Set of 13 colour prints or photographs taken on the day of the Ballarat Tramway Museums 30th anniversary dinner, celebrations on 22/9/2001 by Carolyn Dean, or others as noted on the back of the photograph. All on Kodak paper. 1959.1 - Depot scene in the afternoon with signs being transferred from tram 45 to tram 18 by Alastair Reither and Dave Macartney, watched by Gavin Young. (image used in Jan. 2002 Fares Please!) .2 - Bruce Worthington, Peter Winspur, Stephen Butler, Greg Rodgers and Carolyn Dean - Photo John Phillips .3 - Craig Stephenson, Richard Gilbert and Warren Banfield .4 - John Phillips, Allison Tooke and Craig Tooke .5 - Bruce Worthington and Bob Merchant .6 - Stephen Butler - organiser speaking .7 - Stephen Butler and Peter Winspur .8 - Stephen Butler and Carolyn Dean - photo Craig Tooke .9 - Richard Gilbert, Stephen Butler, Gavin Young and Carolyn Dean - photo Craig Tooke .10 - Stephen Butler, Bill Kingsley, Gavin Young, Carolyn Dean, Austin Brehaut and Peter Winspur - photo Craig Tooke .11 - Richard Gilbert .12 - Holding their 30 year plaques - Austin Brehaut, Gavin Young, Richard Gilbert, Carolyn Dean, Bill Kingsley, Peter Winspur and Warren Doubleday - photo John Phillips .13 - ditto On rear of photograph in black ink "22.9.01" "Photo by Carolyn Dean" - except forbtm, dinner, 30th anniversary, lake lodge, tram 18, tram 40, tram 45, tram 33

Christmas Card - with a number of wrapped gifts and decorations around a pot belly stove on the front cover, a Christmas and happy new year message on the inside and a colour photograph of BTM tram No. 18 at the Gardens Loop with Graham Jordan and Warren Doubleday "testing the suspension" on 12/12/1982. Card sent by Earl Ewers, alias the "Canberra Kid". Card printed on heavy paper and folded in the middle vertically.Under photograph in blue ink "Messrs Jordan and Doubleday testing the suspension on No. 18 at Gardens Loop 12/12/1982!" and in message "To all the BTPS Ltd. members and workers from ye olde "Canberra Kidd"!"tramways, trams, christmas cards, gardens loop, btps

Poster - A3 full colour printed on light paper, titled "The Melbourne International Tap Festival", 12 - 17 October 2006. No year on poster - located by a web page -"Tap Dancing Resources" - http://www.tapdancingresources.com/events/festivals/australian/melbourne-tap-festival-editions.htm, accessed 2/7/2017. Was the 2nd festival. Poster features a tam and tap dances, headline starts, web site, booking number, with Connex, Yarra Trams, City of Stonnington and other sponsors. Artwork by Pulp Free Design.trams, tramways, posters, festival, yarra trams, connex

Photocopy - Report - 12 pages - titled "Report on Proposed Tramway for The Melbourne, Brunswick and Coburg Tramway Conference", prepared by Valentine J. Crowley Consulting Engineer Oct. 25, 1915. Looks at the construction of a tramway Flinders St along Queen St, to Royal Park, to Sussex St and Gaffney Road, West Coburg for the Melbourne Brunswick and Coburg Tramways Trust. Looks at the route and length of track in detail, route, administration, population, construction, permanent way, overhead lines, feeders, rolling stock, timetable, capital cost, alterations to services, expenditure for year and conclusion. Has a map of the proposed route. Included with the document is a plan of the MBCTT lines, overwritten in ball point pen with street names dated Dec. 1919. Photocopy made from original documents - has been stapled along the side in three places.trams, tramways, mbctt, maps, new tramway, west coburg, queen st, royal park

Notice or Timetable notice printed on off white paper, titled Notice to Passengers - New Year Celebration - Special Tram and Bus Services", for New Year celebrations 1940/41. Provides details of the last trams to various destination, other routes extended services and that all night services will be maintained with shorter intervals. Dated 26/12/1940, signed by S.M. Richardson as Manager.trams, tramways, st kilda, notices and information, timetables, events, all night services

Set of papers - 12 foolscap - hand written in plain and red pencil giving details of the Hawthorn system, the various opening dates of the track constructed by the HTT and extensions; sketches show each extension in red relative to the previous track and the opening date. Front two sheets gives description of work carried out by the MMTB and the year opened. Items 2037 to 2041 within box 72.3 in a brown folder marked "Hawthorn Tramway Trust" in red pencil.trams, tramways, htt, hawthorn, reports, routes, track, hawthorn depot, opening, mmtb

Tender document - 10 duplicated foolscap sheets pinned in top left hand corner, titled "Manufacture, Supply and Delivery of Uniforms and Caps - Conditions of Tendering, Contract and form of agreement etc - Contract No. 103.", closing 2/9/1920. Gives the general documentation for such tenders, a quantity of about 2000 uniforms and caps per year, general materials specifications, tunics, a list of prices to be provided for 12 different garments (conductors, gripmen and motormen). No drawings provided.trams, tramways, uniforms, tenders, contracts, gripmen, motormen, conductors, mmtb

.1 - Report - duplicated foolscap sheet titled "Approximate data as to Population, Valuation and Car Mileage run in the 28 Municipalities which constitute the Tramway "Metropolis"", setting out the information as of 31/12/1919 population, valuation as at 30/9/1919 and cable and electric mileage as at 30/6/1920. Dated 20/7/1920. 2 copies held. .2 - Report single foolscap sheet titled "Approximate percentages of surplus profits for the year ended 30th June 1920 which would be obtained by adopting any of the following basis", setting out for each municipality on the basis of population, valuation, tram mileage, one third each or 40 / 40 /40 or the length of single track in each. Has a note re Northcote. Dated 23/7/1920.trams, tramways, mmtb, finances, cable trams, councils, city of melbourne

Folder - Press Pack, containing 10 sheets of light card about the Night Network trial that was to commenced on 1/1/2016. Provides information on the proposed 1 year trial (which was continued), trains, buses, trams, coaches, maps, costs, security and locations of the services in the CBD area. Published by the PTV 12/2015.trams, tramways, night trams, public transport, ptv, buses, railways, all night services

Instruction - single A4 sheet, advising of a change to the new rule book to come into use on Monday 11 November, titled "Implementation of Rules and Procedures Handbook - Change to Rule 19: Speed". Concerned with speed into tram stops and explains the basis of the proposed change. Year 2013 - based on Calendar. New rule to be applicable for Kew, Essendon, Malvern, East Preston and Brunswick depot until 8/12.trams, tramways, yarra trams, driver training, rules, tram stops

Typed report on the use of precision casting methods at Preston Workshops foundry to reduce the amount of machining post-casting. Looks at the methods of precision casting, the type of equipment needed for this, and those companies in Melbourne using shell moulding, Includes an extensive list of items and the number of units used each year that this method could be used for. Report by J Scholtz dated 12-7-1963.Yields information about the examination of costs and methods of using shell moulding processes at Preston Workshops.Document or report 7 foolscap sheets - carbon copytramways, technical information, preston workshops, costs, foundry, castings, plate shop

The photograph shows X1 class tram No. 465 with destination "Russell St." in Barkly Street, Footscray outside the recently closed cinema that had just reopened as the Fiesta Cabaret and Reception Room in 1962 - the year the tramway closed. The tram is small in a scene that shows the full height of Fiesta Room, many shops and cars.Yields information about MMTB X1 and Footscray linesBlack and white photograph with photographer's notes on rearRed stamp and biro on rear: 'Photograph by J Seletto. Photo 38 JSE 12'trams, footscray, barkly st, x1 class, tram 465, fiesta, tramways

Set of 12 Posters - printed on paper with an adhesive backing for: .1 - Tram Diversions - Bourke St - Moomba Mile footrace 28/2/1986 .2 - Moomba Festival Float Parade - gives diversions and alterations - for 10/3/1986 .3 - Anzac Day - 25/4/1986 .4 - Royal Show Parade - 14/9/1986 .5 - North Altona to City Service - Show Day 25/9/1986 .6 - Eastern Freeway - ditto .7 - Doncaster Routes - ditto .8 - William St Shuttle - not operating on nominated days during the Christmas New Year period .9 - LaTrobe St services - ditto .10 - Eastern Freeway - ditto .11 - Doncaster Routes - ditto .12 - North Altona to City Service All issued by Metropolitan Transittrams, tramways, moomba, showgrounds, royal show, anzac day, operations, latrobe st, william st, doncaster, buses, north altona

Melbourne Metro "Day Pass" punched or used for 25 September 2013 - ticket provided to Kevin Tierney in exchange for a Senior Card Travel Ticket - blue outside edge with days of week, green months and year for punching the date out with a silver and blue skyline image of city building on front, and conditions of travel on rear with the PTV logo. Numbered 1159267. .1 - Four additional samples added 13/7/2015. All have "Clifton Hill 2285" station stamp on rear. 1095568 to 71, all used on - 25/9/14. .2 - addition sample for 2014 to 2016 - added 29/10/16 - Ticket No. 4219770 .3 - sample for 2018 to 2022 - ticket number 8082243, used 4/12/2020 - added 21/12/2020trams, tramways, tickets, seniors card, melbourne, ptv

Batch of collected "The Met" paper travel card type tickets of various types with dates / months around the edges of the tickets. 1 - 6 No. "60 Plus" travel tickets - days and months - $1.00, for 1989. 2 - 1 No. "Anywhere Travelcard", for March 1985, $1.70 3 - 1 No. "Zone 1 Daily Adult" for 1990/1991 - $2.90 - circular type The Met logo 4 - 1 No. "Zone 1 Daily Adult" - no date, has the arrow type The Met logo. 5 - 1 No. "Zone 1 two hour Adult" - no date, no price, has the arrow type The Met logo. 6 - 2 No. "Zone 2, three hour Adult" - January / February 1991 - $1.10. 7 - 2 No. "Zone 2, three hour Adult Emergency", May / June 1990 - $1.50. 8 - 2 No. "Zone 1, three hour Adult Emergency", March / April no year, $2.00 9 - 1 No. as above, July 1990 - $2.00. 10 - 1 No. "Zone 1, three hour, August/Sept. 1990 $1.40 11 - 1 No. - as above - Sept/Oct. 1990 $1.60 12 - 1 No. - as above - Nov/Dec. 1990 $1.60 13 - 4 No. - as above - Jan/Feb. - 1991 $1.60 14 - 3 No. - as above - Feb/Mar - 1991 $1.60 15 - 3 No. - as above - April/May 1991 - $1.80trams, tramways, the met, tickets

Copy of a newspaper cutting, dated 12/09/1970 - "MOVE" about the relocation of the 117-year-old Eaglehawk log lock-up from the rear of the police station to a site near the Eaglehawk Court. Newspaper article includes a B&W photograph. eaglehawk history, log lock up

Donated by Carine Williams Wettenhall in 1991 for the Centenary Year. Sepia photograph. A group of 12 female and 2 male students seated and standing on the lawn.On reverse, "The Seniors in 1929."female students, students, carine williams (née wettenhall), 1991, centenary, 1929, 1929 year group

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 / 83 Reverse: YACKANDANDAH / Y 7 / 019 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: BANK OF VICTORIA / YACKANDANDAH / ERNEST MARCUSE / Reverse: Y 4 / 015 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: ERNEST MARCUSE / YACKANDANDAH / Reverse: Y 10 / 016 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

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

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

"The Australian Ski Year Book" was first published in 1928 by the Kosciusko Alpine Club and the Ski Club of Australia, which with the Kiandra Ski Club, were the oldest organisations for skiing in Australia. In later years organisations from Victoria, Tasmania and New Zealand were included. It was published on behalf of N.S.W. Ski Council, Ski Club of Victoria, Ski Council of Tasmania, Ski Council of the Federated N.Z. Mountain Clubs. It aimed to provide an annual record of the sport of ski running in Australia, and of events elsewhere which would be of interest to Australian ski enthusiasts. This publication was a guide to all major resorts operation at the time in New South Wales, Victoria and Tasmania. Information about Falls Creek included a description of its location describing geographical features, its 12 ski tows and available services. The accommodation advertised included Winterhaven Lodge, Falls Creek Motel, Spargo's Lodge, Attunga Alpine Lodge, Nelse Alpine Lodge, Les Chalets, Julian Lodge and Koki and Karelia Alpine Lodges.This item is significant because it is an issue of a long-running Australian ski publication which includes items about Falls Creek, Victoria..The Australian Ski Year Book Resort Guide of 1981 includes information and advertising about resorts throughout Australia. Falls Creek information and Accommodation Guide featured on pages 10 & 11 of this issue.australian skiing, accommodation falls creek, falls creek resort

All boys aged 12 to 17 began Compulsory Military Training in Australia from 1912. The following year the militia was reformed with Ballarat East being allocated the 70th Infantry and Ballarat West being allocated the 71st Infantry. The 71st Battalion was known as the Ballarat West Battalion until changing to (City of Ballarat) Infantry with its depots reaching as far as Warrnambool. In this photograph of the prize winning 71st Battalion Bugle Band a young 16 year old Michael Taffe is a bugler and won several awards with the band and as a solo bugler. A record of the immediate post-war activities still popular in 1919-1920.Mounted photograph of bugle bandcity of ballarat infantry, 71st battalion, warrnambool, ballarat, michael taffe, ballarat west battalion, cadets., bugle band, awards, bugler

The Sutherland Homes for Children on Yan Yean Road, Diamond Creek cared for thousands of children from when it was opened in 1912. The site closed for this purpose in 1991 and was sold and later developed for commercial and office purposes. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p107 The Sutherland Homes for Children at 14 Yan Yean Road, Diamond Creek, cared for thousands of children since they opened in 1912, after beginning at La Trobe Street, Melbourne in 1908. In 1994 Sutherland Homes (then called Sutherland Child, Youth and Family Services) amalgamated with Berry Street Child and Family Welfare. Together as Berry Street Victoria, they formed Victoria’s largest independent provider of support and accommodation services for children, young people and families in crisis.1 However with the move from institutional to community care, the Diamond Creek site had not been used since 1991 and was sold to private purchasers in 1999. More than 2000 former residents, staff, neighbours and friends attended a farewell in February, 2000.2 The Sutherland Homes red-brick and stuccoed building in Diamond Creek (a rare design in the Eltham Shire), was opened in 1929 by Lord Somers, the Governor of Victoria. Destitute children lived in dormitories bathed in natural light through large windows. However in 1958 as the cottage–parent system replaced the dormitory system, the first of eight residential cottages accommodating ten to 12 children was built. The site also included Special School 3660 and a farm, and the children were able to form relationships with people outside Sutherland, by staying with holiday hosts. Children were originally placed at Sutherland because of extreme poverty, or because single parents could not cope. However later, most placements occurred due to family violence, abuse or neglect. The property was originally bought from the Crown in 1869 by Timothy Mahony. Later owner, Augusta Meglin, ran a 40-acre (16ha) farm there. In 1909 she bequeathed this, including the house, orchards, vegetable gardens, vineyards and the balance of her income to The Sutherland Homes for Neglected Children. Sutherland Homes’ founder, Selina Sutherland, was known as ‘New Zealand’s Florence Nightingale’. In 1888 she became Victoria’s first licensed ‘child rescuer’3 and was to rescue around 3000 waifs from Victoria’s streets and slums.4 Born in Scotland in 1839, Sutherland joined her sister, who had emigrated with her husband to New Zealand. Sutherland trained as a nurse and led the establishment of a public hospital at Masterton. In 1881, while holidaying in Melbourne, Sutherland was so touched by seeing young people living under Princes Bridge, that this determined her future work. Meanwhile Sutherland instigated the Melbourne District Nursing Society, (now Royal District Nursing Service). She also led the founding of The Victorian Neglected Children’s Aid Society (now Oz Child) and the Presbyterian Neglected Children’s Aid Society (now Kildonan). From 1894 Miss Sutherland was Melbourne’s best known woman and cut a distinctive figure, wearing an alpine hat with a prominent feather. In 1906 Prime Minister Alfred Deakin named her Melbourne’s most successful philanthropic worker. However she was to face some difficult times. That year she suffered severely from an injured shoulder and dizzy turns and was pressured to resign as Superintendent of The Victorian Neglected Children’s Aid Society. In 1908 the committee of management offered her 12 months leave with pay. Sutherland declined – but soon after, was dismissed. However she continued her work from Latrobe Street, Melbourne, with the help of Sister Ellen Sanderson and several committee members. Sutherland attempted to register her new organisation but the Victorian Neglected Children’s Aid Society objected to the government, alleging that Sutherland, because of increasing infirmity, was unable to satisfactorily carry out such duties. They accused her of cruelty and of intoxication. However the charges were not proven, so The Sutherland Homes for Neglected Children was registered.5 Sadly, in 1909 Sutherland died, the day she was to move the children to the ‘country property’ at Diamond Creek. At her death she owned less than £10. Today Berry Street recognises Sutherland’s enormous contribution to child welfare with a memorial and an annual Selina Sutherland Award, presented to an outstanding volunteer.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, diamond creek, sutherland home for children

Fifty four page magazine featuring black and cream printed graphics and text. The colour cover shows a woman and child both dressed in matching knitted jumpers.front: [printed] MAY 12, 1965 / 1'. / New Idea / The USELESS SEX / The year's most / talked about book / 8 / ADORABLE / COLLARS / TO CROCHET / MOTHER-DAUGHTER / COVER GIRL / SWEATERS TO KNIT / Instructions inside / Registered in Australia for trans- / mission by post as a newspaper. front: [handwritten] Abbsknitting, pattern, fashion, knitwear, children, women, new idea