Robin Kelly was born Robin Vandersluys in Mary Street, Kew. As a child, she sang in backyard concerts run with her brother, Leslie. The family moved to Deepdene in 1949 and Robin joined church and school choirs. Later she was to study classical singing with Stella Power, modern singing with Jack White, TV Presentation with Natalie Raine of Crawford Productions and acting/singing with Jessie Matthews. Following her victory in a talent quest at the Orama Ballroom, she was invited to join the Orama Big Band with singers Harry Cox and Arlene Forrest. She also sang with the Kerm Jones Jazz Band at Power House and with Frank Johnson's Jazz Band at Jazz Junction. Robin became resident band vocalist at the historic Federal Hotel in Collins Street with the Rudi Laquer Trio. She also sang at The Savoy Plaza with the George Cadman Trio. A year later she became resident vocalist at the Ress Oriental Hotel with the Lennie Holmes Trio. Later, Robin married pianist Peter Jones, singing under the name 'Robin Vanser' in clubs in Sydney and regional New South Wales. She was booked for a Vietnam War tour and also sang in Tahiti. Returning to Melbourne, her agent booked her to appear in shows in Tasmania including West Point Casino and Melbourne country venues. Another agent, John Bishop, booked her to do floor shows in Melbourne, including Xmas Seasons at the Hampton Hotel where she entertained audiences with her comedy and audience participation routines. In 1971, Robin Kelly retired to run her Robin Hood Antiques business in Canterbury, during which time she was married to tenor Glenn Kelly. Later she joined Sing Australia Camberwell Choir, performing as a soloist at their Melbourne Town Hall Concert.The Vandersluys-Kelly Collection of photographs, costumes and musical performance memorabilia was donated to the Kew Historical Society by Robin Denise Kelly in 2018. The collection is an important record of stage and recorded performances in Australia in the second half of the 20th century. This new nationally-focused and artistically significant collection augments and contextualises the local performing arts materials in our collection. Audio recording of performances of classics by Robin Kelly including tracks recorded at the Melbourne Town Hall.robin kelly, performing arts - victoria - australia

Advertising Poster for use in Tramcars printed on heavy cardboard advertising The Age classifieds and finding jobs. Has a photo of Ngaire Conway - Typist Clerk. Image file is a small version of the large pdf file, on file as hte5561i.pdf. Image i2 shows the condition of the poster from the rear.trams, tramways, posters, the age, advertisements

Produced for souvenir sales - features a Melbourne W class tram surrounded by water.Demonstrates a Melbourne souvenir featuring a tram.Metal-pressed badge with a cartoon plastic insert and spring clip on rear. tramways, badges, comics, souvenirs

Bumper or car sticker, advertising Melbourne radio station 3KZ, 1179 on the dial featuring Melbourne W2 No. 515. Has been produced in the shape of a heart. On the rear are the "Application Hints". See also Reg item 1489trams, tramways, radio stations, 3kz, advertisements, melbourne, tram 515

2 newspaper articles in "The Age" June 8, 1976 and the "Australasian Express" June 25, 1976 about Burnley College students. Michael Rigby (1976) and Gwyn Cleeves (1978) who claim to have discovered a successful method of grafting gum trees. Same photograph, reversed of Michael Rigby.the age, australasian express, students, michael rigby, gwyn cleeves, grafting, gum trees, eucalypts

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

trees, signage

Black and white Group photograph, most graduated with a Diploma of Horticulture in 1967. Some names marked with a cross did not appear to graduate.Names handwritten underneath. On reverse, "Photograph by Publicity Branch Victorian Department Of Agriculture Ref. No. D.477.B." 1964, students, diploma of horticulture i 1964, group 1964

Black cover, Maroon/and grey dust jacket, pp. xvi, 344.non-fictionHistorical study of the work of Australian Army nurses during world War I. Covers nursing and training, army, environments, patterns of work, impact of disease, surgical nursing, legacy of AANS

294 p. : pale blue cover embossed with pattern of leaves/treesfictionBook centres around the life of Joseph Quinney, a London antique dealer. Explores Quinney's relationship with his family, his business rivalries, love, and romance. fiction, antique dealers, horace annesley vachell

bundoora homestead, queen anne style, federation

print

A second copy of this photograph, which identifies most of the pupils, is also in the collection - see Registration 2018-27.Linton school photograph grades 1-4, sign in front of students dated 20-6-1923. Brown cardboard surround. Rene Cornish, William Bass and Leila Bass identified by arrows drawn on the front of the photograph.On back: "1923 William Grade 3 / Leila Grade 4".linton state school, rene cornish, leila bass, william bass

The Royal Victorian Bowls Association had a club in Mt Beauty.Mt. Beauty had a club belonging to the Royal Victorian Bowls AssociationBlack felt pocket with white "R V B A / Mt. Beauty" sewn in large letters. Royal Victorian Bowls Association. The top side of the material is hemmed.R V B A / Mt. Beautymt beauty. royal victorian bowls association. bob burnett. bowling. sport. club

McColl Rankin & Stanistreet, Rubber in Mining. Book-soft cover. Author A V Paull & J Gallaway. Issue by the British Rubber Development Board. Date: September 1951. Photos, diagrams, graphs.A V Paull & J Gallawayorganization, business, mining, rubber, mccoll rankin & stanistreet, rubber mining a v paull j gallaway 1951

Central Park Gardens. Garden design for Coronation 22 June 1911 King George VPost card of garden designed for coronation 22 nd June 1911, King George VCoronation 22nd June1911 taken by N? Fraser stawell

Pittock saddler's box: small grease gun metal grease gun, operable maker's mark: symbol only - circle with an arrow and an "I"symbol only - circle with an arrow and an "I"

Used for decorative purposes on magnetic surfaces, such as on a fridge door, while also an advertisement for the Public Transport Corporation and V/Line.A marketing material associated with a now-superceded transit agency (since the 1990s). The V/Line logo shown was distinct in the 1990s, which has since changed as well.Rectangular sheet magnet with the logos of the PTC and V/Line on the top. In the centre reads, "City or Country/the best way to travel/is with The Met/and V/Line." At the bottom phone numbers for both groups are advertised, above the text "Public Transport Corporation."public transport, public transport corporation, ptc, v-line

Timetable. V/Line train and coach timetables between: Bendigo and Melbourne, Melbourne and Daylesford, Melbourne, Swan Hill and Mildura. DL size pamphlet, concertina opening. Includes list of stations and agents. Timetable No.5 of 11. Two instances of times altered in pencil. Effective 11 Oct. 1987V/Lineorganization, public utility, transport, v/line, timetable, train, coach

The convention was held in the Brunswick Street Methodist Church, Cantebury Road, Surrey Hills on the 13th, 14th, 15th, 16th, 17th June 1940. It was arranged and convened by the Methodist Local Preachers' Association.Souvenir program for the 24th Holiness Convention. The program has a reproduction of the artwork "The Light of the World" by William Holman Hunt. The back cover is umber coloured with an image of a bible and card with the words "Behold I stand at the door and knock. If any man will open I will come in! Have YOU opened it yet?"Front cover: "I am "The Light and Hope of the World""methodist local preachers' association melbourne branch, brunswick street methodist church, fitzroy

Small badges (14) with "VCAH Burnley" in the centre and, "I Dig Burnley Gardens" around the outside .VCAH Burnley in the centre and, "I Dig Burnley Gardens" around the outsidevictorian college of agriculture and horticulture, vcah, burnley college

An example of a Telephone Set D Mk V which was used by Australian forces during the Second World War for verbal and Morse code communications over short distances via a telephone line.An example of a Telephone Set D Mk V which was used by Australian forces during the Second World War for verbal and Morse code communications over short distances via a telephone line. Rectangular aluminum green painted box with broad canvas webbing strap secured to the side of the body through metal loops. Two vertical webbing loops are attached to the rear of the body. Stencilled in black on top TELE. SET. D. MK. V.'. The housing opens by a hinged fold back lid that is secured by a hook and eye closure. Attached to the inside of the lid are two metal plates. The first is a circuitry diagram, the second is the instructions for use of the set. The interior contains the phone assembly and is divided by a metal shelf. On the left is a bell with two screw terminal in front. At the center is the telegraph key and behind that is the battery box with a small metal plate with, 'TELEPHONE SET. D.MK.V To the right is metal box with two terminals in frontAttached to the bottom of the shelf is a slide out metal key Below the shelf is a compartment in which is stowed a black metal headset with provision for a bakelite handset with attached cord and four-prong plug.Tele Set stamped on outside of unit. Inside lid plaque - Telephone Set D MK V