Gertrude Perry was born in California Gully in 1917. Her singing skills were recognized at an early age. She later sang with local choirs and sang on radio. She was involved with the Bendigo Operatic Society for many years. Gertrude began her working life in sales. After studying book keeping she worked at the Bendigo Ordnance Factory during WW2 and then worked for local solicitors and accountants. Gertrude was involved with many community and sporting organizations.Gertrude Perry Collection - St. John Ambulance Association to certify that Gertie Perry has received elementary instruction in the principles of First Aid and Home Nursing on 14/12/1931. Miss Perry was awarded a Credit for successfully passing the examinations on both subjects; and is signed by the President, Instructor and Examiner.physical culture class, fitness, exercise, st. john ambulance association

January 1967, John 'Jethro' Thompson is a 21 year old Aussie Digger on his way to the war in South Vietnam. Five months later he returns home - doctors don't expect him to survive his horrendous wounds, This is the remarkable true story of Jethro's journey: his struggles to cope with enormous physical pain and the psychological effects of becoming a triple amputee, and the people who teach him the true meaning of mateship.soldier, wounded soldier, vietnam, aussie digger, john 'jethro' thompson, sgt brett nolen, lt joe cazey

These type of cigarette silks were included in WD & HO Wills cigarette packets to induce women in particular to take up smoking.|The Word 'Cartophilic?|It is believed that this unusual word was coined in the 1920s by Col. Bagnall, an Englishman, who was the father of the hobby of cigarette card and trade card collecting. It is thought to be a combination of a Latin word, 'carto' meaning 'card and the Greek word 'philic', meaning 'love'.- lover of cards. The term originally related to the collection of the two types mentioned, however, our Society has included postcards in the range of items collected by our members.|The Cigarette Card|The cigarette card began its evolution in the United States of America, in the early 1880s as a plain piece of cardboard used by tobacconists to protect the cigarettes which were sold in that era, not in packets, but loosely. A purchaser would buy his cigarettes then wrap them in paper around the small piece of cardboard, which acted as a stiffener. In fact, for many decades, cigarette cards were known as 'stiffeners' in the USA.|The card depicting 'The Marquis of Lome' is reputed to be the first known cigarette card issued. This is thought to have been in 1879. It did not take long for an enterprising entrepreneur to recognise the advertising potential of the cigarette card, and, very soon, the cards began displaying popular images, often in sets. This had the effect of youngsters, wishing to complete their sets, harassing their fathers to buy a specific brand of cigarettes. The kids who collected cards in the days when they were being issued in the cigarette packets, would hang around outside the local tobacconist's shop, pestering the men who had just bought a packet of cigarette, with the cry: 'can I have the cig can mister?'|It is a proven fact that, here in Australia during the 1930s, at least one set had one card deliberately withheld and issued very sparingly. This card is No. 86 (Mrs Jack Crawford) in the Carreras 'Turf Personality Series'. Thus, in a set of reasonably easy cards to get, this one card is a constant source of frustration for the collector, and as such, commands a premium when it comes to price. It is not hard to imagine the young collector nagging his to Dad to keep buying 'Turf' cigarettes to enable him to finish the set.|From small beginnings the cigarette card soon gave rise to a booming industry in itself. Artists and writers were|employed to produce the cards, which were miniature works of art and served as little encyclopaedia's for the children of the day. By the 1930s cards were being issued in the countless millions. It has been stated, in one book on the history of cards; that 450 million sets of a series produced and issued by the prolific issuer of cards in the United Kingdom, WD & HO Wills. As each set contained 50 cards you would need a calculator with a very long result window to see the answer to how many cards of that series were in circulation.|Australia's involvement would appear to have its beginnings with the English and American firms who shipped their tobacco products here and the cards of American Tobacco Company (ATC) are found in great numbers in early Australian collections; many featuring Australian subjects, e.g. 'Australian Parliament a 1901 issue. Earlier U.S. sets depicting Australians included Goodwin & Co's, so called. 'Australian Series' with cricketers and Australian Rules footballers who were on the sporting scene during the 1880s. The caption of one of theses cards reads:|'W.Hannysee. Captain Port Melbourne Football Club' which enables us to pinpoint the year of issue to either 1889 or 1890.|On the Australian scene the first local manufacturer who issued cards seems to have been The National Cigarette Company of Australia Proprietary Limited, whose 'Tally Ho' packets contained cards from a series of thirteen featuring the touring 'English Cricket Team 1897-8' Of the few Australian manufacturers who issued cards, only two companies issued more the two sets.|Undoubtedly the cards issued by the Melbourne firm Sniders & Abrahams (later Sniders & Abrahams Pty Ltd) are the 'jewels in the crown' of Australian card issues. They issued some thirty-three series, with numerous sub-series and allied issues such as metal badges, metal football shields, celluloid flags etc., which ensured that the hobbyist had a vast range from which to collect. Sporting themes – football, cricket, horse racing – dominate, indicating the Australians' love of sport and the outdoors was as strong in those earlier times as it is today. Military, animals and birds themes were also to the fore, with a touch of culture being provided by 'Shakespeare', 'Dickens', actresses and even classical 'Statuary'. Humour was not forgotten with 'Cartoons and Caricatures', 'Naval and Cricket (double meaning) Terms' and the 'Jokes' series. Art and history were covered by the artist, S.T. Gill's 'Views of Victoria in 1857' while the stereoscopic 'Views of the World' expanded the collectors' knowledge of the world as a whole.|The Sniders & Abrahams series began in 1904 and by 1919 the company was in decline and was eventually taken over by G.G. Goode & Co. Ltd. This company produced one set only, the highly collectable 'Prominent Cricketer Series' issued in 1924. During the early to mid-1920s, J.J. Schuh Tobacco Pty Ltd issued eight series, again containing the popular subjects of sport and war. At least two provincial tobacconists, Lentens of Bendigo and Baillies of Warrnambool, issued private football series. The last series of cards issued by a truly Australian firm was Dudgeon & Arnell's '1934 Australian Cricket Team'.|The Australian market was not neglected by the English companies with WD & HO Wills, Godfrey Phillips and Ogdens all making their contributions. By far the most active issuer was the long-established company Wills, whose 'Cricketers' of 1901 heralded the flood of Australian series, which continued into the mid-thirties.|The onset of the 1939-45 World War sounded the death knell of the cigarette card and very few post-war issues were made, certainly not here in Australia.|The Trade Card|The Trade Card is a non-tobacco item used by manufacturers to promote and advertise their products, in the same way that cigarette cards were. It is uncertain exactly when they were first produced, but in the USA, non-collectable cards were issued by firms in the early 1800s. These were more akin to a latter day 'business card'. It was not until the 1850s, when coloured and pictorial cards were issued to advertise and promote products that the Trade Card|became a collectable item. Many beautiful lithographic cards were produced in this early era and they are very mu sought after by collectors. By the 1870s the issues of Trade Cards became more prolific and it is from this era that more cards are seen.|Again, it is difficult to pinpoint the exact date of the first Australian Trade Card and it may be that the highly collectable and extremely rare 'American Candy Co's' - 'Pure Caramels' Australian Rules football card, issued i 1891, is the earliest series. This confectionery firm was located in Fitzroy, a Melbourne suburb. To date only two subjects have been seen.|Another early set was 'Flags', issued by F.H.Fauldings & Co. It featured testimonials of seven English cricketers who toured Australia with the 1894/5 Test team. Fauldings was an Adelaide based firm which manufactured medicinal toiletries, soaps and oils, using the distinctly Australian eucalyptus oil. During the 20th century a multitude of Australian businesses issued trade cards, with confectionery manufacturers such as Hoadleys, Allens, Sweetacres and Australian Licorice producing the majority of them. Again sporting themes dominated with the ever popular Aussie Rules football cards being the most numerous. Cricket issues ran a close second.|Apart from sporting cards, almost every subject imaginable was covered by the Trade Card, making it the most diverse and interesting branch of cartophilly. In contrast to the Cigarette Card, which had its demise prior to the Second World War, the Trade Card is still alive and well.|We all are aware of the long running 'Birds of Australasia' series put out by Tuck-fields Tea and 1 doubt if there is a kitchen drawer in Australia that has not got one or two of these informative and attractive cards floating about in it. These cards were first produced in the early 1960s and are still being inserted in that company's packets of tea. Such is also the case with Sanitarium Health Foods, manufacturers of the well known Weetbix, who began issuing cards, with a wide range of subjects, in the early 1940s and continue to do so.|The 1940s and 1950s saw the two breakfast food giants, Kornies and Weeties dominating the card scene. Kornies footballers were in production fora decade from 1948 to 1959. Four years later in 1963, we saw the start of four decades of Scanlens bubble-gum card issues, both football and cricket. In the mid 1990s, with the end of the Scanlens/Stimorol cards, the Trading Card came on the scene. These cards do not fit under the umbrella of the Trade Card, having been produced and marketed purely as a 'collectable' with no connection whatsoever to any product, which of course is necessary for an item to be classified as a Trade Card.|The earliest British postcard was issued in 1870 and was designed to send short messages; the stamp was printed on the card, therefore it did not require an envelope. It was considered by many to be lowering the postal standards because the texts were no longer private. However the cards were a great success as on the first day of issue in 1870, half a million passed through the London postal centre.|The first illustrated postcards are said to be those introduced by a French stationer in 1870. He realized that French troops fighting in the Franco-Prussian War needed to be able to send short messages to their families and designed a 'postcard' to suit the purpose. As many of the soldiers were illiterate they decorated their cards with sketches of their many activities at the front rather than writing; thus creating a picture postcard. Private enterprise soon saw the great financial possibilities of this new easy and attractive way of communication by post; also sending a postcard cost less than postage for letters. It was correctly assumed that postcards were likely to overtake letter writing in many instances.|Between 1875 and 1882 every state in Australia introduced official postcards, N.S.W. first and Tasmania last. Each state produced a simple type of postcard with a pre printed stamp allied to that state. The stamp side stated 'The Address Only To Be Written On This Side'; the reverse side sometimes carried a simple illustration or decoration with space fora short message, each state extolling their own state's virtues. In 1901, with the advent of Federation, the new Government became responsible for all postal services in Australia and produced postcards for sale in every state. With several mail deliveries each day in most towns, postcards were used for many purposes. One 1906 postcard, with an illustration of fruit, was sent from Mrs X in the morning to her greengrocer ordering her fruit and vegetables to be delivered that afternoon. Another lady asks her charlady to 'come this afternoon'.|Australian private enterprise also began selling pictorial postcards, most companies using the very experienced German printing works who were the worlds best in the field of lithography and fine detailed colour-printing. Many of these beautiful German cards still exist today, 100 years later. Australia did have a few fine printers but they were in the minority. Black and white postcards printed in Australia in the early 1900s were often of good quality e.g. postcards printed by 'The Bulletin', illustrating the works of 'The Bulletins' top artists.|Between c1903-09 The Melbourne company Osboldstone and Atkins etc. printed coloured reproductions of 46 J.A. Turner bush/rural life paintings, which were generally of good quality and became hugely popular and still sought after today. Like thousands of homes in Europe, Britain and U.S.A., many Australia homes had albums of cherished postcards, which were given pride of place for visitors to see and enjoy.|Postcard collecting remained popular but was changing with the times. About 1912 the Australian photographer George Rose of Melbourne began to produce topographical B/W real photographic postcards covering most of Australia and other photographers began to do likewise. These cards soon found their way into collections as well.|WWI and the horrors of war suddenly changed the world; postcards were still in great demand but the subject matter was far more serious. Thousands of postcards from the trenches in European war zones arrived in Australia to be included in family albums. Propaganda and recruitment messages were produced to encourage enlistment. Australian postcard producers began to create cards decorated with gum leaves, boomerangs, wattle etc., which were designed for sending to Australian troops serving overseas. Very few 'pretty' cards were available, as access to the Gentian printing works was no longer possible and exporting of postcards from Britain was very limited. By the end of WWI people had other more serious problems to contend with and the avid postcard collecting hobby declined, fold greetings took over and topographical photographic postcards became a small but steady income for the producers and newsagents etc. in every town.|Fortunately many of these old postcards still exist and are avidly collected by a new generation or postcard collectors. The Australian Cartophilic Society Inc. is one of four postcard/cigarette card organizations in Australia. They are, N.S.W. Post Card Collectors Society; Queensland Card Collectors' Society Inc. and West Australian Card Collectors|Society, and across the Tasman there is a New Zealand Postcard Society.|References:|Picture Postcards of the Golden Age A Collector's Guide by Toni & Valmai Holt. Picture Postcards in Australia 1898 - 1920 by David CookBox of Cigarette Silks ( 10 ) depicting animal motifs, which were placed in cigarette packets as an incentive for women in particular to smoke.|WD & HO Wills|Produced 1911 - 1917personal effects, smoking accessories, recreations, collections

Vassilieff dynamited rock from his own property to build his house. Stonygrad is reminiscent of a grotto and in parts, of a sculpture. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p135 Stonygrad, the home built by Expressionist painter and sculptor Danila Vassilieff, is reminiscent of a grotto and in parts, of a sculpture. Vassilieff, who amongst others influenced painter Sydney Nolan and Albert Tucker, was a member of the artists group the Angry Penguins. He was also a highly regarded art teacher at the nearby Koornong Experimental School and taught at Eltham High School. Art critic Robert Hughes described Vassilieff’s painting as ‘lyrical without social commentary’, and said Vassilieff was ‘the most oddly neglected artist in recent Australian History’. Vassilieff, who was born in 1897 in Russia, had an unusually adventurous life before he settled in Warrandyte. The 12th of 18 children, he lived on a farm in the Don Basin. Vassilieff trained with the Imperial Military Academy at St Petersburg and fought in World War One as an officer in the White Russian Army against the communists. In 1920 he was captured, then escaped from prison, stole a horse and rode bareback 150 miles to the Black Sea, helped at first by Tartar freebooters. He then travelled to India, Shanghai and arrived in Queensland as a refugee in 1923 where he began painting. He and his wife Anisia bought a sugar farm near Ingram, and later he constructed railway lines at Mataranka, in the Northern Territory.4 In 1929 Vassilieff went to Brazil for formal art training from former fellow-officer Dmitri Ismailovich, but he soon left to travel up the Amazon River. He then worked as a sidewalk artist in the West Indies and travelled for two years in England, France and Spain. In 1937 he arrived in Melbourne where he lived until his death in 1958. His first major Australian series was the Carlton streetscapes and from 1951 he sculpted in local hard limestone. Vassilieff rejected all dogma and regarded religious subjects as suitable only for decorative arts. In 1944 he helped defeat a communist attempt to take over the Contemporary Art Society. For a short time, from around 1955, Vassilieff taught at various Victorian schools. The Angry Penguins painted mainly between 1937 and 1947, and included Arthur Boyd, Albert Tucker, Sidney Nolan and Joy Hester. The group formed as they felt isolated from European thought and art (including Surrealism) from which their work was derived. They were also angry at what they considered to be the complacency and insularity of their society. They maintained Australians at first were scarcely aware of the threats of the Wall Street Crash and Hitler and were little interested in the Spanish Civil War. The Angry Penguins also objected to the White Australia Policy. Hughes said although most of the Melbourne Expressionists in the 1940s were unskilled and their work crude in style, they helped jolt Australian painting from its pastoral complacency. Their style influenced nearly every painting produced by significant figurative artists in Melbourne in the 1950s such as Charles Blackman. From 1939 Vassilieff built Stonygrad, mainly with local stone. The house stands at the end of a private road surrounded by trees with the quiet occasionally broken by the sounds of bellbirds. To build his house Vassilieff dynamited rock and cut trees from his own property. The original section of the three-level house is of irregular-shaped pieces of solid stone, exposed inside like the exterior. Vassilieff later built sections with timber and brick. Inside is rustic and cave-like, and several rooms are linked by arched openings with no doors. One undulating wall was carved out of rock from which two sculptured heads protrude. Several ceilings are of rough-hewn logs and the built-in table and bookcase are rough, as is a timber ladder leading to a bedroom. Not for the elderly or unsteady! Yet the general impression in the muted light is beautiful, with artistic originality.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, danila vassilieff, hamilton road, north warrandyte, stonygrad

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.

This home was the second cottage built by the Old Colonists' Association, and was the gift of Sydney W.J. Clark. It was completed in 1925. From the minute books: "Mr and Mrs F.J. Williams, both natives of Ballarat, offered to build a cottage on the Association's ground at PErry Park [now Charles Anderson Grove] something after a style of the Hassell Homes. That Offer was immediately followed by another from Mr S.W.J. Clark, a member of the Council. Both offers were promOne of the first objectives of the Association was "to provide the shelter of a hose 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." The first home at Charles Anderson Grove was built in 1925. Before that time the Association provided relief for needy pioneers. relief included monthly monetary payments, loads of firewood, medical assistance and distribution of Christmas bosed of groceries to deserving pensioners, and in some cases payment of burial costs. ::a) The dominant purpose of the Association is to give public benevolent relief as a charity, but providing independent living accommodation in our Retirement Village for person in need who are over 65. ::b) To raise funds by membership subscription, commercial and residential rents, donations, gifts and voluntary work, for the purpose of providing direct relief of poverty, distress, misfortune or helplessness. ::c) To maintain the important heritage and ongoing viability of the Old Colonists' Association. (Revised Rules of the Old Colonists' Association of Ballarat Inc., 2016) Colour photograph of The Old Colonists' Association Cottage at The Old Colonists' Assiation of Ballarat Inc retirement village at Charles Anderson Grove, Ballarat.ballarat old colonists' club, charles anderson grove, sydney w.j. clark, s.w.j. clark

This cottage was completed in 1956. One of the first objectives of the Association was "to provide the shelter of a hose 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." The first home at Charles Anderson Grove was built in 1925. Before that time the Association provided relief for needy pioneers. relief included monthly monetary payments, loads of firewood, medical assistance and distribution of Christmas bosed of groceries to deserving pensioners, and in some cases payment of burial costs. ::a) The dominant purpose of the Association is to give public benevolent relief as a charity, but providing independent living accommodation in our Retirement Village for person in need who are over 65. ::b) To raise funds by membership subscription, commercial and residential rents, donations, gifts and voluntary work, for the purpose of providing direct relief of poverty, distress, misfortune or helplessness. ::c) To maintain the important heritage and ongoing viability of the Old Colonists' Association. (Revised Rules of the Old Colonists' Association of Ballarat Inc., 2016) Colour photograph of Permewan Cottage at The Old Colonists' Assiation of Ballarat Inc retirement village at Charles Anderson Grove, Ballarat.old colonists' association, ballarat, ballarat old colonists' club, charles anderson grove, permewan, permewan cottage, retirement village

The Wilson homes were completed in 1966. One of the first objectives of the Association was "to provide the shelter of a hose 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." The first home at Charles Anderson Grove was built in 1925. Before that time the Association provided relief for needy pioneers. relief included monthly monetary payments, loads of firewood, medical assistance and distribution of Christmas bosed of groceries to deserving pensioners, and in some cases payment of burial costs. ::a) The dominant purpose of the Association is to give public benevolent relief as a charity, but providing independent living accommodation in our Retirement Village for person in need who are over 65. ::b) To raise funds by membership subscription, commercial and residential rents, donations, gifts and voluntary work, for the purpose of providing direct relief of poverty, distress, misfortune or helplessness. ::c) To maintain the important heritage and ongoing viability of the Old Colonists' Association. (Revised Rules of the Old Colonists' Association of Ballarat Inc., 2016) Colour photograph pf a cream brick building known as the Wilson Homes. They are a part of the Old Colonists' Association, Ballarat Retirement Village at Charles Anderson Grove. old colonists' association, ballarat, ballarat old colonists' club, charles anderson grove, wilson, wilson homes

This home was the first cottage built by the Old Colonists' Association, and was the gift of Mr and Mrs F.J. Williams. It was completed in 1925. From the minute books: "Mr and Mrs F.J. Williams, both natives of Ballarat, offered to build a cottage on the Association's ground at Perry Park [now known as Charles Anderson Grove] something after a style of the Hassell Homes. That offer was immediately followed by another from Mr S.W.J. Clark, a member of the Council. Both offers were promptly and gratefully accepted." One of the first objectives of the Association was "to provide the shelter of a hose 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." The first home at Charles Anderson Grove was built in 1925. Before that time the Association provided relief for needy pioneers. Relief included monthly monetary payments, loads of firewood, medical assistance and distribution of Christmas bosed of groceries to deserving pensioners, and in some cases payment of burial costs. ::a) The dominant purpose of the Association is to give public benevolent relief as a charity, but providing independent living accommodation in our Retirement Village for person in need who are over 65. ::b) To raise funds by membership subscription, commercial and residential rents, donations, gifts and voluntary work, for the purpose of providing direct relief of poverty, distress, misfortune or helplessness. ::c) To maintain the important heritage and ongoing viability of the Old Colonists' Association. (Revised Rules of the Old Colonists' Association of Ballarat Inc., 2016) Mr and Mrs Fred John and Matilda Anne Williams of Melbourne made a generous donation to enable this cottage to be built. It was opened in their presence in 1925. Fred John Williams was the son of John Williams and Thomassina Whilley. Together with his brother Frank Williams, Fred Williams was the proprietor of J. Williams and Sons. The brothers took over the business when their father, John Williams, retired in January 1893. In 1918 Fred Williams left Ballarat for Melbourne, at which time he was described as someone who had ‘tried to benefit the whole of Ballarat’. He was highly involved with the Forward Ballarat Movement At the time of his death in February 1926 at Lorne F.J. Williams was a partner in the firm Williams Shoemen Pty. Ltd. By 2021 the cottage had numerous cracks and required work. These photographs are a record of the condition of the cottage at that time.Colour photograph of the interior views of Williams Cottage at The Old Colonists' Association of Ballarat Inc retirement village at 3 Charles Anderson Grove, Ballarat.old colonists' association, ballarat, ballarat old colonists' club, charles anderson grove, f.j. william, retirement village, williams cottage, fred john williams, matilda anne williams, fred williams, matilda williams, 3 charles anderson grove

This home was the first cottage built by the Old Colonists' Association, and was the gift of Mr and Mrs F.J. Williams. It was completed in 1925. From the minute books: "Mr and Mrs F.J. Williams, both natives of Ballarat, offered to build a cottage on the Association's ground at Perry Park [now known as Charles Anderson Grove] something after a style of the Hassell Homes. That offer was immediately followed by another from Mr S.W.J. Clark, a member of the Council. Both offers were promptly and gratefully accepted." One of the first objectives of the Association was "to provide the shelter of a hose 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." The first home at Charles Anderson Grove was built in 1925. Before that time the Association provided relief for needy pioneers. Relief included monthly monetary payments, loads of firewood, medical assistance and distribution of Christmas bosed of groceries to deserving pensioners, and in some cases payment of burial costs. ::a) The dominant purpose of the Association is to give public benevolent relief as a charity, but providing independent living accommodation in our Retirement Village for person in need who are over 65. ::b) To raise funds by membership subscription, commercial and residential rents, donations, gifts and voluntary work, for the purpose of providing direct relief of poverty, distress, misfortune or helplessness. ::c) To maintain the important heritage and ongoing viability of the Old Colonists' Association. (Revised Rules of the Old Colonists' Association of Ballarat Inc., 2016) Mr and Mrs Fred John and Matilda Anne Williams of Melbourne made a generous donation to enable this cottage to be built. It was opened in their presence in 1925. Fred John Williams was the son of John Williams and Thomassina Whilley. Together with his brother Frank Williams, Fred Williams was the proprietor of J. Williams and Sons. The brothers took over the business when their father, John Williams, retired in January 1893. In 1918 Fred Williams left Ballarat for Melbourne, at which time he was described as someone who had ‘tried to benefit the whole of Ballarat’. He was highly involved with the Forward Ballarat Movement At the time of his death in February 1926 at Lorne F.J. Williams was a partner in the firm Williams Shoemen Pty. Ltd. By 2021 the cottage had numerous cracks and required work. These photographs are a record of the condition of the cottage at that time.Colour photograph of the exterior views of Williams Cottage at The Old Colonists' Association of Ballarat Inc retirement village at 3 Charles Anderson Grove, Ballarat.old colonists' association, ballarat, ballarat old colonists' club, charles anderson grove, f.j. william, retirement village, williams cottage, fred john williams, matilda anne williams, fred williams, matilda williams, 3 charles anderson grove

This home was the first cottage built by the Old Colonists' Association, and was the gift of Mr and Mrs F.J. Williams. It was completed in 1925. From the minute books: "Mr and Mrs F.J. Williams, both natives of Ballarat, offered to build a cottage on the Association's ground at Perry Park [now known as Charles Anderson Grove] something after a style of the Hassell Homes. That offer was immediately followed by another from Mr S.W.J. Clark, a member of the Council. Both offers were promptly and gratefully accepted." One of the first objectives of the Association was "to provide the shelter of a hose 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." The first home at Charles Anderson Grove was built in 1925. Before that time the Association provided relief for needy pioneers. Relief included monthly monetary payments, loads of firewood, medical assistance and distribution of Christmas bosed of groceries to deserving pensioners, and in some cases payment of burial costs. ::a) The dominant purpose of the Association is to give public benevolent relief as a charity, but providing independent living accommodation in our Retirement Village for person in need who are over 65. ::b) To raise funds by membership subscription, commercial and residential rents, donations, gifts and voluntary work, for the purpose of providing direct relief of poverty, distress, misfortune or helplessness. ::c) To maintain the important heritage and ongoing viability of the Old Colonists' Association. (Revised Rules of the Old Colonists' Association of Ballarat Inc., 2016) Mr and Mrs Fred John and Matilda Anne Williams of Melbourne made a generous donation to enable this cottage to be built. It was opened in their presence in 1925. Fred John Williams was the son of John Williams and Thomassina Whilley. Together with his brother Frank Williams, Fred Williams was the proprietor of J. Williams and Sons. The brothers took over the business when their father, John Williams, retired in January 1893. In 1918 Fred Williams left Ballarat for Melbourne, at which time he was described as someone who had ‘tried to benefit the whole of Ballarat’. He was highly involved with the Forward Ballarat Movement At the time of his death in February 1926 at Lorne F.J. Williams was a partner in the firm Williams Shoemen Pty. Ltd. By 2021 the cottage had numerous cracks and required work. These photographs are a record of the condition of the cottage at that time.Colour photograph of the interior views of Williams Cottage at The Old Colonists' Association of Ballarat Inc retirement village at 3 Charles Anderson Grove, Ballarat.old colonists' association, ballarat, ballarat old colonists' club, charles anderson grove, f.j. william, retirement village, williams cottage, fred john williams, matilda anne williams, fred williams, matilda williams, 3 charles anderson grove

Margaret Olley (24 June 1923 – 26 July 2011) Born Lismore, New South Wales In 1941 Margaret commenced classes at Brisbane Central Technical College. In 1943 Olley moved to Sydney and enrolled in an art Diploma course at East Sydney Technical College graduating in 1945 with A-class honours. She is known as a still-life and interior painters Margaret who drew inspiration from her home and studio, and the beauty of the everyday objects she gathered around her. Her paintings often feature arrangements of fruits and flowers, set amid domestic ware art and souvenirs of her travels. For her service as an artist and to the promotion of art, she was awarded the Order of Australia in 1991 and made a Companion of the Order of Australia in 1996. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed oil painting of an apple on a table with red gingham cloth. art, artwork, margaret olley, olley, apple, fruit, still life

In 1920 Michael Taffe was awarded Junior Cornet Solo Champion at Ballarat's South St competitions, The Grand National Eisteddfod of Australasia. This competition was the premier band contest in Australia with musicians from every state and New Zealand taking part. The large framed studio portrait of Michael together with his cornet and medals was on display in the window of Allan's Music store Melbourne when the building was severely damaged by fire but these items were saved. Part of a large family collection of local & family history items at Hymettus Cottage, home to the same Ballarat family for the past 125. This portrait has a well documented provenance and a known owner and has hung in this historic house for the past 102 years. It forms part of a significant and representative historical collection that reflects Ballarat's local history from a family perspective. It contributes to our understanding of social and family life in Ballarat from the 19th to the 21st century and provides interpretative capacity for family, local, and social history themes.cornet, music, michael taffe, south street competitions, ballarat

The decorative art-nouveau style leadlight side and transom lights were a popular form of entrance lighting set into recessed panels in late Victorian homes at Ballarat. This home built by local architect/builder Thomas Turton features these popular glass lights.The side and transom lights at Hymettus form part of a significant and representative historical collection that reflects Ballarat's local history from a family perspective and popular art and architecture movements at the turn of the 19th and 20th centuries. They contribute to our understanding of social and family life in twentieth century Ballarat and providing interpretative capacity for family, local, art, architecture and social history themes.ballarat architects and architecture,, hymettus, taffe, art nouveau, leadlight

In 1920 Michael Taffe was awarded Junior Cornet Solo Champion at Ballarat's South St competitions, The Grand National Eisteddfod of Australasia. This competition was the premier band contest in Australia with musicians from every state and New Zealand taking part. This Boosey & Co cornet was on display in the window of Allan's Music store Melbourne when the building was severely damaged by fire but these items were saved. Part of a large family collection of local & family history items at Hymettus Cottage, home to the same Ballarat family for the past 125. This cornet has a well documented provenance and a known owner and has been at Hymettus for over a century. Boosey & Co joined with Hawkes in 1930 to become Boosey & Hawkes. This cornet forms part of a significant and representative historical collection that reflects Ballarat's local history from a family perspective. It contributes to our understanding of social and family life in Ballarat from the 19th to the 21st century and provides interpretative capacity for family, local, and social history themes.Heavily decorated and inscribed.cornet, music, michael taffe, south street competitions, ballarat, boosey & co

Allwood - built in 1894 by Henry Hurst’s relatives, stands near the site of his house, which was demolisherd in the 1940s. Until 1924 Hurstbridge was known as Allwood. The building, one of the district's oldest is situated back from the corner of Arthurs Creek Road and Main Road. Covered under Heritage Overlay, Nillumbik Planning Scheme Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p17 Hurst, who was a surveyor, came to Melbourne in 1852 by default, as on the way to Sydney he contracted typhoid and was off-loaded in Melbourne. Deciding to settle near Melbourne, he selected some land near the present Eltham railway station and was one of the first to grow crops there.2 But disaster struck again, when his shack was looted and burned, while he was carting goods for sale to nearby goldfields. It was then that Hurstbridge’s first settler, Cornelius Haley, asked Hurst to manage his 160 acres (65ha) grazing property and 9000 acres (3443ha) of leased land where the present Hurstbridge stands. Hurst proved equal to the tough conditions and he and his brother, Fred, cut a track with a bullock team from the property to Romsey, where Haley had selected some land. Hurst also put up a bridge across the creek near his house, after which Hurstbridge was named. He ran the property helped by two ticket-of-leave men and others, several of whom were sailors who had abandoned ship in search of gold, and were working there temporarily. In 1866, only 14 years after coming to Australia, Hurst met an early tragic death. One day a bushranger named Burke came to the house and demanded a horse. Hurst thought the bushranger might be an officer in search of runaway sailors3 and anyway, did not like the look of him, so he refused. A tussle followed and apparently Hurst shot first.4 He was shot and died five hours later from loss of blood. Later, troopers found Burke, who was subsequently hanged. The event is recorded in the Old Melbourne Gaol. The government offered the family £500 but the family refused it as ‘blood money’. Hurst’s father, Robert, even signed a petition against the bushranger’s death, claiming one life did not replace another. Hurst’s family continued to live in the district and saw a rise in their fortunes. They bought Haley’s cattle station and built the present Allwood House, using the original home as an orchard packing shed. The present Victorian style timber house had several outbuildings including a blacksmith’s shop. The property passed on to William Gray, an orchardist and nurseryman, who married Hurst’s grandniece, Frances. The business boomed from the early 1900s when it supplied most of the orchards in the area. Gray was Eltham Shire’s President for two terms and was asked to stand for parliament, but his wife’s illness and other family commitments prevented him from doing so. Then several calamities drove the family to bankruptcy. During World War One, Gray lost more than one million pounds on trees shipped overseas, which the Lloyd’s company had refused to insure. Other factors, including the Great Depression, ruined the family’s fortunes. The land was reduced from more than 640 acres (256ha) to 50 acres (20ha) and the older members married and left. After Mr Gray died, the house was leased, until his daughter Sheila Ferguson and her husband Gordon settled there in 1951, after buying it from other family members. However in 1975 the Shire designated the property as a passive recreation reserve. The Ferguson family sold most of the land, leaving the house on 0.6 hectares.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, hurstbridge, henry hurst, allwood house

Henry Hurst, after whom Hurstbridge was named, had a hard and adventurous life in the raw colony of the mid 1800s. His tragic end is recounted on his tombstone at the Hurst family cemetery, by Greysharps Road off Arthurs Creek Road erected ‘by a grateful public as a memorial to his heroic self-sacrifice.’ The memorial reads, ‘Sacred to the memory of Henry Facey Hurst (formerly of Hanford Dorset) who while defending his home fell near this spot by a ball fired by the bushranger Burke on October 4 1866 aged 34 years’. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p15This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, hurst family cemetery, hurstbridge, gravestones, henry hurst, memorial

Strathewen Public Hall, social and spiritual centre was later lost in the Black Saturday fires 2009. The Strathewen Community decided a community hall was needed in 1901. In 1902 locals built the hall with messmate trees. It was located on the Cottlesbridge-Strathewen Road. The first function was a Grand concert and Balll attended by about 120 people. Several denominations held Church services and Sunday School services in the Hall. It survived several bushfires until after this photo was taken when it was destroyed in Black Saturday, 9 February 2009. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p89 Strathewen was settled late, largely because it was difficult to access.1 Early selectors found it a struggle to survive. They had to do everything themselves, from felling trees for buildings, to taking produce to market along bush tracks that they had helped cut. Small dairy farms were typical but fruit became the district’s prime produce. The first settlers east of Arthurs Creek were brothers John and Duncan Smith whose station Glen-Ard was probably operated as a sheep run. Other early settlers were the Mann family, who were to donate land for the hall, provide postal services and John Mann was an Eltham Shire councillor from 1916 to 1919.2 In 1873 James Mann, his wife Jane and their six children, settled on 207 acres (83.7) (Lang Fauld Farm) on both sides of Eagles Nest Road, from the foot of Mount Sugarloaf to the bank of the Arthurs Creek. In 1883 James took up another selection on Chads Creek. It was very hard work and at times he was well behind with his rent. However the family had a good social life, attending the Primitive Methodist Church at the Arthurs Creek Township and on New Year’s Eve throwing a party for all the locals. By 1874 James Mann’s younger brother, John, selected 311 acres (125.8ha) between Eagles Nest Road and upper Arthurs Creek. He called it Carseburn after his home parish in Scotland. Tragically in 1875 John drowned in the Yarra River, at Richmond.3 John Mann’s oldest son, also John, later purchased Duncan Smith’s land, which he named Violet Glen. He was to give one acre (0.4ha) of this land for the Strathewen Hall site. A Mann family diary written at Carseburn in 1897, tells how the district’s name was selected. Strathewen is derived from ‘strath’ meaning ‘broad mountain valley’ and from the name of Ewen H. Cameron, the local parliamentarian for almost 40 years. ‘George Brain came around to get a petition signed to get a post office up here and we had to vote for a name—Strathewen, Glen-Ard, or Headcorie’.4 It was at Carseburn that a public meeting in 1901, decided to build the Strathewen Hall on the Cottlesbridge-Strathewen Road. In 1902 the locals built the hall with messmate trees. The first function was a Grand Concert and Ball attended by around 120 people and several Protestant denominations took turns to hold church services and Sunday School there. Fortunately the hall has survived bushfires to be the town’s spiritual and social centre.5 The area continued to develop and in 1909 a post office operated somewhere at Strathewen and from around 1916 at Carseburn.6 It was not until 1914 that land was bought to establish the Strathewen State School on School Ridge Road. The residents paid £100 to build it on two acres (0.8 ha) while the Education Department contributed £30 and leased the building annually for £1. When teacher Miss Mary Golding opened the school in 1917, it had no equipment.7 But in 1921 the Education Department provided desks and a hexagonal shelter shed (now a rare style in Victoria) and took control in 1925.8 By 1917 Strathewen was booming.9 George Apted had built a coolstore in 1916, and local orchardists bought storage space until the 1950s. This allowed the area to supply the market in and out of season. Guesthouses catered for growing tourism. In the mid 1920s Mrs Eleanor Sparkes built the guest-house Singing Waters, which operated through the 1930s. Her daughter Mrs Vera McKimmie, ran it until the 1950s and the house remains in Chads Creek Road. In the Great Depression land was cleared for timber to be sold as firewood and there was small scale sawmilling. However the orchard industry diminished for several reasons including the 1939 bushfires and rapid changes in production methods. Today the Apteds still operate an orchard and farm at Glen-Ard, which straddles the border between Strathewen and Arthurs Creek. It includes the southern part of Duncan Smith’s original Glen-Ard selection.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, strathewan public hall

Built by artist and cartoonist Percy Leason in 1927 in what was then New Street but renamed Lavender Park Road in the late 1950s/early 1960s. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p121 Said to be a genius, cartoonist Percy Leason’s career was at its peak when in 1925 to 1926 he built his home at New Street (now Lavender Park Road) Eltham. The Herald newspaper owner, Sir Keith Murdoch, had hired Leason for his newly acquired Melbourne Punch magazine at a salary of £1750, making him ‘one of the highest paid cartoonists in the world’.1 With this salary and financial help from Murdoch, Leason was able to build his lovely home in Eltham. At the crest of a sweeping drive, the home now two-storey in white brick with a gabled grey slate roof and dormer windows is flanked by an extension built by another owner in the 1980s. Leason lived in the home with his wife, Isabel and children, until 1937, when he left for the United States of America, where he lived until his death in 1959. The four-bedroom house and garden would have been well-suited to bringing up his family and to entertaining their friends in style. Large airy rooms have high ceilings with moulded plaster, timber floors and several are brightened with bay windows. Leason made friends with many of the artists and personalities who gravitated to Eltham. Around 1931 Justus Jörgensen, founder of the Montsalvat Artists’ Colony, helped Leason build his large studio at the back of the house. Another friend was journalist Mervyn Skipper, father of jeweller and sculptor Matcham, and artists Helen and Sonia. Leason’s teacher, artist Max Meldrum, also visited and rented accommodation in Eltham, opposite Wingrove Park. Punch folded in 1925, but Leason continued as cartoonist for Table Talk. In 1926 Leason began the cartoons of a mythical Australian town Wiregrass, which were inspired by Kaniva, his home town. The art gallery in Main Road Eltham was named Wiregrass in Leason’s honour. Leason completed 1000 drawings from 1919 to 1937, which author Garrie Hutchinson claimed, were technically unsurpassed and had regional and universal interest. Leason’s acute observations of country life stemmed from his childhood in Kaniva in Victoria’s western Wimmera, where he was born, the son of a selector, in 1889. Meldrum claimed that Leason could name every plant and the habits of every animal.2 Leason also painted 28 portraits of the last full-blooded aboriginals in Victoria at Lake Tyers in Gippsland, most of which are in a private collection. In Sydney Leason illustrated Henry Lawson’s Selected Poems and worked for The Bulletin. Leason had begun his career at 13 as an apprentice lithographic artist at Sands and MacDougall. He attended night classes at the National Gallery and the Victorian Artists Society. Leason first visited Eltham in 1910 to paint with fellow artist William ‘Jock’ Frater. They camped near Bible and Pitt Streets and along the Diamond Creek on the site of the present Eltham Retirement Centre. Despite his success as a cartoonist, Leason wanted to be recognised as a serious painter and for his anthropological work.3 He was also conservative and felt uncomfortable with the modern art scene in Melbourne.4 So he left for the United States of America to work as a painter. Ironically his time in New York saw the burgeoning of modern art, notably by artists such as Jackson Pollock. But Leason found his niche by running an art school, painting society portraits and illustrating books and magazines.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, landscape, lavender park road, percy leason, new street

In 1924, the Methodist Church opened at the corner of River Ave and Yan Yean Road, Plenty. It was a simple weatherboard gabled building. The church developed a strong community life with celebrations as well as worships, Sundays Schools and social events. It closed in 1979. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p113 In 1924, the Methodist Church, (which closed in 1976), opened at the corner of River Avenue and Yan Yean Road. Church members including George Starling and Ernest Osmond, built the simple weatherboard gabled building.3 The church developed a strong community life, with celebrations as well as worship through Sunday School anniversaries, picnics, harvest festivals and youth groups. Many volunteers worked hard for the church - teaching Sunday School and ferrying young people to events, sometimes in the backs of trucks and furniture vans. Children from the Sutherland Homes were brought to church by their Matron – a ‘grim martinet’! Members included the Ashton, Reid, Harris, McLachlan, Hopkin, Rose and Stuchbery families. The first wedding was for Vida McLachlan and Ray Stuchbery.4This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, methodist church, plenty

Art Gallery with mural painted by Clifton Pugh (1924-1990) at his Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge. Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p153 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p155 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

'Worlingworth', Eltham, home of noted anthropologist the late Professor Donald Thomson and his wife Dorita Thomson. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p127 Dubbed as ‘Australia’s Lawrence of Arabia’ anthropologist Donald Thomson lived much of his life in Eltham, at Banoon Road. On his retirement as Professor of Anthropology in 1968, The University of Melbourne professorial board compared Thomson to Lawrence of Arabia because of his work for Aborigines and his controversial personality. Although Thomson is now recognised for his huge contribution, during his lifetime he suffered opposition and his life has been described as ‘tragic’.1 Thomson failed to gain the recognition as a scientist that he felt he deserved and he failed to alter government policy towards Aboriginal people. But towards the end of his life in 1970, anthropologists were moving towards the type of research he had done and the movement to grant land rights to Aborigines was strengthening. Thomson is best known for his anthropological fieldwork in Cape York, Arnhem Land and Central Australia, but he is also known for his scholarly contributions to ornithology and ecology. Thomson documented every aspect of the daily and ritual life of the Aboriginal world of Cape York and Arnhem Land in the 1930s and 1940s. The huge collection in Museum Victoria includes 11,000 photographs, 7500 items of material culture, 1000 botanical and zoological specimens and 4500 pages of field-notes.2 The film Ten Canoes used Thomson’s photographs as a source. Thomson bought the Eltham property known as Worlingworth in 1934. The single-storey 60-square house standing by the Yarra River was built in 1922-23. It is one of the last in Eltham to survive with its farm setting intact. It is also one of the few substantial residences built in the Eltham Shire from the late 19th century to the early 20th century, which signalled a major change in the area towards the residential municipality it is today.3 The original section, built in the mid 1860s, of rose pink hand-made bricks and stone quarried on the property, was incorporated in the new red-brick house built in 1922. An immense oak tree by the house grew from an acorn brought by Patrick Armstrong who first bought the land in March 14, 1862. Armstrong named Worlingworth after his forbears’ village in Suffolk, England. Worlingworth saw grand days when Commander Alan A Barlee (R.N.) bought it in 1922 after winning the Calcutta Sweep. The property then included a nine-hole golf course, a tennis court, a bowling green, a boathouse and a boat-ramp.4 For most of his career Thomson, who was born in 1901, was attached to The University of Melbourne. In 1935 he represented the Commonwealth Government at Caledon Bay in east Arnhem Land to investigate and mediate for four Aborigines accused of killing five Japanese and three Europeans. In 1938 Thomson was awarded a PhD in Anthropology at Cambridge University, and during his career, he received several medals from British Societies, who perhaps appreciated his work better than their Australian counterparts. From World War Two, Thomson suffered a string of hardships, beginning with severe wounding in Dutch New Guinea (for his military service in New Guinea he was awarded an OBE) and he was invalided from service in 1944. That year he was diagnosed with diabetes. A fire in 1946 destroyed what Thomson regarded as perhaps the best record he had made of Aboriginal life – the 20,000 feet, (6096m) of film he had shot in Arnhem Land. In 1954 he and wife, Gladys, divorced. The next year he married his technical assistant, Dorita McColl. Several times during his career Thomson had major disagreements. For instance Professor P Elkin constantly opposed his work. He also opposed Thomson when he campaigned vigorously in 1947 against the establishment of a rocket range at Woomera, South Australia, because of the threat it posed Aborigines. Thomson resigned in frustration from the Victorian Aborigines Welfare Board in 1967, after serving for ten years, because he found that his advice was disregarded. His ashes were scattered over Caledon Bay from the air.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, banoon road, donald thomson, dorita thomson, eltham, worlingworth

Death notice in local newspaper - Ringwood Mail 19/12/1947, recently retired from his position as engineer to the Ringwood Cool Stores.Beloved hustand of Gertrude, dearly loved father of Jack, Clifford (deceased), Lloyd and Res, loved father-in-law of Joy. Aged 62 years. Outside his home and his work, his two great interests in life were his Lodge and bowls. He was one of the foundation members of the Ringwood Masonic Lodge, consecrated in 1925. He was Worshipful Master in 1929 and was appointed secretary in 1934. He took all the degrees in Masonry and was a member of the Grand Lodge. In the wporting world he took a keen interest in bowls and was a foundation member of the Ringwood Bowling Club. He was president of the Club in 1942, 43, 44 and 45.

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: B'WORTH NEWTOWN / OLD HOUSE / E MARCUSE Reverse: B 11/ 023 / BEECHWORTH NOSTALGIA / BW - 04 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: Reverse: CHILTERN ? / (SAME (illegible), SAME PAPER + COLOURS AS CHILTERN PHARMACY / BOTH MAY HAVE BEEN 1981 WHEN IN YACKANDANDAH? / ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: YACKANDANDAH / MARCUSE / 83 Reverse: YACKANDANDAH / Y 911/ 022 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: Reverse: YACKANDANDAH / Y 9 / 021 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: Marcuse / YACKANDANDAH / Reverse: YACKANDANDAH / Y 8 / 020 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program