A wood fretwork paddle. Handle reinforced on both sides with fretwork panels attached with small screws. Materials: Wood, Metaltennis

The 2/8th Armoured Regiment was raised in June 1941 under the command of Lieutenant Colonel W G Hopkins with officers and men selected from the wider AIF in Victoria. The regiment trained in newly arrived M3 General Grant tanks at Puckapunyal before moving north to Singleton, then the Wee Waa plains. The regiment sailed for New Guinea in April 1943 and carried out mobile defence to airfields at Port Moresby, Milne Bay, Dobadura and Popondetta. The regiment returned to Australia in February 1944 and disbanded as an armoured regiment and retrained as Nos 41, 42 and 43 Landing Craft Companies. They returned to the South West pacific serving at Bougainville, Balikpapan, Lae and Wewak.Good study showing men of an armoured regiment from Victoria marching in Melbourne.Framed photograph of soldiers in armoured corps uniform marching through Melbourne city street; crowds on both sides of the street.Below photo "2/8th Armoured Regiment march through Melbourne 17 - 10 - 1941"2/8th armoured regiment, melbourne

A rectangular rubber mould containing two oval designs both depicting a mother and child and one partial oval design. Nonematcham skipper, mould, rubber, mother and child

About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technichian, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to ‘spot the Aussie’ and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretchGreen knee length skirt with button and zip back. Has two pockets, and two darts in both front and back.Label 1 - Barcelona 1992 Official Uniform supplied by Australian Wool Corporation Label 2 - Fletcher Jones Australia 141992 barcelona olympics, australian wool corporation, wool, olympic games official occasions

Donald Clark Collection. Two copies of a colour photograph depicting Lochcarron & Tarnagulla Store in Tarnagulla. Both now private residences. Original photograph.

Imported and sold by Holden and FrostImported and sold by Holden and FrostNickle plated semi circular stirrup designed for a person riding side saddle, to fit both feet, primarily ladies.Nickle silver. horse shoe logo ,other too worn to deciphersteel, stirrup, double footed

White, rectangular tray cloth with 1 inch stitched border and blue, japanese style, embroidered scenes at both ends.table linen, tray cloths

R J Russell operated a timber and hardware store in Koroit Street Warrnambool around the 1950’s. He succeeded from Newcombe Pty Ltd which had operated a timber and hardware store on the site (the present Target store) from the 1870’s. The business continued to trade under the Newcombe name after the death of Newcombe around 1900.A common well used item with links to a local business.Wooden yard ruler with markings in one eigthth inch measurements and numbered in inches. Text written in black on both sides.On front side: J Russell Pty Ltd. Timber and hardware merchants 148 Koroit Street Warrnambool. Phone 22. On reverse: Fencing materials, general hardware, paints, oils , Glass. Contractors or builders. Phone 22r j russell warrnambool, newcombe pty ltd warrnambool, timber yards warrnambool

Photo of 3 trams on Pall Mall passing War Memorial, large crowd lining both sides of Pall Mall.basil miller, bendigo trams

Used on horse tackle during the 19th and 20th centuries, manufactured and sold by Holden and FrostSold and manufactured by Holden and Frost during the 19th century for military, agriculture and civilian useNickel plated horse bit snaffle, double rings on both ends held together with two bars joined in middle horse bit, equine, ,military, agriculture. c1900

These Victorian Almanacs were published from 1859 to 1916. They contained information of interest to all Victorians, especially historians, businessmen, farmers and gardeners and must have sold many copies in Warrnambool, particularly before the local Warrnambool Standard Almanacs began publication in 1875. These booklets are of interest as examples of 19th century almanacs published in Victoria. They are also somewhat similar to the Almanacs published annually by the Warrnambool Standard newspaper from 1875 to 1930. The 1869 Almanac is of particular interest as it has on the front cover the printed name of James Hider, stationer and bookseller of Warrnambool. James Hider had been a carpenter, a land agent and a rate collector before opening a shop in Timor Street, selling books and stationery and operating a Circulating Library. In 1865 Hider set up as a photographer and was still operating this business in 1878. He was active in community organizations, including the Mechanics Institute, the Fire Brigade, the National School, the Musical Group and the Benevolent Society. He was also a Councillor and a Mayor in the 1860s. It is interesting to note that his name does not appear to have been been added to the 1869 Almanac cover but is part of the original printing. These are two soft cover booklets of 60 pages each. The back covers of both are missing and the 1868 booklet has some back pages missing. The 1868 Almanac has a black and white cover with ornamental scrolls and the 1869 booklet has a red, green black and cream cover with an ornamental border and images of flora and fauna. The 1869 Almanac cover has a Coat of Arms with Advance Australia printed at the bottom of it. The 1869 Almanac also has a map of Victoria as an insert. Both almanacs contain an historical calendar, Victorian Parliamentary information, data on Victorian cities, postal regulations, farmers’ and gardeners’ guides etc. Both contain advertisements relevant to Melbourne. Both have been bound with string. victorian almanacs, annual journals, james hider, bookseller and stationer,, warrnambool.

Textiles, brown linen embroidered double sided peg bag. Cream ribbon draw ties. Pockets at both ends-one 20 cm deep, one 28 cm deep. Geometric patterns on both pockets of blue, black, green and red embroidery plus green and brown fabric paint.textiles, domestic, peg bag

A wooden racquet featuring a decal image on both sides of the throat, of a gold shield featuring the Olympic symbol in the centre. Inscription from head to stem, on both sides: OLYMPIC/FIBRE/WELDED/THROAT/SLAZENGER. Materials: Wood, Nylon, Metal, Glue, Lacquer, Leather, Ink, Ribbon, Plastic, Paint, Stringtennis

Items souvenired by Alan Mason, refer cat No 3979.2.1).2) Currency notes, “Netherlands East Indies” (Dutch) 50 cent, rectangular shape, colours front red, blue, white, rear green and white, depiction of Queen Wilhemina on RH side front, notes dated..1) In blue, “FD119281” twice. .2) In blue “FD186979” twice. Both have “VAN 2 MAART 1943” oncurrency, dutch 1943, netherlands east indies

Short Sleeved Khaki Army ShirtManufactures tag inside ADI 1992 Yellow Corporal stripes on sleeves Para trooper insignia on both sleeves

The photo is of the Rob Greer's old bakery in Halls Gap. The copy is a close-up.The photo shows a a large corrugated iron shed with a smaller lean-to entrance at the front. The shed is attached to a smaller stone building (on the right of the photo). An old window is leaning against the front of the stone building and there is an old bench and pink wooden box with a hinged lid in the clearing at the front. Tall trees can be seen in the background."Rob Greer's, Old Bake House, Halls Gap. 93" written in black pen on back of both copies.buildings, bakery

Welmar white formal men's waistcoat. Back less. Shawl lapels. White starched marcella fabric. Single breasted with three buttons and button holes at waist. Pockets on either side at waist level. Each side of waistcoat has two X 1 cm buttons inside of the waistcoat. There is a tab ( 23 cmX2 cm) with three eyelets to join pieces behind the neck. A buckle is attached at waist level on the side of each piece through which a cotton tape (155 cm X 2 cm) is threaded to be tied at the back of the wearer.Label inside LH section ''WELMAR'' All cotton. Dresswear 40.Stamp on both pieces 50 54costume, male, men's formal waistcoat

World War 1 Open Scroll: Watermark of Australia.Wooden Frame with Glass over Coloured Certificate. Shield with Australian Flag, Two Soldiers, Flags of Allies, Wattle, Troopsembarking on Troop Ship.Borough and Shire of Stawell. For Liberty, empire, For Justice. Seals of both Bourogh and Shire of Stawell. To Pte. G.A. Hodges.world war 1

Badly damaged grey fabric covered hardcover Victorian reader Fourth Book which has a home made outer vinyl red, pink floral and square patterned dust jacket style cover. There are ink and pencil markings throughout. The cover is coming away from the spine. There are black and white illustrations. Lance Sebire is written in ink on the front cover.183p.non-fictionThis is a first edition of The Victorian Readers Fourth Book published by the Education Department of Victoria. school reader, textbooks, schools, victorian education department

Set of two black and white photos from The Age of the first day of running Z3 117 in service. .1 -Z3 117 at the Elizabeth and Bourke St stop loading passengers. Tram has in the route number box a sign "New Trams free rides today". .2 - Interior view of tram with the conductors desk having a sign about free rides, another employee handing out pamphlets about the tram and passengers on the tram. From the Vicsig.net web site accessed 20/8/2013, gives the in service date of Z3 117 as 25/9/1979.Have "The Age" copyright stamp on the rear. In pencil, on both "Oct 1979, Z3 117 first day in service"trams, tramways, mmtb, z3 class, bourke st, tram 117

Car was built by GM Thailand designed by HoldenDesigned in AustraliaBronze orange body. Roof rack. Snorkel mounted on front panel. Driving lights mounted on roof rack. Winch on front bumper. Off road wheels and tyres. Crew cabin utility vehicleHolden emblem front grille. Z71 4X4 on panel in roll bar. Colorado XTreme on back and both sidesvehicle, holden, off road

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

The names of the two soldiers is unknown at this time.Photograph and card, photo B & W showing one soldier standing and one sitting, both holding crops, rear is studio background showing tents. The card has two colour crossed flags with text under. on rear of the photo is text in black pen, both set behind gold coloured card.On front of card, “For King and Country”, on rear of photo, “To Sarah from Will”.photographs, ww1

A wooden racquet featuring a decal image on both sides of the throat, of a gold shield featuring the Olympic symbol in the centre. Inscription from head to stem, on both sides: OLYMPIC/FIBRE/WELDED/THROAT/SLAZENGER. Materials: Wood, Nylon, Metal, Glue, Lacquer, Leather, Ink, Ribbon, Adhesive tape, Paint, Stringtennis

Signs - set of two Masonite signs - black print on 3mm Masonite sections used for the delivery of equipment to Preston Workshops and the Miller Street shops opposite. Possibly used for the delivery of equipment from overseas suppliers to both workshop locations. Both signs have 14 small nail holes around the perimeter.trams, tramways, mmtb, workshops, signs, equipment, delivery of tramcars

Alfred Downard represented Mornington in the Legislative Assembly of Victoria.Historical Two photocopies of handwritten letters both with the emblem of the Legislative Assembly of Victoria .Paper has Sate Parliament House, Melbourne at top.Yours sincerely, A. Downardw. mcfee, d.h.robb, alfred downard mp, a.k. t. sampbell, justice of peace, legal system, court of petty sessions

This is a printed invitation to the opening of an exhibition at the Art Gallery of Ballarat in June 2015. The exhibition was of the art works and calligraphy of James Meek. It was curated by Joan Luxemburg who is writing a book on James Meek’s life and work. James Meek was an important 19th century fisherman, fish curer, accountant, writer, gold explorer and calligrapher. His art works are prized for their historical content and their illustrations of the work of a calligrapher at its best. This card is important as it concerns the art works of James Meek. He was important in the history of Ballarat, Peterborough and Warrnambool in the 19th century. In the latter town he was a well-known punt operator, a gold explorer, a writer and lecturer and a fish company operator. Several of his important calligraphy works were produced in Warrnambool. This is a lightweight cardboard card printed on both sides with printed material, logos of sponsors and an image of a section of one of James Meek’s sketches. ‘The Inimitable Mr Meek’james meek, art gallery of ballarat, joan luxemburg