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The Beechworth Burke Museum
Drawing, Ernest Marcuse, Yackandandah II, c1983
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 -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth Newtown, c1983
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 -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Chiltern, c1983
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 Beechworth Burke Museum
Drawing, Ernest Marcuse, Chiltern, c1983
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: CHILTERN PHARMACY / Reverse: 025 / 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 Beechworth Burke Museum
Photograph, c1913
Photograph of The Brigidine Convent taken in 1913 featuring a group of finely groomed pupils on the balconies. The Convent was home for the Brigidine Sisters and the Boarders who attended their St. Josephs School. The Bridgine Convent is now known as 'The Old Priory' and is privately owned , it currently operates as accommodation in Beechworth.Sepia rectangular photograph printed on card.Reverse: Historic Beechworth / THE BRIGIDINE CONVENT / 2573 (in pencil) brigidine convent, brigidine sisters, old priory, beechwoth -
Ringwood and District Historical Society
Pamphlet, F.P. Dwerryhouse, Town Clerk and Treasurer, City of Ringwood Annual Report To The Ratepayers - 1964, 1964
City of Ringwood community information report for 1964, including sections covering Valuations-Rates, Sanitary Service - Sewerage, Private Street Construction, Loughnan Hill Road Scheme, Other New Works, Planning Scheme, Fire Hazards, Fly Control, Dogs, Annual Special Clearance of Refuse, Garbage Removal, Immunisation, Street Lighting, House Numbers, Home Help, Scholarships, Rubbish Dumping, Vandalism, and list of Council Representatives.rinx -
Ringwood and District Historical Society
Pamphlet, F.P. Dwerryhouse, Town Clerk and Treasurer, Ringwood Council's Annual Report To The Ratepayers - December 1965, 1965
City of Ringwood community information annual report for 1965, including sections covering Ringwood Planning Scheme, Extensions to Lionswood Village, Building Activity, Private Street Construction, Other Road Works, Drainage Works, Town Planning, Retention of Native Flora, General Rate Notice, Sanitary Service Charge, Dandenong Valley Authority Rate, Decimal Currency Conversion, Children's Playgrounds, Annual Special Clearance of Refuse, Garbage Removal, Immunisations, Infant Welfare Centres, Home Help Service, House Numbering, Dogs, Horse Riding, Fire Hazards and Burning Off, Secondary School Grants, and list of Council Representatives.rinx -
Ringwood and District Historical Society
Pamphlet, F.P. Dwerryhouse, Town Clerk and Treasurer, Ringwood Council's Annual Report To The Ratepayers - December 1967, 1967
City of Ringwood community information annual report for 1966, including sections covering Finance, Rates & Charges, Commercial Projects, Municipal Library, Memorial Clock Tower, Private Street Construction, Advisory Service, Litter, Fire Hazards, Home Help Service, Immunisations, Infant Welfare Centres, Native Flora, Dogs, Horse Riding, Fly Control, Garbage Removal, Metropolitan Fire Brigade, Vandalism, Street Lighting, and list of departing and current Council Representatives.Mrs. Elizabeth Penny, representing the East Ward, made history in Ringwood by being the first woman elected to the Council, and subsequently as Ringwood's first lady Mayor.rinx -
Frankston RSL Sub Branch
Framed Artwork, Sketch of Frankston RSL Clubrooms, Davey Street, 1972
Framed artwork produced by artist Marie Minton, dated 1972. The artwork is an ink drawing with watercolour tonings and depicts the Frankston RSL Sub Branch clubrooms of the time. The artwork is mounted with a gold coloured wooden frame and glass front. Artist, Marie Minton was apparently the daughter of a member of the time, Laurie Minton. This scene is of a Frankston landmark building on the corner of Davey Street and Young Street, Frankston locally known as the 'Plowman Residence'. Prior to being the clubrooms of the Frankston RSL Sub Branch this building was the family home of Dr Sidney Plowman. In Dr Plowman's time the building was known as the 'The Lofts' and was his residence and operated as a private hospital, the building was constructed ca 1900. Dr Plowman died in May 1932. Title 'Frankston RSL' and the artist's name 'Marie Minton '72' appear on the front lower area of the sketch. The rear has the following note inscribed "Sketch of RSL clubrooms Davey St. by Marie Minton daughter of member (Laurie)" -
Bendigo Military Museum
Photograph - PHOTOGRAPHS, GRINTON COLLECTION, FRAMED, 2008 - 2009
Frame 9. Photo 1. Jack Grinton on leave in Paris, early 1919 with captured German guns. The place is the 'Arc de Triomphe' . Photo 2. Jack Grinton on the right. From Jack's writing the other soldier is a Private Knight. The first building in the rear is the "Don View Bar" suggesting that this is Scotland when on leave. Photo 3. Coming home, Jack on the deck of the "Karmala". They left Plymouth Harbour on 1/7/1919. Photo 4. Ships in Plymouth Harbour. Refer Cat No. 5880P for exhibition details. Refer Cat No. 1280 for Jack GRINTON Service Records.Photographs - black and white on paper. 4 photographs, top to bottom. 1. Soldier with German guns in Paris. 2. Two soldiers with buildings in the background. 3. Soldier on deck of a ship. 4. Ships in harbour. Frame - timber with black colour paint. Glass front. Mount - black colour cardboard. Backing cardboard - with handwritten notation. Backing cardboard - handwritten in blue felt tip pen "9."framed photographs, grinton collection, ww1, 38th -
Warrnambool and District Historical Society Inc.
Book, Colonial Eve edited by Ruth Teale, 1978
This book relates the story of women in Australian history from 1788 to 1914. It draws on information from a collection of original documents collected from journals, newspapers, government documents and private accounts. It includes a number of black and white illustrations from various sources including the Bulletin. It covers topics such as convict women, women at home in the Victorian age, Women and their Families and Women outside the home.A comprehensive collection of material which gives an interesting insight into various aspects of women’s lives in Early Australia.Paperback yellow in colour with black title and newspaper text. By Line “Sources on Women in Australia 1788-1914 edited by Ruth Teale” in blue. Lady dressed in blue and white, riding a bicycle on back cover. 288 Pages.Oxford University Press Melbourne. First published 1978.colonial eve, ruth teale, convict women, victorian age women australia, early australian women, history of warrnambool -
Warrnambool and District Historical Society Inc.
Financial record - Toc-H Journal, Circa 1936
Ellerslie Hall was established in Warrnambool in 1889, as one of the first private schools of the time. Apart from use as a private college, the hall housed the first classrooms of the Warrnambool High School (then Warrnambool Agricultural High School) for a period in 1907 then went on to be established as the home of the 3rd Warrnambool Scout Troup... in the 1920’s which had associations with the Toc H movement. The hall was also the location of the first Lutheran services in Warrnambool from 1933. In more recent years the property has been used as a residence and for office use. In 2023 the hall is being used by the Sanctuary Church.This journal represents a link to an important International movement, the Toc H movement. One of the founders, Tubby Clayton, visited Warrnambool in 1925 and again in 1952 when he stayed with Sir David Fletcher Jones who considered him one of the greatest spiritual influences in his life. Along with this journal donated by the Swinton family is a collection of photographs of Toc H members. Bottle green card cover with maroon cloth spine. Ninety five pages lined and columned. Handwritten cash book entries for Ellerslie hall accounts and Toc H at the front and journal entries towards the back. There are two loose sheets of paper at the back of the book, one containing a list of names and promised donations and the second, Toc H prayer and principles. Cash Book label on front cover with Journal Fol 75/6 handwritten underneath. On top of label:” Ellerslie Hall A/c. D.F. Jones: W. M. Davies, E. Salamy, H. W Horn, L. G. Mills, trustees. warrnambool, toc h ellerslie hall, david fletcher jones, w m davies, e salamy, h w horn, l g mills. -
Warrnambool and District Historical Society Inc.
Book, Helen Penrose, Seeds of Hope St John of God Hospital Warrnambool 1939-2014, 2014
History of St John of God Hospital, Warrnambool 1939-2014This is a book of 78 pages with a stiffened cardboard cover. The cover is greyish-white with a colour photograph of the hospital and background blurred images of St John of God nuns on the front cover. The book contains printed material, maps, tables, black and white and colour photographs and illustrations.non-fictionHistory of St John of God Hospital, Warrnambool 1939-2014st john of god warrnambool hospital, glenrye, healthcare, warrnambool -
Warrnambool and District Historical Society Inc.
Book, New Testament : Harry Rogers, Early 20th century
This New Testament was given to Private Henry Havelock Rogers (1895-1917), the son of Joseph and Ellen Rogers of Warrnambool. He left Australia on 4th April 1916 as a member of the 14th Battalion (17 Reinforcement Group) and died in France on 12th April 1917 as a result of wounds. The cousins named were the three older children of Arthur and Agnes Rogers, also of Warrnambool. Joseph and Arthur Rogers were brothers. The New Testament was found at the MacDonald Street, South Warrnambool home of Bill Rogers (part of his deceased estate). Bill Rogers was also a child of Arthur and Agnes Rogers but was not born until the early 1920s. This New Testament has a particular poignancy as a gift to a World War One Warrnambool soldier who was killed in the war in 1917. This is a leather-covered book of 612 pages. The cover extends over the edges of the pages and the pages are gilt-edged. There is a colour plate at the beginning of the text. There is a handwritten inscription in black ink on the second page of the book. The pages have a blue ribbon marker encased in the binding. ‘To Dear Harry from His Loving Cousins, Rita, Alfie and Charlie Rogers, 27/3/16’ henry rogers, bill rogers, rita, alfie and charlie rogers, world war one, warrnambool, history of warrnambool -
Warrnambool and District Historical Society Inc.
Book, The Holy Bible, 1914
This Bible was given in March 1916 to Private Henry Havelock Rogers (1895-1917), the son of Joseph and Ellen Rogers of Warrnambool. He left Australia in April 1916 as a member of the 14th Battalion (17 Reinforcement Group) and died in France in April 1917 as a result of wounds. The cousins named on the card were the three older children of Arthur and Agnes Rogers, also of Warrnambool. Joseph and Arthur Rogers were brothers. The Bible was found in the MacDonald Street, South Warrnambool home of Bill Rogers, another son of Arthur and Agnes Rogers not born until the 1920s (deceased estate item). This item has a particular poignancy as it was given to a Warrnambool World War One soldier who was killed in action. Perhaps he carried the Bible with him and it was returned to his family after his death. This is a brown leather-covered book of 822 pages. The cover extends over the edges of the pages and has gold lettering on the front cover and spine. The pages are gilt-edged and there are several colour maps at the end of the book. There is a blue ribbon marker encased in the binding. The inscription is on a loose card and is handwritten in black ink. ‘To Dear Harry Wishing Him God Speed & Safe Return From His Loving Uncle, Aunt And Cousins, Rita, Alfie & Charlie’. henry rogers, rogers families of south warrnambool, world war one and warrnambool -
Kiewa Valley Historical Society
Papers - Bogong Village & the 'Commissioner's' Lodge & Progress Association Members, c 1997/1998
Bogong Village was built by the SECV in 1940 for the workers of the Kiewa Hydro Electric Scheme. In 1971, 30 houses were furnished for use as holiday homes for SEC personnel throughout the State. From 1989 to 1993 the houses were restored & renovated.During the 1990s the buildings in the village had been leased to private owners. Many of them rented their houses for tourists. The Commissioner's lodge was on the other side of the Mt Beauty - Falls Creek road, above Bogong Village. Wally Baldwin ran it in the 1960's.It was destroyed by the 2003 bushfires.These papers present a history of 'the Commissioner's lodge' and Bogong Village in the 1990's. The Progress Association was an active community group in 1963/64.Papers advertising Bogong Village & the Lodge for accommodation with rates 1997/1998. Describes the alternatives, maps and cafe hours, Also, 'Jan's Recollections' and on the back of these pages a hand written list of members of the the Progress Association 1963-64 as 'per Mr A. McCullough's spiel'. In original folder and includes a pamphlet & postcard.bogong village, secv lodge, lake guy, state electricity commission of victoria., kiewa hydro electric scheme, tourism, accommodation -
Warrnambool and District Historical Society Inc.
Mugs, Newlyne Mfg. Co Pty Ltd, Warrnambool Fabric Blankets, Mid 20th century
These mugs are souvenirs of the Warrnambool Woollen Mill. They were either sold as souvenirs or given to clients of the mill. The Warrnambool Woollen Mill in South Warrnambool was opened in 1910 with the first manager being John Bennett, an Englishman who recruited skilled weavers and bought mill equipment from his home country. At the height of production the mill was employing up to 700 people. In 1958 the mill became the first in Australia to manufacture electric blankets. In 1968 the mill was sold to the Dunlop company and in the ensuing years various companies owned the plant. In the year 2000 the mill was closed and the equipment was sold. The buildings were sold to a private developer and the first residents moved into the new housing estate in 2009. These mugs are of interest as mementoes of the Warrnambool Woollen Mill, a key industry in the development of Warrnambool and one that operated for 90 years. .1 This is an insulated plastic mug with a mottled orange-coloured body and a white rim on the top opening and a white handle. On the side of the mug is a printed name with gold lettering on a brown background. The maker’s name is etched into the base of the mug. .2 This is an insulated plastic mug with a purple and black mottled body and a white rim on the top opening and a white handle. On the side of the mug is a printed name on a brown background with gold lettering. The maker’s name is etched into the base of the mug. .1 & .2 Warrnambool Fabrics Blankets Steditemp Insulated Ware Made in Australia by Newlyne MFG Co Pty Ltd Division of J. Glaser & Co Melbourne warrnambool woollen mill -
Eltham District Historical Society Inc
Photograph, Peter Pidgeon, Grave of Charlotte Amelia Taylor, Lillian Jane Taylor and Robert David Taylor, Eltham Cemetery, 5 April 2021
Robert David Taylor was a farmer who lived in Eltham all his life and died in 1934 at the age of 76. Mr and Mrs Bowman lived in York Street; Taylor was their neighbour. In 1933 he subdivided his land, the plan showing a proposed Grey Street flanked by residential blocks for sale. Mrs Bowman bought one: her family would be able to walk through it and along Grey Street to Henry Street, thus providing quicker access to the railway station. But Taylor retained ownership of Grey Street itself. He fenced it off at each end and charged the Bowmans with trespass when they used it. The matter went to Court. The ruling was that Mrs Bowman could use Grey Street, as she owned land in it, but her husband could not. (Taylor also accused the Bowmans of having broken the fences, but could not prove it.) Taylor had wanted to subdivide his land in 1914. Plans were submitted to Council and were approved, but the subdivision did not proceed. In 1919, Taylor doctored the plans to make it appear that a totally different subdivisional arrangement had been approved. The Titles Office immediately detected fraud, and the Crown charged Taylor with forgery and counterfeiting. But charges were later dropped (reason not recorded). He was an Eltham Shire Councillor between 1911 and 1920. In 1920, Council charged him with illegally felling 91 eucalyptus trees in Eltham Park (60% of them in a healthy condition), presumably to be sold as firewood. He was imprisoned pending trial. Taylor claimed that he had acquired from another man the right to remove timber and sued the Council for wrongful prosecution. The case eventually went to the State Full Court, with judgement given in favour of Council, on the grounds that any right acquired by Taylor covered only the removal of logs and refuse, not sound green timber. And his position as Councillor precluded him from acquiring the right anyway. Robert David Taylor was also a Trustee of the Wesleyan Church owned land at Lot 20 Henry Street, originally purchased in January 1855 for a chapel and from which David and Catherine Clark first ran their private school, the forerunner of the Eltham Primary School. The land was sold in November 1901 to the Hope of Eltham Tent No. 195 Victoria District Independent Order of Rechabites, for which his brother William John Taylor was a Trustee and became the home of the Eltham Rechabite Hall. In December 1921 it was again sold, this time to the community for use as the Eltham Public Hall, Robert David Taylor being a member of the Committee.Born Digitaleltham cemetery, gravestones, charlotte amelia taylor, eltham district historical society, heritage excursion, lillian jane taylor, richard pinn, robert david taylor -
Eltham District Historical Society Inc
Photograph, Fay Bridge, Former Glynn's Dairy Farm, Glynns Road, North Warrandyte, 31 August 2018
Glynn’s farm Originally Section 7, Parish of Nillumbik marked Aborigine Reserve in 1866 Crown Allotment 8, Section 7, Parish of Nillumbik, County of Evelyn, Certificate of Title Volume 4095, Folio 818.835, approx. 93 acres purchased by Joseph Panton in 1881 for £1/acre and known as Panton’s Point. By 1924 owned by S.S. Sergeant and called Riverswood. Sergeant commissioned Edna Walling to design the garden. In September 1929 the property was sold at auction by Mortgagee’s sale. Described as well built, brick, tile roof, Attic Villa containing downstairs 7 good rooms, bath, scullery, inside lavatory, etc. Upstairs 2 bedrooms and sleep out. Outbuildings compromising of brick and weatherboard wash house, stables, workshop, feed room, cow bails, large G.I. Hay shed, etc In January 1931 Riverswood property was proclaimed a sanctuary for native game for the entire year. A private swing bridge crossed the river at Pound Bend was known as Pearson’s bridge after C.W.K. Pearson who bought Riverswood in the early 1930s. The bridge was swept away in the December 1934 floods. Riverswood was sold by C.W.K. Pearson at auction on 25 November 1936. Described as a beautiful farm home of 93 acres and over one mile of River Yarra frontage, modern brick residence, lovely garden, rich river flat pastures, model poultry farm. The fine brick home was destroyed on Black Friday (13 Jan.) 1939. It was still a ruin when the Evelyn Evans purchased Waikowhane above Riverswood in 1940. The Glynn family purchased the Riverswood property in 1941 from Robert and Emily Hannon. Their son Kenneth Patrick Glynn inherited the property and he set about clearing the land during WW2 selling wood. Prior to marriage, Kenneth was living alone on the farm in a house he had built from whatever was available. He used the bluestone foundations from the original fine brick home. He met and married Honora Elizabeth Drew in early 1945 and their daughter Anna grew up on the farm. It was compulsorily acquired by the Board of Works in 1976 who then rented the house out in the 1980s. The property was transferred to Melbourne Parks and Waterways in 1996. Waikowhane was a pretty timber house built on top of the hill on 50 acres above Riverswood by retired nurse Jessie MacBeth. (This would be at the intersection of Glynns Road and Overbank Road where the big water tank is now situated on what was once James Orford’s property.) It was also destroyed Black Friday and she rebuilt it from the plans living in a caravan on site supervising the build. It was almost complete when she died May 1939. The property was bought by Evelyn Evans (a city girl) and her estranged husband in 1940. She had two sons, one only 9 months old at the time. It was a timber house with no power or water connected. The Ewen Cameron family bought Waikowhane in 1957. They had to evacuate when the 1961 bushfires swept through. The house was saved by Matcham Skipper. It was demolished by Melbourne Water in the 1990s when they acquired it.fay bridge collection, 2018-08-31, glynn's, glynn's dairy farm, glynns road, north warrandyte, parks victoria, ruins, riverswood, kenneth patrick glynn -
Eltham District Historical Society Inc
Photograph, Yeoman and Co, Mary Shillinglaw, c.1898
Mary Shillinglaw born November 5, 1880 at Bundoora, Victoria was the sixth child of Phillip Shillinglaw and Sarah Ann (nee Kidd). She commenced school at Eltham State School No. 209 (Register No. 423) in 1885 at age 4 years. Mary did not marry and spent most of her life at Wattle Brae (Shillinglaw Cottage). In his Will, Phillip Shillinglaw provided that any of his unwed sisters would be able to live at Wattle Brae, rent free. When Eltham Shire Council aquired the property in 1963 to build new Shire Offices, both Mary and her sister Lizzie (also unmarried) were still living at the cottage. Council paid for the women to relocate. Mary moved to Elizabeth House, a nursing home in Ivanhoe but found it very hard to adapt to her new surroundings and living consdtions. She died there only a few months after departing Eltham on October 29, 1963 at age 83 years. Lizzie died June 28, 1972 at age 93 years."Mary Shillinglaw"marg ball collection, 1883-1918, 1898, mary ann shillinglaw (1880-1963), yeoman & co photographer prahran -
Eltham District Historical Society Inc
Photograph, Stewart & Co, Elizabeth and Mary Shillinglaw, c.1908
Elizabeth (Lizzie) Ann Shillinglaw born August 15, 1879 at Bundoora, Victoria was the fith child of Phillip Shillinglaw and Sarah Ann (nee Kidd). She commenced school at Eltham State School No. 209 (Register No. 391) in 1883 at age 3 years, her final year being 1892. She was engaged to a local Eltham lad who enslisted in the First World War and presented her with a gold ring with Lizzie inscribed on it. He never returned from war and Lizzie never married. Lizzie was quite involved with the local Methodist church where father Phillip was a Lay Preacher. She also had a dress making business in Smitrh Street, Collingwood. At the time of her father's death in 1914 she was living at 18 Stanley Street, Richmond. She returned to Wattle Brae in Eltham where she and her unmarried sisters, Mary and Ada and brother Ernest Samuel continued to live. Mary Shillinglaw born November 5, 1880 at Bundoora, Victoria was the sixth child of Phillip Shillinglaw and Sarah Ann (nee Kidd). She commenced school at Eltham State School No. 209 (Register No. 423) in 1885 at age 4 years. Mary did not marry and spent most of her life at Wattle Brae (Shillinglaw Cottage). In his Will, Phillip Shillinglaw provided that any of his unwed sisters would be able to live at Wattle Brae, rent free. When Eltham Shire Council aquired the property in 1963 to build new Shire Offices, both Mary and her sister Lizzie (also unmarried) were still living at the cottage. Council paid for the women to relocate. Mary moved to Elizabeth House, a nursing home in Ivanhoe but found it very hard to adapt to her new surroundings and living condtions. She died there only a few months after departing Eltham on October 29, 1963 at age 83 years. Lizzie died June 28, 1972 at age 93 years."Mary Shillinglaw"marg ball collection, 1908, elizabeth (lizzie) ann shillinglaw (1879-1972), mary ann shillinglaw (1880-1963), stewart & co photographers bourke st melbourne -
Eltham District Historical Society Inc
Photograph, Ernest Samuel Shillinglaw's children, Leslie Ernest and Melva at their home in Badger Creek, Healesville, c.1937
Ernest Samuel Shillinglaw married Anna Lucy Barlow in 1924. They resided in Eltham in 1924. By 1925 they were farming in Dalmore, Victoria. Their first child, a son, Leslie Ernest was born in Dalmore, Vic. in 1925. By 1927 they were living at 33 Miles Street, Ivanhoe where their second child, a daughter, Melva Lucy was born in 1927. By 1936 the family was living at Myer's Creek, Healeville close to Mary Ann Shillinglaw who was resident at The Ferns, Healeville. In 1937 they moved to Badger Creek, Healesville where they remained at least till 1954. POSTCARD 1905-1940s Like the carte-de-visite, postcards enjoyed a collecting craze by large numbers of people, and were often kept in albums through which the interested visitor could browse. Postcards were posted or exchanged in huge numbers. Postal authorities in Australia only allowed the private printing of postcards from 1898. At this time the back of the card was reserved for the address and postage stamp, and the front was used for the message and a picture. In 1902 British authorities allowed a "divided back", so that the left side could be used for the message, the right side for the address and stamp, and the whole of the front was devoted to the picture. France followed suit in 1904, Germany and Australia in 1905, and the United States in 1907. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, postcard, 1937, healesville, leslie ernest shillinglaw, melva lucy richards (nee shillinglaw), melva lucy shillinglaw -
Eltham District Historical Society Inc
Photograph, Phillip Shillinglaw with his mother Jean and daughters Mary and Elizabeth in front of their home, Wattle Brae, Main Road, Eltham, c.1905
Copy of an original image. It appears that this was taken at the same time as EDHS_05725 PANEL 1875-1920 Panels began to be produced around 1875, and were particularly suited, because of their larger size, for capturing family, or even larger, groups. They measured 8.5 by 6.5 inches (22 cm x 16.5 cm). - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, eltham, 1905, main road, shillinglaw cottage, wattle brae, elizabeth (lizzie) ann shillinglaw (1879-1972), jean shillinglaw (nee blemner 1819-1906), mary ann shillinglaw (1880-1963), phillip shillinglaw (1842-1914) -
Eltham District Historical Society Inc
Newspaper - Newspaper Clipping, Melbourne Punch, Artist Walter Withers, PEOPLE WE KNOW, Melbourne Punch, June 17, p. 2, 1897
ARTIST WALTER WITHEBS, whose pictures are now on exhibition at his Melbourne studio on Wednesdays and Saturdays, is an Englishman by birth, but an ardent Australian by adoption. His landscapes are "racy of the soil,” and amongst the most successful work of the kind done by Victorian artists. Withers does most of his work at his Heidelberg home, where he leads a serene life of artistic simplicity amidst the most picturesque surroundings. PEOPLE WE KNOW (1897, June 17). Melbourne Punch (Vic. : 1855 - 1900), p. 2. Retrieved August 22, 2023, from http://nla.gov.au/nla.news-article174626232Journal inscribed: "Mrs Withers 463 Collins St. West Melbourne"art exhibition, art review, john withers collection, melbourne, walter withers studio, 463 collins street west, walter herbert withers, artist -
Eltham District Historical Society Inc
Photograph, Possibly Nancy Josephine Pitt Withers with her mother Fanny (in background) at their new home, Southernwoood, in Eltham, c.1903
Artist Walter Withers and his young family moved from Heidelberg to Eltham in 1903 where he set up his studio in Southernwood at the corner of Brougham and Bolton streets, Eltham.Many items in this collection have suffered from significant water damage and black mouldjohn withers collection, eltham, southernwood, fanny withers (nee flinn), nancy josephine pitt withers, scan - 620 format 6x9 negative, 1903 -
Eltham District Historical Society Inc
Photograph, Mervyn, Bill and Dall, 1916
Unidentified Withers family members with mock trenches and rifles at the Withers family home, Southernwood, Eltham. The view is looking to the east with Main Road and associated buildings near ridge in distance. Many items in this collection have suffered from significant water damage and black mouldjohn withers collection, eltham, 1916, bill, dall, main road, mervyn, southernwood, trenches -
Eltham District Historical Society Inc
Photograph, Bill (left) Mervyn (right) in their trench, 1916
Unidentified Withers family members with mock trenches and rifles at the Withers family home, Southernwood, Eltham. The view is looking to the north east with Main Road and associated buildings near ridge in distance. Many items in this collection have suffered from significant water damage and black mouldjohn withers collection, eltham, 1916, bill, main road, mervyn, southernwood, trenches -
Eltham District Historical Society Inc
Photograph, Bill & Mervyn trench, 1916
Unidentified Withers family members with mock trenches and rifles at the Withers family home, Southernwood, Eltham. The view is looking to the south showing the family home in backgroundMany items in this collection have suffered from significant water damage and black mouldjohn withers collection, eltham, 1916, bill, mervyn, southernwood, trenches -
Eltham District Historical Society Inc
Photograph, Bill (left) Mervyn (right) in their trench, 1916
Unidentified Withers family members with mock trenches and rifles at the Withers family home, Southernwood, Eltham. The view is possibly looking to the northMany items in this collection have suffered from significant water damage and black mouldjohn withers collection, eltham, 1916, bill, mervyn, southernwood, trenches, scan - 620 format 6x9 negative -
Eltham District Historical Society Inc
Photograph, Bill (right) Mervyn (left) in their trench, 1916
Unidentified Withers family members with mock trenches and rifles at the Withers family home, Southernwood, Eltham. The view is possibly looking to the south and Southernwood family homeMany items in this collection have suffered from significant water damage and black mouldjohn withers collection, eltham, 1916, bill, mervyn, southernwood, trenches, scan - 620 format 6x9 negative