australia1; d. 27 Dec 18551. More About MARY JANY MAGGS: Record Change: 23 Jan 20051 4. vi. JANE MAGGS, b. 19 Dec 1858, Blackburn, Victoria, Australia; d. 05 Jul 1926, , Victoria, Australia. 5. vii. JAMES MAGGS, b. 1862, Nunawading; d. 1925, Fitzroy. Generation No. 2 2. JOSEPH6 MAGGS (JAMES5, JOSEPH4, WILLIAM3, WILLIAM2, SAMUEL1)1 was born 05 Jun 1845 in Clutton, Somerset, England1, and died 24 Jun 1886 in Ringwood, Victoria, Australia1. He married MARY ANN READ1 01 Apr 1867 in Templestowe, Victoria, Australia1. She was born Abt. 1847 in of Templestowe, Victoria, Australia1, and died 1925 in Ringwood, Victoria, Australia1. Notes for JOSEPH MAGGS: Joseph Maggs born 5 Jun 1845 at Clutton, Somerset, England, arrived in Australia age 7 years. He married Mary Ann Read, in Apr 1867 at Templestowe, selected land, Lot 26a,in Ringwood on the corner of Eastfield Road and Mt.Dandenong Road, approx 114 acres, at 11 o'clock 2 Feb 1870. He planted 4 acres with fruit trees valued at 80 pounds and by Sep 1874 his occupation was farmer and wood carter. A 4 room house of lathe and plaster with a paling roof, a kitchen, a slab and bark stable and a pigsty had been errected to a value of 71 pounds. A well, 3 dams, clearing and fencing valued at 96 pounds are also listed. He notes "from the nature of the land, being very poor and heavily timbered, I have not been quite able to clear the complement required, not having means sufficient to do so, neither will the land pay when cultivated." Traces of antimony were found on the land but not in commercial quantities, however during the 1880s white clay was mined here, which he carted for the Victoria Porcelain Clay Coy. In Mar 1880 he was granted freehold title at a price of one pound per acre. More About JOSEPH MAGGS: Burial: Box Hill, Victoria, Australia1 Record Change: 18 Feb 20011 More About MARY ANN READ: Burial: Box Hill, Victoria, Australia1 Record Change: 21 Jul 20021 Children of JOSEPH MAGGS and MARY READ are: 6. i. EMMA7 MAGGS, b. 08 Jan 1868, Templestowe, Victoria, Australia; d. 03 Aug 1939, Richmond, Victoria, Australia. ii. ALBERT MAGGS1, b. 01 May 1871, Nunawading, Victoria, Australia1; d. 15 Nov 1893, Ringwood, Victoria, Australia1. More About ALBERT MAGGS: Record Change: 12 Oct 19971 7. iii. HUBERT MAGGS, b. 10 May 1873, Ringwood, Victoria, Australia; d. 11 Aug 1956, Wagga Wagga, N.S.W., Australia. iv. HARRIET ANNIS MAGGS1, b. 13 Aug 1875, Box Hill, Victoria, Australia1; d. Ringwood, Victoria, Australia1. More About HARRIET ANNIS MAGGS: Burial: 21 Sep 1875, Box Hill, Victoria, Australia1 Record Change: 18 Feb 20011 v. JOSEPH MAGGS1, b. 25 Sep 1876, Box Hill, Victoria, Australia1; d. 03 Oct 1900, Mitcham, Victoria, Australia1. More About JOSEPH MAGGS: Record Change: 18 Feb 20011 8. vi. HARRIET ANNIS MAGGS, b. 18 Aug 1879, Ringwood, Victoria, Australia; d. 08 May 1945. vii. WILLIAM MAGGS1, b. 03 Sep 18811; d. 06 Apr 1950, South Melbourne, Victoria, Australia1; m. MARY ELIZA HARDIDGE1, 24 Dec 1912, Goulburn, N.S.W., Australia1; b. Abt. 1884, , of Victoria, Australia1; d. 1956, Lilydale, Victoria, Australia1. More About WILLIAM MAGGS: Record Change: 18 Feb 20011 More About MARY ELIZA HARDIDGE: Record Change: 18 Feb 20011 viii. DORA JANE DULCIE MAGGS1, b. 13 Dec 1883, Ringwood, Victoria, Australia1; d. 1973, Mitcham, Victoria, Australia1. More About DORA JANE DULCIE MAGGS: Record Change: 21 Jan 20021 9. ix. DELIA ROSE MAGGS, b. 20 Feb 1886, Ringwood, Victoria, Australia; d. 30 Oct 1914. 10. x. AGNES MAGGS, b. 16 Jun 1869, Templestowe, Victoria, Australia; d. 03 Feb 1912, Heathmont, Victoria, Australia. 3. SAMUEL6 MAGGS (JAMES5, JOSEPH4, WILLIAM3, WILLIAM2, SAMUEL1)1 was born 11 May 1851 in Clutton, Somerset, England1, and died 30 Aug 1942 in Croydon, Victoria, Australia1. He married ELIZA ANN BARNES1 04 Oct 1876 in Nunawading, Victoria, Australia1. She was born 19 Sep 1848 in St Lukes, London, England1, and died 17 Feb 1923 in Croydon, Victoria, Australia1. Notes for SAMUEL MAGGS: SAMUEL MAGGS grew up on his father's property in Springfield Road, Blackburn, one block east of Surrey Road. West of Surrey Road and fronting to White Horse Road was James Barnes' property, so by walking through the Maggs land and crossing Surrey Road, one might enter the back of the Barnes land, an easy way to visit ELIZA ANN BARNES. On the 4 Oct 1876 Sam and Eliza were married at her father's house. Sam wrote to the Secretary for Lands on the 29 Sep 1880, requesting that Allot. 39 Parish of Warrandyte be made available for selection. This block had been refused for selection earlier on the objection of the Mines Department as it was believed that the area was auriferous. When told that the block was available, Sam marked it at 5 o'clock December 3rd and applied for a lease of 12 acres 3 rods and 34 perches on the 6th December. On the application it is noted that he already had leasehold of 104 acres. His license was approved 7 Mar 1881 at a rate of 6 shillings and 6 pence per halfyear. Previously paid fees and rental came to 3 pounds 18 shillings, and he paid another pound for a certificate fee, a pound lease fee, plus the first half years rental, then proceeded to develop the land into an apple and cherry orchard.In 7 Mar 1898 he had succeeded in securing the freehold grant of the area by paying 2 pounds 18 shillings 6 pence fees due,plus a 1 guinea grant fee and assurance fund contribution of 7 pence, a total of 4 pounds and 1 penny. The orchard occupied the area between White Horse Rd and Mullum Mullum Creek,from Oban Rd east to where White Horse Road, now the Maroondah Highway, takes a slight turn to the right, near the Burnt Bridge. Sam and Eliza built a house on Sec38 and planted Fivecrown apples grafted on a Maggs Seedling stock at 24 ft spacing. Trees put in about 1875 were yielding up to twenty bushells 30 years later. He didn't approve of regulations which required spraying for codlin moth and was reputed to have said when denied coolstorage space until he sprayed his trees, "No one is going to tell me how to grow apples and anyway a bit of codlin is good for you". More About SAMUEL MAGGS: Ancestral File Number: LN0V-8X1 Record Change: 20 Aug 19971 Notes for ELIZA ANN BARNES: ELIZA ANN BARNES married SAMUEL MAGGS, son of neighbouring land owner, James Maggs, 4 Oct 1876 and had 6 children. She had a stroke about 1921 but was able to attend her seventyfourth birthday party held at her daughter Jane Knee's home in Sep 1922 when over forty family members gathered for the celebration(see photo). She died 17 Feb 1923 at Croydon. More About ELIZA ANN BARNES: Ancestral File Number: LN0V-2W1 Record Change: 20 Aug 19971 Children of SAMUEL MAGGS and ELIZA BARNES are: 11. i. GEORGE7 MAGGS, b. 28 Dec 1876, Warrandyte, Victoria, Australia; d. 09 May 1947, Ringwood, Victoria, Australia. 12. ii. ELIZA JANE MAGGS, b. 27 Jul 1878, Ringwood, Victoria, Australia; d. 31 May 1946, Camberwell, Victoria, Australia. 13. iii. JAMES MAGGS, b. 15 May 1880, Lilydale, Victoria, Australia; d. 28 Jul 1940, Ringwood, Victoria, Australia. iv. JANE MAGGS1, b. 22 May 1884, Warrandyte, Victoria, Australia1; d. 31 Jan 19711; m. THOMAS SAMUEL KNEE1, 1907, , Victoria, Australia1; b. 07 Aug 1881, Lilydale, Victoria, Australia1; d. 19 Apr 19601. More About JANE MAGGS: Burial: Box Hill, Victoria, Australia1 Record Change: 18 Feb 20011 More About THOMAS SAMUEL KNEE: Burial: 21 Apr 1960, Box Hill, Victoria, Australia1 Record Change: 22 Aug 20031 14. v. SAMUEL WILLIAM MAGGS, b. 01 Jan 1889, Ringwood, Victoria, Australia; d. 15 Jan 1955, Ringwood, Victoria, Australia. 15. vi. JEMIMA MAGGS, b. 16 Dec 1881, Warrandyte, Victoria, Australia; d. 02 Nov 1955. 4. JANE6 MAGGS (JAMES5, JOSEPH4, WILLIAM3, WILLIAM2, SAMUEL1)1 was born 19 Dec 1858 in Blackburn, Victoria, Australia1, and died 05 Jul 1926 in , Victoria, Australia1. She married WILLIAM COOK1 1880 in , Victoria, Australia1. He was born Abt. 1859 in Wickliffe, Victoria, Australia1, and died 09 Aug 19391. Notes for JANE MAGGS: Jane Maggs, the only surviving daughter of James and Harriet, married William Cook and had one child, Harriet Amy Cook, known to her relatives as Cousin Amy. She never married and lived in the house inWhitehorse Road, Mitcham built by her parents, for many years until her death in 1962. She took a keen interest in family history and was a great source of information and memorabilia about the early days of the Ringwood area. More About JANE MAGGS: Burial: Box Hill1 Record Change: 18 Feb 20011 More About WILLIAM COOK: Burial: 10 Aug 1939, Box Hill, Victoria, Australia1 Record Change: 05 Nov 20011 Child of JANE MAGGS and WILLIAM COOK is: i. HARRIET AMEY7 COOK1, b. 1881, Box Hill, Victoria, Australia1; d. 13 Sep 1962, Surrey Hills, Victoria, Australia1. More About HARRIET AMEY COOK: Burial: 17 Sep 1962, Box Hill, Victoria, Australia1 Record Change: 18 Feb 20011 5. JAMES6 MAGGS (JAMES5, JOSEPH4, WILLIAM3, WILLIAM2, SAMUEL1)2,3 was born 1862 in Nunawading4, and died 1925 in Fitzroy4. He married (1) THERESA BROWN4 in Christchurch, New Zealand5. She was born 1869 in Clunes, Victoria, Australia5, and died 1930 in Prahran, Victoria, Australia5. He married (2) MARIANNE HARDIDGE6 1880 in Kew6. She was born 1860 in Doncaster6, and died 1941 in Mitcham6. He married (3) ADA JANE CROY7 19127. She was born 1883 in ,Victoria, Australia7. Notes for JAMES MAGGS: James Maggs, the youngest child and only Australian born son of James and Harriet, was an orchardist like his older brothers. He married Marianne Hardidge in 1880 and selected an area in what is now Kalinda Road, adjoining Sam's land. They constructed a four roomed house measuring 26 feet square valued at fifty pounds and stables valued at forty pounds. The buildings were made of palings with an iron roof. Here they raised ten children and lost a little girl, Eliza, aged three weeks. In 1900 James became seriously ill with a kidney disease and was visited during his illness by a wide section of his neighbours, including Mrs Theresa Shanks. He and Theresa became attracted to each other and broke up their marriages, with James and Marianne being divorced in 1906. James and Theresa lived in the Hawthorn and Prahran districts and he became a taxi driver. He contributed to the upkeep of his children although the divorce was a bitter affair. He died in 1925 in Fitzroy and Theresa only survived him by five years. They are buried in the same grave at Box Hill. Marianne became a midwife who delivered over 500 babies in the neighborhood. She was known as Nurse Polly Maggs and the people of Ringwood presented her with a wireless set in appreciation of her service to the community. She died at the age of 81 years in 1941. More About JAMES MAGGS: Burial: Box Hill Cemetery8 Record Change: 01 Sep 20018 Notes for THERESA BROWN: [Ringwood.ged] Theresa had a son Jim Shanks born1902 (father was James Maggs) Reg No 12243R More About THERESA BROWN: Burial: 05 Feb 1930, Box Hill, Victoria, Australia9 Record Change: 01 Sep 200110 More About MARIANNE HARDIDGE: Burial: Box Hill Cemetery10 Record Change: 01 Sep 200110 Marriage Notes for JAMES MAGGS and MARIANNE HARDIDGE: [Ringwood.ged] divorced in 1906 More About ADA JANE CROY: Burial: 15 Apr 1932, Geelong, Victoria, Australia11 Record Change: 10 Aug 200211 Child of JAMES MAGGS and THERESA BROWN is: i. JIM7 MAGGS12, b. 190212. More About JIM MAGGS: Record Change: 01 Sep 200112 Children of JAMES MAGGS and MARIANNE HARDIDGE are: ii. MARY ANN HASE7 MAGGS12, b. 188112. More About MARY ANN HASE MAGGS: Record Change: 01 Sep 200112 16. iii. JANE EMMA MAGGS, b. 1883; d. 28 Jul 1954. 17. iv. JAMES JOHN MAGGS, b. 1885; d. 24 Aug 1962, Parkville, Victoria, Australia. v. DAVID JOSEPH MAGGS12,13, b. 188714; d. 11 Jul 1966, Mt. Waverley, Victoria, Australia15; m. VIOLET ADELINE LEPP15, 1916, , Victoria, Australia15; b. 1888, Ballarat, Victoria, Australia15; d. 26 Mar 1966, ,Victoria, Australia15. More About DAVID JOSEPH MAGGS: Record Change: 01 Sep 200116 More About VIOLET ADELINE LEPP: Record Change: 21 Jan 200217 18. vi. SAMUEL ARTHUR MAGGS, b. 1888; d. 07 Aug 1957, Doncaster, Victoria, Australia. 19. vii. JOHN WILLIAM MAGGS, b. 1890; d. 18 Feb 1959, Cobram, Victoria, Australia. viii. ELIZA ANN MAGGS18, b. 189218; d. 189218. More About ELIZA ANN MAGGS: Burial: Box Hill Cemetery18 Record Change: 01 Sep 200118 20. ix. ROBERT THOMAS MAGGS, b. 1893; d. 12 Mar 1981. 21. x. ALBERT EDWARD MAGGS, b. 1895; d. 1976. 22. xi. EVALEEN VICTORIA MAGGS, b. 1897; d. 05 Sep 1989. xii. HARRIET BANFIELD MAGGS18, b. 189918. More About HARRIET BANFIELD MAGGS: Record Change: 01 Sep 200118 23. xiii. MARY ANN HASE POLLY MAGGS, b. 05 Jul 1881, Ringwood, Victoria, Australia; d. 09 Nov 1961. xiv. HARRIET BANFIELD CHRISSY MAGGS19, b. 14 Dec 1899, Ringwood, Victoria, Australia19; d. 28 Dec 1979, Blackburn, Victoria, Australia19. More About HARRIET BANFIELD CHRISSY MAGGS: Burial: Box Hill19 Record Change: 18 Feb 200119 Children of JAMES MAGGS and ADA CROY are: xv. CLENCIE JOAN7 MAGGS19, m. ARTHUR RODERICK PITTER19. xvi. CLYDE MAGGS19, b. 1917, Collingwood, Victoria, Australia19; d. 1917, Collingwood, Victoria, Australia19. More About CLYDE MAGGS: Record Change: 10 Aug 200219 Generation No. 3 6. EMMA7 MAGGS (JOSEPH6, JAMES5, JOSEPH4, WILLIAM3, WILLIAM2, SAMUEL1)19 was born 08 Jan 1868 in Templestowe, Victoria, Australia19, and died 03 Aug 1939 in Richmond, Victoria, Australia19. She married FREDRICK WILLIAM MCGINNIS19 May 1890 in , Victoria, Australia19. He was born in , of Victoria, Australia19. More About EMMA MAGGS: Record Change: 18 Feb 200119 More About FREDRICK WILLIAM MCGINNIS: Record Change: 18 Feb 200119 Children of EMMA MAGGS and FREDRICK MCGINNIS are: i. RENIRA EDDA8 MCGINNIS19. ii. FREDRICK HENRY MCGINNIS19, b. 1894, , of Victoria, Australia19; d. 195819. More About FREDRICK HENRY MCGINNIS: Record Change: 18 Feb 200119 7. HUBERT7 MAGGS (JOSEPH6, JAMES5, JOSEPH4, WILLIAM3, WILLIAM2, SAMUEL1)19 was born 10 May 1873 in Ringwood, Victoria, Australia19, and died 11 Aug 1956 in Wagga Wagga, N.S.W., Australia19. He married ISABELLA ATKINS19 09 Mar 1898 in Ringwood, Victoria, Australia19. She was born Abt. 1875 in St Arnaud, Victoria, Australia19. More About HUBERT MAGGS: Burial: Wagga Wagga, N.S.W., Australia19 Record Change: 23 Jan 200519 More About ISABELLA ATKINS: Record Change: 23 Jan 200519 Children of HUBERT MAGGS and ISABELLA ATKINS are: i. HUBERT CARLYLE8 MAGGS19. ii. ANNE THORA MAGGS19. iii. RAYMOND MAGGS19, b. 09 Jun 1905, Ringwood, Victoria, Australia19; d. 20 Jul 190519. More About RAYMOND MAGGS: Record Change: 18 Feb 200119 8. HARRIET ANNIS7 MAGGS (JOSEPH6, JAMES5, JOSEPH4, WILLIAM3, WILLIAM2, SAMUEL1)19 was born 18 Aug 1879 in Ringwood, Victoria, Australia19, and died 08 May 194519. She married JAMES RICHARD MILLER19 26 Sep 1910 in Ringwood East, Victoria, Australia19. He was born 1878 in Collingwood, Victoria, Australia19. More About HARRIET ANNIS MAGGS: Record Change: 18 Feb 200119 More About JAMES RICHARD MILLER: Record Change: 18 Feb 200119 Children of HARRIET MAGGS and JAMES MILLER are: i. DUDLEY8 MILLER19. ii. IRENE DOROTHY MILLER19, b. 10 Nov 1913, , of Victoria, Australia19; d. 29 Sep 199019. More About IRENE DOROTHY MILLER: Burial: Lilydale, Victoria, Australia19 Record Change: 18 Feb 200119 iii. CYRIL MILLER19, b. 26 Sep 1915, , of Victoria, Australia19; d. 05 Apr 197319. More About CYRIL MILLER: Burial: Springvale, Victoria, Australia19 Record Change: 18 Feb 200119 9. DELIA ROSE7 MAGGS (JOSEPH6, JAMES5, JOSEPH4, WILLIAM3, WILLIAM2, SAMUEL1)19 was born 20 Feb 1886 in Ringwood, Victoria, Australia19, and died 30 Oct 191419. She married WILLIAM JAMES SHARKIE19. More About DELIA ROSE MAGGS: Burial: Box Hill, Victoria, Australia19 Record Change: 18 Feb 200119 Child of DELIA MAGGS and WILLIAM SHARKIE is: i. RONALD8 SHARKIE19, b. Abt. 1914, , of Victoria, Australia19; d. Abt. 1964, , N.S.W., Australia19. More About RONALD SHARKIE: Record Change: 15 Oct 200119 10. AGNES7 MAGGS (JOSEPH6, JAMES5, JOSEPH4, WILLIAM3, WILLIAM2, SAMUEL1)20,21 was born 16 Jun 1869 in Templestowe, Victoria, Australia21, and died 03 Feb 1912 in Heathmont, Victoria, Australia21. She married (1) JOHN DOMONIC MILLER22 189423,24, son of FRANK MILLER and KATE MADDEN. He was born 187025,26, and died 194227,28. She married (2) JOHN DOMINIC MILLER29 1894 in , Victoria, Australia30,31. He was born 1870 in Box Hill, Victoria, Australia31. More About AGNES MAGGS: Burial: Box Hill, Victoria, Australia31 Record Change: 11 Sep 200132 More About JOHN DOMONIC MILLER: Record Change: 11 Sep 200132 More About JOHN DOMINIC MILLER: Record Change: 18 Feb 200133 Children of AGNES MAGGS and JOHN MILLER are: i. ALBERT JOHN8 MILLER33, b. 1894, , of Victoria, Australia33. More About ALBERT JOHN MILLER: Record Change: 18 Feb 200133 ii. LOUIS NICHOLAS MILLER33, b. 1901, , of Victoria, Australia33; d. 197433; m. LILA MERTON33. More About LOUIS NICHOLAS MILLER: Record Change: 18 Feb 200133 iii. LESLIE DOMINIC MILLER33, b. 1904, , of Victoria, Australia33; d. 198933. More About LESLIE DOMINIC MILLER: Record Change: 18 Feb 200133 11. GEORGE7 MAGGS (SAMUEL6, JAMES5, JOSEPH4, WILLIAM3, WILLIAM2, SAMUEL1)33 was born 28 Dec 1876 in Warrandyte, Victoria, Australia33, and died 09 May 1947 in Ringwood, Victoria, Australia33. He married ANNIE GRACE SMITH33 26 Mar 1902 in , Victoria, Australia33. She was born Abt. 1878 in of Ringwood, Victoria, Australia33, and died 1967 in Box Hill, Victoria, Australia33. More About GEORGE MAGGS: Record Change: 18 Feb 200133 More About ANNIE GRACE SMITH: Record Change: 21 Jan 200233 Children of GEORGE MAGGS and ANNIE SMITH are: i. CLYDE8 MAGGS33, m. VIOLET OXENBURY33. 24. ii. GEORGE ALBERT MAGGS, b. 17 Jul 1902, Ringwood, Victoria, Australia; d. 1974, Heidelberg, Victoria, Australia. iii. HILDA GLADYS BILLIE MAGGS33, b. 05 Sep 1903, Ringwood, Victoria, Australia33; d. 15 Oct 198733; m. LENARD DRYSDALE REID33. More About HILDA GLADYS BILLIE MAGGS: Burial: Springvale, Victoria, Australia33 Record Change: 18 Feb 200133 iv. MYRTLE OLIVE MAGGS33, b. 24 Dec 1905, Kew, Victoria, Australia33; d. 02 Jan 198333; m. ROBERT SAMUEL BOB HEAD33, 1924, , Victoria, Australia33; b. 1898, , of Victoria, Australia33; d. 15 Oct 1980, Mermaid Beach, Queensland, Australia33. More About MYRTLE OLIVE MAGGS: Record Change: 18 Feb 200133 More About ROBERT SAMUEL BOB HEAD: Burial: 17 Oct 1980, Nerang, Queensland, Australia33 Record Change: 18 Feb 200133 v. FREDERICK STANLEY MAGGS33, b. 10 Jul 1907, of, Victoria, Australia33; d. 26 Jan 1975, Box Hill, Victoria, Australia33; m. (1) RUBY EMILY BRIERLEY33; m. (2) SARAH MRS FREDERICK MAGGS33; m. (3) ISABEL WOOD33. More About FREDERICK STANLEY MAGGS: Record Change: 21 Jul 200233 vi. ALFRED FRANCIS MAGGS33, b. 19 Jun 1909, Ringwood, Victoria, Australia33; d. 06 Feb 198733; m. FRANCES ESTELLE WILLOUGHBY33. More About ALFRED FRANCIS MAGGS: Record Change: 18 Feb 200133 vii. ERIC RAYMOND MAGGS33, b. 29 Nov 1910, Ringwood, Victoria, Australia33; d. 29 Jan 198633; m. THELMA THOMPSON33. More About ERIC RAYMOND MAGGS: Record Change: 18 Feb 200133 viii. MARJORIE FLORENCE MAGGS33, b. 21 Jun 1912, Ringwood, Victoria, Australia33; d. 20 Aug 197433; m. COLIN ADDISON33. More About MARJORIE FLORENCE MAGGS: Record Change: 18 Feb 200133 ix. CLARICE MAGGS33, b. 20 Dec 1913, , Victoria, Australia33; m. RONALD STONE33. More About CLARICE MAGGS: Burial: , Queensland, Australia33 Record Change: 18 Feb 200133 12. ELIZA JANE7 MAGGS (SAMUEL6, JAMES5, JOSEPH4, WILLIAM3, WILLIAM2, SAMUEL1)33 was born 27 Jul 1878 in Ringwood, Victoria, Australia33, and died 31 May 1946 in Camberwell, Victoria, Australia33. She married WILLIAM NEWCOMB DOBBIN33 14 Mar 1900 in Ringwood, Victoria, Australia34,35. He was born 02 Aug 1878 in Bendigo, Victoria, Australia35, and died 12 May 1960 in Brighton, Victoria, Australia35. More About ELIZA JANE MAGGS: Ancestral File Number: LN0T-NV35 Record Change: 20 Aug 199735 Notes for WILLIAM NEWCOMB DOBBIN: WILLIAM NEWCOMB DOBBIN, the second child of William Edward Jones Dobbin and Amelia Matilda Shoman, was born at Bendigo in the state of Victoria, on the 2 August 1878. He spent his early childhood years in the goldfields towns of Bendigo and Ballarat but by the time he was of age to start school his family had moved to Melbourne and he commenced his education at the Richmond State school. His first job as a baker's boy in Ringwood included delivering bread by bicycle to homes in that area, and that was how he met ELIZA JANE MAGGS. By the time he turned 17 he had decided to go to Western Australia so in 1895 he embarked on a ship named the "Inaminka" which carried a deck cargo of draught horses. While crossing the Great Australian Bight a severe storm was encountered and three of the fifteen horses on deck were killed. He found work in a timber camp in the south west,near Albany, and lived in a hut made of palings for a time with five other men. While he was there an itinerant Indian photographer named S.Bhan took a picture of the hut with its inhabitants standing outside. Approaching the turn of the century his mind turned to thoughts of marriage. He returned to Victoria and proposed to Eliza Jane. They were married on the 14 March 1900 at Lilydale Road Ringwood according to the rites of the Church of Christ by Thomas Hagger in the presence of George Maggs,the brother of the bride and Elizabeth Frances Bell. He and his bride returned to Western Australia on a ship called the "Oruba" and when their first child was born at Denmark, on the 18 January 1901 he named her VERA ORUBA DOBBIN. Eliza Jane found the living conditions very rough and because of poor health she returned to Victoria when Vera was three months old. William followed on a ship called the "Suvic". Their second child, Cyril William Dobbin was born at Ringwood in October 1902 where William worked an orchard owned by his father-in-law, Sam Maggs. He purchased from Sam an area in Wonga Park Rd, (now Kalinda Rd) north of the creek which had been planted as a cherry orchard and part of the area on the corner of Oban Road He also worked in a pottery and in the 1905 Sands and McDougall directory he is listed as a brick and tile maker. In 1917 he rented premises in Main Street (Whitehorse Road), Ringwood, then newly built by J.B.McAlpin, the estate agent, on the corner of Melbourne Street. The shop between A.C.Beilby's store and McAlpin's office on the corner was opened as "The Railway Fruit and Confectionary Palace" and a shop in Melbourne Street, which adjoined the Main Street shop at the rear, became "The Fernery Refreshment Rooms". Three more children were born at Ringwood, Leonard Suvic in 1905, Clarence Newcomb in 1907, and the youngest child, a daughter named Elvie Olive in 1909. A fruit shop in Melrose Street, Sandringham, "The Covent Garden Fruit Palace" was purchased in 1921 and later taken over by his son Cyril. During the early 1930's his marriage failed and he went to Williamstown and opened a florist shop in the name of Walter Dobson which did very well. He married again and settled down to a life of retirement in Prahran, but his second wife, Elsie Fritzlaff (formerly Mrs Wilson) died unexpectedly and he was left alone once more. His eyesight deteriorated badly in his later years and he eventually entered the Mair Street Home for the Blind in Brighton where he died on the 12 May 1960. More About WILLIAM NEWCOMB DOBBIN: Ancestral File Number: LN0S-PW35 Record Change: 31 Mar 200135 Children of ELIZA MAGGS and WILLIAM DOBBIN are: i. ELVIE OLIVE8 DOBBIN35, m. ROY STEWART35; b. 1904, Landsborough, Victoria, Australia35; d. 30 Jun 1992, , Victoria, Australia35. More About ROY STEWART: Record Change: 18 Feb 200135 ii. VERA ORUBA DOBBIN35, b. 18 Jan 1901, Denmark, W.A., Australia35; d. 16 May 1995, Warwick, W.A., Australia35; m. ALEXANDER FRANCIS LAIRD35, 16 May 1923, Hampton, Victoria, Australia35; b. 24 Sep 1898, Collingwood, Victoria, Australia35; d. 21 Jul 1981, Kallaroo, W.A., Australia35. More About VERA ORUBA DOBBIN: Record Change: 02 Sep 200435 More About ALEXANDER FRANCIS LAIRD: Ancestral File Number: LN0Q-QS35 Record Change: 02 Sep 200435 iii. CYRIL WILLIAM DOBBIN35, b. 22 Oct 1902, Ringwood, Victoria, Australia35; d. 10 Aug 1989, Frankston, Victoria, Australia35; m. FLORENCE CONSTANCE DAVIDSON35, 22 Mar 1925, Brighton, Victoria, Australia35; b. 08 Mar 1903, South Melbourne, Victoria, Australia35; d. Jun 1987, Australia35. More About CYRIL WILLIAM DOBBIN: Record Change: 18 Feb 200135 Notes for FLORENCE CONSTANCE DAVIDSON: Notes: written by Carol Humphrey (daughter) 2001 Florence Constance Davidson, born in South Melbourne, was the second eldest child in her family. Her father worked for the Victorian railways and while stationed in Hamilton, Victoria, had met and married her mother. The family moved to the city from Hamilton, in 1903. They spent a brief period in South Melbourne before taking up residence in Ringwood. Throughout her life Florence answered to many different versions of her name. When she was small could never manage to say her full name, the best she could come up with was “Wonnie Connie Davie”. All of her life her immediate family called her “Won” (a shortened version of “Wonnie”). Her husband, Cyril, called her Florrie and her close friends called her Flo. She attended State School 2997, at the corner of Whitehorse Road and Ringwood Street, Ringwood. In the later stages of her schooling, each Wednesday, she travelled to Glenferrie Technical College (now Swinburne College) in Burwood Road, to attended cooking and laundry classes. She travelled by train to attend these classes and was given 1/- (one shilling) to cover the expenses for the day. A three course meal, which she helped to prepare, cost 3d. (three pence), her train fare cost 8d. (eight pence), leaving her one penny. Depending on the family finances for that week, sometimes she was allowed to spend the change. After leaving school she signed up as an apprentice tailoress. She began her apprenticeship on 9th May 1919, with Charles Lane & Co., whose workroom was in Flinders Lane Melbourne, between Elizabeth and Market Streets; the shop was on the corner of Flinders Lane and Elizabeth Street. Her wages for the first six months were 7 shillings and 6 pence and they increased gradually over the four year period of the apprenticeship to 35 shillings. After completing her apprenticeship she worked at Jimmy Oliver’s workroom at the back of Melbourne Town Hall, in Little Collins Street. She left this position when she married Cyril Dobbin in 1925. During her married life Florence worked in the family business in Melrose Street, as well as raising a family of 6 children. She sewed and knitted for her children, was a great cook and she was very meticulous with her laundry, which was probably a reflection of her lessons in cooking and laundry taken years earlier. In later life, when she had more time to herself, she loved to read and was a wizard at crossword puzzles, cryptic crossword puzzles and Scrabble (a word game). More About FLORENCE CONSTANCE DAVIDSON: Record Change: 18 Feb 200135 iv. LEONARD SUVIC DOBBIN35, b. 04 Jan 1905, Ringwood, Victoria, Australia35; d. Jan 194435; m. ALMA WEBSTER35. More About LEONARD SUVIC DOBBIN: Record Change: 18 Feb 200135 v. CLARENCE NEWCOMB DOBBIN35, b. 17 Mar 1907, Ringwood, Victoria, Australia35; d. 22 Jun 1977, Prahan, Victoria, Australia35; m. ELLEN PEARL ISELIN35, 04 Jul 1936, Camberwell, Victoria, Australia35; b. 17 Nov 1910, Richmond, Victoria, Australia35; d. 24 Aug 1979, Burwood, Victoria, Australia35. More About CLARENCE NEWCOMB DOBBIN: Record Change: 18 Feb 200135 More About ELLEN PEARL ISELIN: Record Change: 18 Feb 200135 13. JAMES7 MAGGS (SAMUEL6, JAMES5, JOSEPH4, WILLIAM3, WILLIAM2, SAMUEL1)35 was born 15 May 1880 in Lilydale, Victoria, Australia35, and died 28 Jul 1940 in Ringwood, Victoria, Australia35. He married CATHERINE ATKINS35 24 Apr 1901 in , Victoria, Australia36,37. She was born 04 Nov 1882 in St Arnaud, Victoria, Australia37, and died 11 Oct 1960 in Ringwood, Victoria, Australia37. More About JAMES MAGGS: Burial: 30 Jul 1940, Box Hill, Victoria, Australia37 Record Change: 23 Jan 200537 More About CATHERINE ATKINS: Burial: 18 Oct 1960, Box Hill, Victoria, Australia37 Record Change: 18 Feb 200137 Children of JAMES MAGGS and CATHERINE ATKINS are: i. RUBY ISABEL GENIVEVE8 MAGGS37, m. (1) RODERICK CASSIDY37; m. (2) CHARLES BRUCE37. ii. BEULAH LEAH DRUCILLA DAPHNE MAGGS37, m. HERBERT BOPPEL37. iii. OLIVER SAMUEL JAMES MAGGS37, b. 10 Jan 1903, Ringwood, Victoria, Australia37; d. 1974, Box Hill, Victoria, Australia37; m. RITA MARGUERITE PICKETT37; b. Abt. 1903, of, Victoria, Australia37; d. 1971, Ringwood, Victoria, Australia37. More About OLIVER SAMUEL JAMES MAGGS: Record Change: 22 Jul 200237 More About RITA MARGUERITE PICKETT: Record Change: 21 Jan 200237 iv. DOUGLAS LINDSAY GORDON MAGGS37, b. 30 Dec 1904, Ringwood, Victoria, Australia37; d. 1977, ,Victoria, Australia37; m. EDITH EMMA ANNE MEYLAND37, Abt. 1930, , Victoria, Australia37; b. 01 Oct 1905, of, Australia37; d. 1980, ,Victoria, Australia37. More About DOUGLAS LINDSAY GORDON MAGGS: Record Change: 21 Jul 200237 More About EDITH EMMA ANNE MEYLAND: Record Change: 21 Jul 200237 v. LAURENCE REGINALD VIVIAN MAGGS37, b. 26 Jun 1906, Ringwood, Victoria, Australia37; d. 04 Jul 1955, Ashburton, Victoria, Australia37; m. DOROTHY CLAIRE SKURRIE37. More About LAURENCE REGINALD VIVIAN MAGGS: Record Change: 18 Feb 200137 vi. BASIL RODERICK SYLVESTER MAGGS37, b. 06 Sep 191037; d. 04 Oct 1969, Aspendale, Victoria, Australia37; m. DOROTHY BURLOCK37. More About BASIL RODERICK SYLVESTER MAGGS: Record Change: 21 Jan 200237 vii. LEWIS KEVIN MAXWELL MAGGS37, b. 30 May 1912, , of Victoria, Australia37; d. 11 Nov 1948, Ringwood, Victoria, Australia37. More About LEWIS KEVIN MAXWELL MAGGS: Record Change: 13 Jul 200037 viii. RONALD ALBURY RUSSEL MAGGS37, b. 25 Sep 1914, , Victoria, Australia37; d. 20 Mar 1960, St Kilda, Victoria, Australia37; m. ELVIE MARY IRENE MAGGS37, Abt. 1946, , Australia37; b. 02 Jun 1920, , of Victoria, Australia37; d. 04 Feb 196837. More About RONALD ALBURY RUSSEL MAGGS: Burial: 23 Mar 1960, Springvale, Victoria, Australia37 Record Change: 18 Feb 200137 More About ELVIE MARY IRENE MAGGS: Record Change: 18 Feb 200137 ix. JAMES RALPH MCKENNA MAGGS37, b. 17 Nov 1921, , Victoria, Australia37; d. 18 Aug 1973, Ashwood, Victoria, Australia37; m. SYLVIA GRACE MAGGS37, Abt. 194237; b. 1925, of, Victoria, Australia37; d. 22 May 200237. More About JAMES RALPH MCKENNA MAGGS: Burial: 22 Aug 1973, Templestowe, Victoria, Australia37 Record Change: 18 Feb 200137 More About SYLVIA GRACE MAGGS: Record Change: 24 Mar 200337 14. SAMUEL WILLIAM7 MAGGS (SAMUEL6, JAMES5, JOSEPH4, WILLIAM3, WILLIAM2, SAMUEL1)37 was born 01 Jan 1889 in Ringwood, Victoria, Australia37, and died 15 Jan 1955 in Ringwood, Victoria, Australia37. He married MINA LILLIAN SCHUHKRAFT37 21 Jun 1911 in , Victoria, Australia37. She was born 21 Jun 189037, and died 1974 in Leongatha, Victoria, Australia37. More About SAMUEL WILLIAM MAGGS: Record Change: 18 Feb 200137 More About MINA LILLIAN SCHUHKRAFT: Record Change: 21 Jan 200237 Children of SAMUEL MAGGS and MINA SCHUHKRAFT are: i. BRIAN LESLIE8 MAGGS37, m. JEAN AIRD37. ii. CLIVE LIONEL MAGGS37, m. ALBERTA HARRIS37. iii. DONALD FREDERICK MAGGS37, m. PAULEEN HIGGS37. iv. RUSSELL IAN MAGGS37, m. VINA ANDERSON MILLAR37; b. 21 Jan 1928, Kew, Victoria, Australia37; d. 04 Nov 199437. More About VINA ANDERSON MILLAR: Record Change: 10 Jul 200237 v. MINA LYLA MAGGS37, m. WILLIAM ERNEST MATTHEWS37. vi. NANCY ELIN MAGGS37, m. ROBERT JOHN BRUCE37. vii. KEITH ALAN MAGGS37. 15. JEMIMA7 MAGGS (SAMUEL6, JAMES5, JOSEPH4, WILLIAM3, WILLIAM2, SAMUEL1)38,39 was born 16 Dec 1881 in Warrandyte, Victoria, Australia39, and died 02 Nov 195539. She married EDWARD LINDSAY40,41 190542, son of JAMES LINDSAY and HELEN CORMLEY. He was born 188242, and died 194243,44. More About JEMIMA MAGGS: Burial: 04 Nov 1955, Box Hill, Victoria, Australia45 Record Change: 16 Jul 200146 Notes for EDWARD LINDSAY: [Ringwood.ged] See Borough Visitors Book 14 Borough Voters Roll 1924 Borough of Ringwood Voters List 12,13 More About EDWARD LINDSAY: Burial: Box Hill Cemetery46 Record Change: 15 Aug 200146 Children of JEMIMA MAGGS and EDWARD LINDSAY are: i. MYRTLE IVY8 LINDSAY46,47, b. 190648; d. 197948; m. BERT QUICK49. More About MYRTLE IVY LINDSAY: Record Change: 15 Aug 200150 ii. EUNICE EVELYN LINDSAY50,51, b. 190952; d. 197552; m. ROY LONG53. More About EUNICE EVELYN LINDSAY: Record Change: 15 Aug 200154 iii. CLUTHA BRUCE LINDSAY54,55, b. 191156; d. 198156. More About CLUTHA BRUCE LINDSAY: Record Change: 15 Aug 200156 16. JANE EMMA7 MAGGS (JAMES6, JAMES5, JOSEPH4, WILLIAM3, WILLIAM2, SAMUEL1)56,57 was born 188358, and died 28 Jul 195459. She married FREDERICK ALFRED BLOOM59 14 Oct 1910 in , Victoria, Australia59. He was born 1882 in Doncaster, Victoria, Australia59. More About JANE EMMA MAGGS: Record Change: 01 Sep 200160 More About FREDERICK ALFRED BLOOM: Record Change: 18 Feb 200161 Child of JANE MAGGS and FREDERICK BLOOM is: i. HAROLD GRIFFITHS8 BLOOM61, b. 25 Nov 191161; d. 18 Jun 200061; m. MARJORIE HORSBURGH61. More About HAROLD GRIFFITHS BLOOM: Burial: 23 Jun 2000, Anderson's Creek, Victoria, Australia61 Record Change: 13 Jul 200061 17. JAMES JOHN7 MAGGS (JAMES6, JAMES5, JOSEPH4, WILLIAM3, WILLIAM2, SAMUEL1)62,63 was born 188564, and died 24 Aug 1962 in Parkville, Victoria, Australia65. He married JOHANNA IDA EDITH BLOOM65 23 Oct 1912 in , Victoria, Australia65. She was born 1880 in Doncaster, Victoria, Australia65, and died 22 Sep 1964 in Box Hill, Victoria, Australia65. More About JAMES JOHN MAGGS: Burial: Springvale, Victoria, Australia65 Record Change: 01 Sep 200166 More About JOHANNA IDA EDITH BLOOM: Record Change: 18 Feb 200167 Children of JAMES MAGGS and JOHANNA BLOOM are: i. MERLE ADRIENNE8 MAGGS67, m. EDWARD BARNFATHER67. ii. LINTON DAVID MAGGS67, b. 31 Jan 1915, , Victoria, Australia67; d. 28 Nov 198667; m. DOROTHY JEEVES67. More About LINTON DAVID MAGGS: Burial: , Queensland, Australia67 Record Change: 26 Feb 199967 iii. RALPH LINDSAY MAGGS67, b. 05 May 1921, , Victoria, Australia67; d. 1960, , N.S.W., Australia67; m. MAVIS HYLAND67. More About RALPH LINDSAY MAGGS: Record Change: 15 Oct 200167 iv. BETTINA MIRIAM MAGGS67, b. 30 Apr 1923, , Victoria, Australia67; d. 12 Feb 194967. More About BETTINA MIRIAM MAGGS: Burial: Box Hill, Victoria, Australia67 Record Change: 05 Mar 199967 18. SAMUEL ARTHUR7 MAGGS (JAMES6, JAMES5, JOSEPH4, WILLIAM3, WILLIAM2, SAMUEL1)68,69 was born 188870, and died 07 Aug 1957 in Doncaster, Victoria, Australia71. He married BERTHA ANNA PUMP71 01 Oct 1913 in , Victoria, Australia71. She was born 1887 in Doncaster, Victoria, Australia71, and died 13 Nov 1963 in Box Hill, Victoria, Australia72,73. More About SAMUEL ARTHUR MAGGS: Record Change: 01 Sep 200174 More About BERTHA ANNA PUMP: Record Change: 18 Feb 200175 Children of SAMUEL MAGGS and BERTHA PUMP are: i. NELLIE8 MAGGS75, m. THOMAS WHITMORE75. ii. MARY MAGGS75, m. (1) HECTOR WHITMORE75; m. (2) THOMAS BAKER75. iii. LESLIE JOHN MAGGS75, m. PATRICIA BONNEY75. 19. JOHN WILLIAM7 MAGGS (JAMES6, JAMES5, JOSEPH4, WILLIAM3, WILLIAM2, SAMUEL1)76,77 was born 189078, and died 18 Feb 1959 in Cobram, Victoria, Australia79. He married LILLIAN MABEL MAY SMITH79 20 Nov 1909 in Fitzroy, Victoria, Australia79. She was born 1888 in Walhalla, Victoria, Australia79, and died 18 Jul 1969 in Fitzroy, Victoria, Australia79. More About JOHN WILLIAM MAGGS: Record Change: 01 Sep 200180 More About LILLIAN MABEL MAY SMITH: Record Change: 21 Jan 200281 Children of JOHN MAGGS and LILLIAN SMITH are: i. BASIL ROBERT BOB8 MAGGS81, m. (1) FRANCES MAY CUNNINGHAM81; b. 05 May 1907, North Melbourne, Victoria, Australia81; d. 21 Jan 1947, Lilydale, Victoria, Australia81; m. (2) MARGARET JESSIE PEG LINCOLN81. More About FRANCES MAY CUNNINGHAM: Record Change: 21 Jul 200281 ii. RONALD JNO. MAGGS81. iii. GLADYS ELLA MAGGS81, m. CHARLES KEATING81. iv. EDNA LILLIAN MAGGS81, m. ALBERT ROWE81. v. CLIFFORD HENRY MAGGS81, m. SHIRLEY SMITH81. vi. EVELYN CHRISTINA MAGGS81, m. (1) FREDERICK HENRY CROSS81; b. 18 Aug 1928, of, Australia81; d. 25 Aug 196881; m. (2) LEONARD LLEWELYN HUGHES81; m. (3) RONALD FRANK BOLLARD81. More About FREDERICK HENRY CROSS: Record Change: 18 Feb 200181 vii. IVOR CYRIL EDWARD MAGGS81, b. 03 Mar 1910, Ringwood, Victoria, Australia81; d. 09 Mar 1992, Lilydale, Victoria, Australia81; m. ISABELLA CUNNINGHAM81. More About IVOR CYRIL EDWARD MAGGS: Record Change: 18 Feb 200181 viii. LORNA AGNES MAGGS81, b. 31 Jul 1915, , Victoria, Australia81; d. 1981, Ararat, Victoria, Australia81; m. ALBERT HUNTER81. More About LORNA AGNES MAGGS: Record Change: 18 Feb 200181 ix. EDWARD WILLIAM TINY MAGGS81, b. 08 Feb 1918, , Victoria, Australia81; d. 24 Aug 198281; m. MURIEL EMILY MORELAND81, 23 Jan 194381; b. 07 Dec 1917, of, Australia81; d. 27 Dec 2001, Bega, N.S.W., Australia81. More About EDWARD WILLIAM TINY MAGGS: Record Change: 07 Jan 200281 More About MURIEL EMILY MORELAND: Record Change: 07 Jan 200281 x. JOHN DAVID JACK MAGGS81, b. 05 Jun 192281; d. 04 Feb 1942, Rabaul, New Guinea, Ww281. More About JOHN DAVID JACK MAGGS: Record Change: 18 Feb 200181 xi. MAUREEN LESLEY MAGGS81, b. 12 Jul 1929, , Victoria, Australia81; d. 05 Jul 1989, Melbourne, Victoria, Australia81; m. STEPHEN BELL81. More About MAUREEN LESLEY MAGGS: Record Change: 18 Feb 200181 20. ROBERT THOMAS7 MAGGS (JAMES6, JAMES5, JOSEPH4, WILLIAM3, WILLIAM2, SAMUEL1)82,83 was born 189384, and died 12 Mar 198185. He married EDITH ELLEN BRITNELL85 30 Mar 1919 in , Victoria, Australia85. She was born 1893 in , of Victoria, Australia85, and died 07 Sep 1973 in Box Hill, Victoria, Australia85. More About ROBERT THOMAS MAGGS: Burial: Box Hill, Victoria, Australia85 Record Change: 01 Sep 200186 More About EDITH ELLEN BRITNELL: Record Change: 18 Feb 200187 Children of ROBERT MAGGS and EDITH BRITNELL are: i. GRACE ANNIE8 MAGGS87, m. JACOB BENNETT87. ii. BERYL ELLEN MAGGS87. iii. DOROTHY OLIVE PAT MAGGS87, m. ARTHUR BRYAN87; b. 08 May 1928, of, Australia87; d. 06 Jun 2004, ,Victoria, Australia87. More About ARTHUR BRYAN: Record Change: 08 Jun 200487 iv. GORDON ROBERT MAGGS87, m. MARY ELIZABETH BETTY GRAHAM87; b. , , of Victoria, Australia87; d. 28 Oct 1995, Swan Hill, Victoria, Australia87. More About MARY ELIZABETH BETTY GRAHAM: Record Change: 18 Feb 200187 v. WINIFRED FLORENCE MAGGS87, m. FRANK MCMILLAN87. vi. ELVIE MARY IRENE MAGGS87, b. 02 Jun 1920, , of Victoria, Australia87; d. 04 Feb 196887; m. (1) JAMES ANDERSON87; m. (2) RONALD ALBURY RUSSEL MAGGS87, Abt. 1946, , Australia87; b. 25 Sep 1914, , Victoria, Australia87; d. 20 Mar 1960, St Kilda, Victoria, Australia87. More About ELVIE MARY IRENE MAGGS: Record Change: 18 Feb 200187 More About RONALD ALBURY RUSSEL MAGGS: Burial: 23 Mar 1960, Springvale, Victoria, Australia87 Record Change: 18 Feb 200187 vii. ALEXANDER NORMAN MAGGS87, b. 19 Jan 192787; d. 199387. More About ALEXANDER NORMAN MAGGS: Record Change: 18 Feb 200187 viii. ARTHUR THOMAS MAGGS87, b. 22 Jun 1936, , Victoria, Australia87; d. 15 Apr 1945, Ringwood, Victoria, Australia87. More About ARTHUR THOMAS MAGGS: Record Change: 21 Jan 200287 21. ALBERT EDWARD7 MAGGS (JAMES6, JAMES5, JOSEPH4, WILLIAM3, WILLIAM2, SAMUEL1)88,89 was born 189590, and died 197690. He married FLORENCE SARAH PEARCE91 06 Jul 1918 in Box Hill, Victoria, Australia91. She was born Abt. 1898 in , of Victoria, Australia91, and died 1973 in Ringwood, Victoria, Australia91. More About ALBERT EDWARD MAGGS: Burial: Springvale, Victoria, Australia91 Record Change: 01 Sep 200192 More About FLORENCE SARAH PEARCE: Record Change: 21 Jul 200293 Children of ALBERT MAGGS and FLORENCE PEARCE are: i. JEAN EVELYN8 MAGGS93, b. 31 Oct 1918, Mitcham, Victoria, Australia93; d. 31 Mar 199093; m. ALBERT ERNEST BENNETT93. More About JEAN EVELYN MAGGS: Record Change: 18 Feb 200193 ii. STANLEY EDWARD MAGGS93, b. 17 Mar 1920, Ringwood, Victoria, Australia93; d. 26 Mar 1980, Ringwood, Victoria, Australia93. More About STANLEY EDWARD MAGGS: Record Change: 22 Jul 200293 iii. RUTH FLORENCE MAGGS93, b. 20 Dec 1923, , Victoria, Australia93; d. 15 Aug 197193; m. THOMAS BOYCE93. More About RUTH FLORENCE MAGGS: Record Change: 18 Feb 200193 22. EVALEEN VICTORIA7 MAGGS (JAMES6, JAMES5, JOSEPH4, WILLIAM3, WILLIAM2, SAMUEL1)94,95 was born 189796, and died 05 Sep 198997. She married SYDNEY NORMAN TILL97 12 Jun 1920 in , Australia97. He died 10 Mar 193197. More About EVALEEN VICTORIA MAGGS: Burial: Box Hill, Victoria, Australia97 Record Change: 01 Sep 200198 More About SYDNEY NORMAN TILL: Record Change: 18 Feb 200199 Children of EVALEEN MAGGS and SYDNEY TILL are: i. ALISON8 TILL99. ii. ALWYN TILL99, b. 09 May 192199; d. 28 Aug 1944, , Ww299. More About ALWYN TILL: Record Change: 18 Feb 200199 23. MARY ANN HASE POLLY7 MAGGS (JAMES6, JAMES5, JOSEPH4, WILLIAM3, WILLIAM2, SAMUEL1)99 was born 05 Jul 1881 in Ringwood, Victoria, Australia99, and died 09 Nov 196199. She married THOMAS CAREY LAWFORD99 1906 in , Victoria, Australia99. He was born 1883 in Box Hill, Victoria, Australia99. More About MARY ANN HASE POLLY MAGGS: Burial: Box Hill, Victoria, Australia99 Record Change: 18 Feb 200199 More About THOMAS CAREY LAWFORD: Record Change: 18 Feb 200199 Children of MARY MAGGS and THOMAS LAWFORD are: i. LINDA ISOBEL8 LAWFORD99, b. 14 May 190799; d. 08 Mar 199699. More About LINDA ISOBEL LAWFORD: Record Change: 26 Feb 199999 ii. MELBA LAWFORD99, b. 08 May 190899; d. 199599. More About MELBA LAWFORD: Record Change: 26 Feb 199999 iii. OLIVE LAWFORD99, b. 30 Apr 190999; d. 24 Mar 198799; m. ERIC BLANCHFLOWER99. More About OLIVE LAWFORD: Record Change: 26 Feb 199999 Generation No. 4 24. GEORGE ALBERT8 MAGGS (GEORGE7, SAMUEL6, JAMES5, JOSEPH4, WILLIAM3, WILLIAM2, SAMUEL1)99 was born 17 Jul 1902 in Ringwood, Victoria, Australia99, and died 1974 in Heidelberg, Victoria, Australia99. He married THELMA LILIAN SMITH99 17 Oct 1923 in , Australia99. She was born Abt. 1906 in of, Victoria, Australia99, and died 1974 in Melbourne, Victoria, Australia99. More About GEORGE ALBERT MAGGS: Record Change: 21 Jan 200299 More About THELMA LILIAN SMITH: Record Change: 22 Jul 200299 Child of GEORGE MAGGS and THELMA SMITH is: i. SYLVIA GRACE9 MAGGS99, b. 1925, of, Victoria, Australia99; d. 22 May 200299; m. JAMES RALPH MCKENNA MAGGS99, Abt. 194299; b. 17 Nov 1921, , Victoria, Australia99; d. 18 Aug 1973, Ashwood, Victoria, Australia99. More About SYLVIA GRACE MAGGS: Record Change: 24 Mar 200399 More About JAMES RALPH MCKENNA MAGGS: Burial: 22 Aug 1973, Templestowe, Victoria, Australia99 Record Change: 18 Feb 200199 This is the parent record for the archives collection of the Maggs family in the Ringwood area.

Centred on present day Diosma Rd, Stokes Pl, Nyora Rd and Eucalyptus Rd Historic Aerial Imagery Source: Landata.vic.gov.au Aerial Photo Details: Project No :5 Project : MELBOURNE AND METROPOLITAN AREA PROJECT Run : 36 Frame : 60546 Date : 12/1945 Film Type : B/W Camera : EAG4 Flying Height : 10200 Scale : 6000 Film Number : 195 GDA2020 : 37°42'47"S, 145°09'56"E MGA2020 : 338306, 5824438 (55) Melways : 22 C4 (ed. 42) A History of the Development of Crown Allotment 15, Section 5, Parish of Nillumbik – Stokes Orchard Crown Allotment 15, Section 5, Parish of Nillumbik (CA15) is a square allotment of 158 acres or approximately a quarter of a square mile. It lies just beyond the eastern end of Pitt Street, south of Nyora Road to the northern end of Eucalyptus Road and extends east from Eucalyptus Road to Reynolds Road. The topography of CA15 is generally steep, sloping up to a hill near the centre of the land, the ridgeline passing through the properties along the southern side of Diosma Road. Eucalyptus Road is a straight north-south road with its northern end at the north west corner of CA15. Until the end of the 1970s this road was an un-named Government Road and was largely not open to traffic. With residential development in the 1970s the road was constructed, and the council allocated the name obviously in recognition of the predominant species of the local bushland. CA15 was purchased from the Crown by George D’Arley Boursiquot, a prominent Melbourne printer, on 28th October 1852. On November 23, 1922, former Member for Gippsland and Melbourne Real Estate Agent, Hubert Patrick Keogh purchased the allotment then sold it March 13, 1925, to local farmer, Robert David Taylor, a former Shire of Eltham Councillor (1911-1920) and Shire President (1919). Taylor had extensive land holdings stretching west towards Bible Street and Main Road. The Taylor home was situated at the top of the hill in Bible Street at present day 82 Bible Street. At the time of Taylor’s purchase in 1925, CA15 was subdivided into 48 lots that could be described as small rural properties or large residential lots. A typical lot size was one hectare or 2.5 acres. The subdivision created two roads, Nyora Road, and Diosma Road, each following an irregular alignment between Eucalyptus and Reynolds Roads. However, the lots were not sold off separately nor were the roads constructed. The land effectively remained as one parcel for many further years. Robert David Taylor died November 30, 1934, and probate was granted to his son of the same name, Robert David Taylor of Bible Street, Salesman and William McLelland Vance Taylor of 73 Emmeline Street, Northcote, Clerk, with the transfer of the land into their names on July 8, 1935. Frank Stokes worked as a qualified accountant at Kennons leather factory in Burnley, while living at 1 Thomas Street, Mitcham. He suffered from migraines and wanted to return to working the land (he had previously worked on farms and orchards since coming to Australia from England in 1926, both in WA and Vic.). He first travelled to the district by train in July 1942 to find land with the intention to establish an orchard. By chance he met Arthur Bird of Bird Orchard (bounded by Pitt Street, Eucalyptus Road, and Wattle Grove) and they got talking over their common interest. Arthur put Frank up for the night and pointed out the land, 158 acres- part of the Taylor Estate- £900, Crown Allotment 15, Section 5, Parish of Nillumbik (CA15) somewhat diagonally opposite Bird Orchard. Stokes applied through the Riverina Agency to purchase the land who in turn applied for permission from Canberra to sell as there was a new government regulation introduced during the Second World War banning land sales except for immediate production. Stokes obtained a loan on his Mitcham house of £600 @ 5% and paid £450 deposit with quarterly payments of £15 spread over 5 years. Stokes was assisted and advised by Arthur Bird who farmed the neighbouring orchard. In early 1943 Stokes took possession and would catch the train out to Eltham on Fridays after work and began building a hut on the corner of Nyora Road and the Government Road (Eucalyptus Road) for shelter and to lock up tools. He established an orchard on the central western part of the land through the centre of which ran a natural waterway (part of the present-day linear park) and was able to pay a neighbour (Hawkins) to help with clearing and fencing 25 acres, and with a horse and single furrowed plough, planted approximately 2,500 fruit trees - cherries, peaches, plums, almonds, pears, apricots and lemons as well as a few apples and oranges; a massive task. Aerial photographs from the 1940s through to the 1990s clearly show the orchard with most of the larger CA15 site remaining as natural bushland. A huge problem was hares and rabbits eating all the new buds off the tiny trees. As well as laying poison he painted the trees with a mixture of cow manure and lime, often working by moonlight. Procurement of wire and wire netting was difficult because of the war but after much effort he obtained a permit from the Agricultural Department for supplies in March 1944. In February 1945 Stokes applied for a permit to build a “packing shed” as no house building was allowed. It was to be 33 feet x 21 feet and cost £312. It was constructed mostly from second-hand materials, which were hard to obtain, especially iron for roofing. Stokes finished work at Kennons on October 31, 1945, and in March 1946 he sold the family home at Mitcham for £1,230 plus £170 for furniture. On May 15, 1946, title to the CA15 property was issued to Frank Howard Alfred Stokes, Orchardist and Gladys Ethel Stokes, Married Woman, both of Pitt Street, Eltham. The family of five then moved into the very unfinished “packing shed” at Eltham, which was a struggle to weatherproof. Eventually rooms were divided off and lined with hessian bags and whitewashed. Their income was firewood (cut and sold), selling rockery stones and cut Sweet Bursaria. (It was discovered during the 1940s that Sweet Bursaria contained the sunscreen compound Aesculin. The RAAF utilised this compound from Sweet Bursaria during WW2 for pilots and gunners.) The orchard’s first fruit sale was a half-case of Le Vanq peaches in December 1947 for the price of 8 shillings. In 1956 plans for house were drawn and Glen Iris bricks purchased (1956 Olympic Rings variant). The building of the house commenced in 1957 - 12 feet of original packing shed was removed – and was completed in 1959. Water was connected from newly built pressure storage on the property at the end of 1959 and the electricity connection for the first time at 3pm on April 29, 1960. The house remains to present day (somewhat modified) at 1 Nyora Road, home to Nyora Studio Gallery. On occasions, spare remnants of the 1956 bricks have been known to be unearthed in gardens on the estate as they were utilised by Frank Stokes to fill in rabbit holes. On May 26, 1950, a parcel of land was compulsorily acquired by the Melbourne and Metropolitan Board of Works on the hilltop to establish an easement for a high-level service reservoir to augment Eltham’s water supply. The project also included pipe tracks for the necessary water mains. The reservoir has now been superseded by higher level water tanks east of Reynolds Road and its former site is now a public reserve. On November 27, 1964, the State Electricity Commission served notice to compulsorily acquire a further parcel through the eastern part of the land for a major electricity transmission line that augmented supply from the La Trobe Valley to Melbourne. The easement was registered February 11, 1966. The easement was widened July 18, 1969 for a second transmission line to be constructed. In 1971 Melbourne Metropolitan Planning Scheme amendments adopted Nyora Road as the boundary between a residential zone to the north and a rural zone to the south. This determined the future development of the land. In the mid-1970s the Shire of Eltham divided the orchard into numerous rate-able parcel lots, the 48 lots having been established in 1925 and the subsequent rates assessment proved unsustainable for Stokes. He commenced selling lots outside the boundary of the orchard, north of Diosma and South of Nyora. However shortly later the land between Nyora and Diosma Roads and west of the electricity easement was sold and subdivided into residential lots, a housing development by Macquarie Builders and marketed as the Stokes Orchard Estate. New streets were created, and most were named after trees, although one, Stokes Place, commemorates the former owners. The development was undertaken in two stages; Stage 1 (1975) encompassing Scarlet Ash Court, Ironbark Close and Peppermint Grove bounded by Nyora and Eucalyptus roads and Stage 2 (1978) encompassing Stokes Place, Orchard Way, The Crest and The Lookout bound by Nyora and Diosma roads. The developer, Macquarie Builders went bankrupt shortly after the release of Stage 2 leaving many purchasers to fend for themselves and arrange for their own independent builders. There were also difficulties with sewerage for the land immediately south of Diosma Road and so the conventional residential lots were abandoned in favour of larger lots. The development of Orchard Way, The Crest and The Lookout did not proceed as planned and the proposed lots were incorporated into five-acre parcels instead. These included a low-density group housing development by the Graves family and the award winning Choong House (1983) with Gordon Ford developed garden immediately next door situated on the ridge of the hill nestled amongst the original bush, Eucalypt trees and Sweet Bursaria. In 1994, Nillumbik Shire Council applied Significant Environment and Significant Landscape overlays upon the properties on the south side of Diosma Road to ensure protection of this natural bush garden environment. With the arrival of the sewer along Diosma Road in the 1990s, most of these five-acre parcels have since been subdivided multiple times. The Choong house presently sits on a 2.7-acre property, which in 2022 Nillumbik Council nominated for Cultural Significance Heritage protection and is considered potentially significant at State level. The Stokes family were also associated with the Eltham Christian Church. In the 1970s this church had met in temporary premises in Eltham. Lots of the original 1925 subdivision remained south of Nyora Road and a number of these lots were utilized for the Eltham Christian School, which was established by the Eltham Christian Church in 1981. The school operated on this site until 2000. The premises are now used by The Vine Baptist Church. By the mid-1980s the whole of CA15 had been developed for residential and school purposes, except for the sections north of Diosma Road and between the transmission lines and Reynolds Road. Sewerage issues had been resolved for the section north of Diosma Road and in 1987 it was in the process of being subdivided into residential lots. The development coincided with the discovery of colonies of the rare and endangered Eltham Copper Butterfly on the site. This resulted in a community and political campaign to save the butterfly habitat. With the co-operation of the land developer the subdivision was altered to create two bushland reserves in the critical butterfly habitat areas. In the late 1980s the State Government was investigating options for establishing a metropolitan ring road link between Diamond Creek and Ringwood. The chosen route was adjacent to Reynolds Road and so this created a freeze on development of CA15 between Reynolds Road and the electricity easement. The ring road proposal was eventually abandoned, and this part of the land was subdivided into low density residential lots. Diosma Road has been discontinued at the electricity easement and the eastern part incorporated into View Mount Court with access from Reynolds Road. The whole of CA15 has now been developed for residential or associated purposes, ranging from conventional density to quite low density south of Nyora Road. Some remnants of the orchard remain, a few cherry trees on the Graves property and a lone apple tree in Stokes Place. The butterfly reserves comprise significant areas of remnant bushland. Linear reserves through the estate link with central Eltham via the Woodridge linear reserve and with Research along the electricity easement. CA15 as it exists today has a complicated history of rural use, Government acquisition, urban development, and community action. References: • “Stokes Orchard, an incomplete history”; Russell Yeoman with Doug Orford • Correspondence, Beryl Bradbury (nee Stokes) • Aerial Photographs, 1931-1991, Landata (landata.vic.gov.au) • Certificate of Title, Vol. 4930 Fol. 985900 • Plan Number LP 10859 aerial photo, diosma road, eltham copper butterfly, eucalyptus road, ironbark close, nyora road, peppermint grove, peter & elizabeth pidgeon collection, power transmission lines, reynolds road, scarlet ash court, stokes orchard estate, stokes place, woodridge estate, frank stokes