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Greensborough Historical Society
Annual Report, Greensborough Football Club: 1966 Annual Report and financial statement, 08/11/1966
Report to the Annual Meeting of the Greensborough Football Club. Outlines persons involved in the club, activities for the year and includes statistics and financial statement.A snapshot of the Greensborough Football Club in 1966. White card cover with photo of 1966 premier team. 12 pages. 2 copies.Back cover has an artist's impression of the proposed new hall and dressing rooms to be erected at the War Memorial Park in conjunction with the Park Trust and Greensborough Cricket Club.greensborough football club, annual report -
Greensborough Historical Society
DVD, 2 Road Films, Homefront: a new kind of war memorial, 2019_
Description of the people, stories and signiificance behind the new sculptures in Greensborough War Memorial Park, including chainsaw artists Hikaru Kodama, Leigh Conkie and John Brady and blacksmith Roland Dannenhauer. Director: Michael Wilkins, Producer/Designer: Amanda Gibson.Colour DVD; with Councillors notes at special documentary screening, publicity leaflet and ticket for screening held 15 May 2019greensborough park, war memorials victoria, homefront project -
Greensborough Historical Society
Newspaper article, Diamond Valley News, Artist's works show another side of war, 1995_
The article was published as a part of the Australia Remembers 1945 - 1995 Commemoration.The article is about Robert Anderson, a founder member of the Diamond Valley Arts Society. Robert served in WW2 and was selected to paint the portrait of Captain Lionel Colin Matthews, a decorated Signals Corps member.An A3 sized photocopy of a Diamond Valley News article. Nilcaptain lionel colin matthews, robert anderson, signals corps, australia remembers, ww2, daimond valley arts society -
Greensborough Historical Society
Newspaper Clipping, Concerned youth helps to preserve Anzac carvings, 11/09/2013
A Watsonia schoolboy expressed his concern over the state of some of the carvings in Greensborough War Memorial Park. The chainsaw carvings were completed by artist Leigh Conkie over 10 years ago. A Banyule Council spokesman said inspections and maintenance were ongoing.News clipping, black text, colour image.leigh conkie, greensborough war memorial park, chainsaw sculptures -
Greensborough Historical Society
Newspaper clipping (copy), Diamond Valley News, War vet's keen eye, 1998_
World War 2 veteran Clive Cook won an honourable mention for his photography in a Department of Veterans Affairs competition.Copy of news clipping, black text and image.clive cook, artists - greensborough -
Greensborough Historical Society
Newspaper Clipping, Diamond Valley Leader, Smokey send-off for art, 13/09/2017
Popular wooden sculptures inspired by wartime characters were set on fire and farewelled in a special ceremony over the weekend. The sculptures, created by chainsaw artist Leigh Conkie had stood at War Memorial Park for over a decade. They will be replaced by the Homefront Project.News article 1 page, black text, colour image.greensborough war memorial park, wooden sculptures, banyule city council, leigh conkie, homefront project -
Greensborough Historical Society
Newspaper Clipping, Diamond Valley Leader, Artists polish up war tributes, 31/08/2016
... clipping, black text and colour image. Artists polish up war ...New sculptures honouring returned service man and women will be created for Greensborough's War Memorial Park.News clipping, black text and colour image.leigh conkie, greensborough war memorial park -
Geelong RSL Sub Branch
Print, Menin Gate at Midnight, 20th Century
Minin Gate at Midnight is a painting by Australian artist Will Longstaff. Longstaff completed the painting in 1927 and the original is now located at the Australian War Memorial. The painting depicts ghostly soldiers marching across a field in front of the Menin Gate War Memorial.Longstaff painted the work after attending the unveiling of the Menin Gate Memorial, at Ypres, on 24 July 1927. The memorial commemorates the men of the British Empire, including Australia, who died during the 1st World War around the town of Ypres. A print of the Menin Gate at Midnight, oblong in shape, framed in a timber frame, a cardboard matte surrounds the print.Careys Picture Framing Gallery, Professional Framing, Shop 13 Packington Arcade, 129 Packington Street, Geelong West. A brass plaque is also attached to the Print.menin gate, longstaff, ww1, australian war memorial -
Eltham District Historical Society Inc
Painting, Lindsay Edward, The Malt House, 1942c
Artist Lindsay Edward and wife Jan built a house designed by Alistair Knox at 151 Old Eltham Road, Lower Plenty. See article on home designed by Alistair Knox for Lindsay Edward, teacher, at 151 Old Eltham Road, Lower Plenty. The home was originally featured on the cover of the January 1953 issue of Home Beautiful magazine and was revisited in the March 1969 issue. See registration record No. 01649. Lindsay Edward Biography: 1919: 26 August Lindsay Maurice Edward was born in Melbourne. 1937: 4 – 9 May Exhibition - Heidelberg art exhibition (SLV collection) 1939: Art student at the National Gallery of Victoria 1940: 7-14 October Exhibition Heidelberg art exhibition. (SLV collection) 1941: November - Exhibition Heidelberg Art Exhibition 1942: Lindsay was an art student living at this 14 Park Cres. Fairfield. Occupation Art student. He most likely painted this painting around this time. c.1942 – 1944: Enlistment for military service in World War 2 in Casino, NSW. 1944: Rank of Sergeant. 1944: Exhibition Seddon Galleries (Melbourne) 1945: Exhibition Seddon Galleries 1946: Exhibition Exhibition of Past Students of the National Gallery of Victoria 1947: Submitted “Self- portrait in the Archibald Prize, Art Gallery of NSW 1948: Lived in London for a year and married a fellow artist ? Knox. 1949: Returned from London 1949: Electoral Roll Residence– 16 Mount Street, Ivanhoe 1950: October Exhibition Stanley Coe Galleries, 435 Bourke Street, Melbourne 1951: 19 Nov. - 9 Dec. Exhibition An exhibition of present day art of Victoria Victorian 1951 Commemoration Committee in conjunction with the Victorian Artists' Society, 1951: (SLV Collection) 1953: October Exhibition Melbourne Contemporary Artists Exhibiton 1954: Exhibition Melbourne Contemporary Artists Exhibition 1958: Victorian artist and educator Lindsay Edward won the £500 prize for the wall decoration of the Queensland Library - . Edward was born in 1919 and had studied at the National Gallery of Victoria. In 1958 he was head of the painting section of the Royal Melbourne Technical College (now RMIT) and had only recently begun experimenting with mosaic. The Centennial mosaic covers a wall 68 feet (20.72 metres) in length and 14 feet (4.26 metres) high. In a Melbourne Age article in July 1958 Edward described the mural as ‘not a literal subject’ rather as ‘a basic formation of organic forms indicating growth and development’. 1960: Exhibition Eltham Art Show (SLV collection) 1963: Exhibition October 28-November 17 - Argus Gallery, 290 Latrobe Street, Melbourne and at Hassall's Roadside Gallery, Eltham and at Gallery A and at Russell Davis Art Gallery. (SLV Collection) 1963, 1967, 1977 and 1980: Electoral Rolls – Residence Old Eltham Road, Lower Plenty. Occupation Teacher 1966: Exhibition Art Show -Austin Hospital Appeal (Heidelberg) (SLV collection) 1970s: Head of Art Department RMIT where he established a fine art collection. 1982: Exhibition Bolitho Gallery Canberra http://nla.gov.au/nla.news-article116467780 1988: 28 July – Exhibition Recent Paintings Darwin Performing Arts Centre (SLV Collection) 1993: Exhibition Solander Gallery, Canberra 2007: January Died and is buried in Eltham Cemetery 2007: Obituary in Age Jun 2, 2007 - LINDSAY Edward's retirement as head of the fine art department at RMIT in August 1979 signalled the end of an important chapter in the art Sources: ART CONTEST. (1939, March 2). The Argus (Melbourne, Vic. : 1848 - 1957), p. 8. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article12103185 ART EXHIBITION AT HEIDELBERG (1941, November 25). The Argus (Melbourne, Vic. : 1848 - 1957), p. 6. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article8218682 ART EXHIBITIONS (1945, October 3). The Age (Melbourne, Vic. : 1854 - 1954), p. 7. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article205639922 EX-GALLERY STUDENTS' SHOW (1946, October 15). The Argus (Melbourne, Vic. : 1848 - 1957), p. 3. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article22386440 https://www.artgallery.nsw.gov.au/prizes/archibald/1947/ Art World Busy (1949, February 26). The Argus (Melbourne, Vic. : 1848 - 1957), p. 12. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article22706197 http://nla.gov.au/nla.news-article22781141 ART NOTES (1953, October 13). The Age (Melbourne, Vic. : 1854 - 1954), p. 2. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article206462733 Design, color in art show (1954, October 5). The Argus (Melbourne, Vic. : 1848 - 1957), p. 9. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article23453359 https://artcollection.its.rmit.edu.au/?p=rmit-gallery-about Cinema (1993, October 7). The Canberra Times (ACT : 1926 - 1995), p. 7 (Good Times). Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article127509819 Queensland Centenary Artwork (includes image) http://queenswharf.org/places/former-queensland-state-library-wall-decoration-and-sculpture/ Eltham Cemetery http://www.elthamcemetery.com/index.php/search oil on paper board 31.5 x 37.5 cm signed "Edward" lower rightInscribed on back "The Malt House Lindsay Edward 15 Park Cres Fairfield"fairfield, malt house, lindsay edward, home beautiful, home beautiful magazine, alistair knox -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Portrait, Major General John Keatly Forsyth CMG, 1920 (estimated)
Major-General John K Forsyth CMG raised 1st Light Horse Brigade. The men of the 4th Light Horse Regiment regarded him as their first CO, although technically he was not, and always referred to him as 'Dad". He did not officially assume command of the 4th until it reached Egypt, effective from 13 December 1914.Framed portrait of Maj Gen John Keatly Forsyth CMG, Commanding Officer 4th Light Horse Regiment. Hanging in glass case with display including his riding crop and fly whisk.Brass plate inscribed: Major General J K Forsyth CMG DSO 1st CO 4th LH REGT 1st AIF Artist's signature not legible: E L P????world war 1, 4th light horse, general forsyth, portraits -
Warrnambool and District Historical Society Inc.
Document, Soldier's Xmas comforts, 1016
This is a program of a concert organized by the Soldiers’ Christmas Comforts Group and the Red Cross in Warrnambool to raise funds for the soldiers on active service in World War One. The concert was held in the Warrnambool Town Hall in September 1916 and featured a Melbourne artist, Horace Wood, who gave several violin solos and the local Warrnambool orchestra of Miss Gertrude Rooney. The Rooneys were early settlers in the Dennington area and had the property, ‘White Rock’ in Dennington and a produce store in Warrnambool. Miss Gertrude Rooney was an accomplished musician and was prominent in musical circles in Warrnambool during the first half of the 20th century. This program is of interest as an example of the fund raising activities in Warrnambool during World War One and of the type of entertainment offered at concerts at that time. There are many well-known names listed among the orchestra members at the back of the program. This is a sheet of buff-coloured paper folded in two to make four pages. The front page has an ornate red edging and there is dark blue printing on the front and back pages. The front page has a large Red Cross emblem The inside two pages have the printed program of concert items in black print. There are also advertisements for local Warrnambool businesses. The edges of the program are torn and ragged. world war one, warrnambool in world war one, gertrude rooney, musical entertainments in early 20th century, warrnambool -
Australian Queer Archives
Book, Don't leave me this way : art in the age of AIDS (Canberra : National Gallery of Australia, 1994), 1994
246 p. : ill. (some col.)Agony down under: Australian artists addressing AIDS / Ted Gott Allan from Sadness: a monologue with slides / William Yang Art from the Pit: some reflections on monuments, memory and AIDS / Simon Watney America: where angels don't fear to tread / Thomas Sokolowski The war on culture / Carole S. Vance Read my lips / Jimmy Somerville For a friend / Jimmy Somerville, Richard Coles Self-documentation, self-imaging,: Australian people living with HIV/AIDS / Kathy Triffitt, co-ordinator Aesthetics and loss / Edmund White Psycho-cultural responses to AIDS / Dennis Altman Faces of AIDS / Lynn Sloan Lovers and friends / Richard Coles Where the streets have new aims: the poster in the age of AIDS / Ted Gott OI: opportunistic identification, open identification in PWA portraiture / Jan Zita Grover Don't leave me this way: art in the age of AIDS : catalogue of works. -
Australian Commando Association - Victoria
Work on paper - Sketch, Corporal Francis John Papworth, Some Independent Attitudes - Katherine 1942, June-July 1942
... world war 2 second world war artists wartime francis john ...Drawing done on location by Francis John 'Curly' Papworth whilst serving in Katherine, Northern Territory during World War Two. This work of soldiers is significant as a work produced by a serving soldier on location during WWII and is a unique example of an artistic work showing the men and their surroundings at the time. Strong provenance as part of the family collection. Pencil sketch on white paper of three bare chested male figures, two left profile and one rear view. All attired in shorts and boots. Information relating to the figures and location are written on the work. Signature right hand corner: Papworth 42. Written in pencil at top of page: Some Independent Attitudes/Katherine N.T. 1942, June/July Working in the Q Store. Beneath each figure written in pencil and ink left to right: Figure 1: Maj Percy Black Adamsom Esq. (in blue ink below: Perc Adamson Dec) Figure 2: Reg Moggins, working on his Birthday too! (in blue ink below: ?) Figure 3: You can't mistake this one either! (in blue ink below: Con Nugent, Dec)soldiers, wwii, world war 2, second world war, artists, wartime, francis john papworth -
Flagstaff Hill Maritime Museum and Village
Furniture - Screen, Thomas Hope, 1905-1913
The fire screen was part of the original furnishings of the Lighthouse Keeper's Quarters in Merri Street, Warrnambool. It was made by Lighthouse Keeper, Thomas Hope. Thomas served two terms as an assistant lighthouse keeper in Warrnambool. His first term was from 1905 to 1907. He later returned from 1910 to 1913, when he was appointed as Keeper five months after the untimely death of his predecessor Peter Quinn. Woodworking was one of Thomas Hope’s hobbies, and the three-panel fire screen he made as a lighthouse keeper is now in the Flagstaff collection and is displayed in the Lighthouse Keeper’s Cottage. Thomas Hope 1857 - 1928 Thomas James Hope was born in Camden, Surrey, England in 1857. His father, also called Thomas, was reputed to be a member of the Royal Family, and Thomas Hope Junior his illegitimate son. Thomas was subsequently brought up on the estate of the Earl of Hopetoun in Somerset and it was thought that Thomas was the Earl’s grandson. Against the wishes of those in charge of Thomas, he joined the navy at an early age, seeing much of the world until he settled in New Zealand at the age of twenty-four. After some years in New Zealand, he came to Australia to live. One of the jobs Thomas Hope had prior to becoming an assistant lighthouse keeper in 1896 was as a cook in the Lunatic Asylum at Sunbury, Victoria. He served as an assistant keeper at Shortlands Bluff, Gabo Island, Split Point and Warrnambool, retiring in 1918. He bought a house in Nicholson St, Warrnambool and died in March 1928. He is buried in the Warrnambool cemetery. Thomas Hope is recorded in family history as being of short stature and, not surprisingly given his alleged aristocratic connections, possessed a beautiful speaking voice. He and his wife Elizabeth nee Waters, whom he married in New Zealand, had six children (Thomas, killed in World War One), Ellen (Nell), Nora (who was married at the Warrnambool lighthouse keepers cottage), William (who died in Warrnambool), Marion and Alan. Joseph Hoover (Dec 29, 1830, to Aug 7, 1913) Joseph Hoover, the printer of the pictures on the screen, was born in Baltimore, of Swiss-German heritage. He was trained as an architectural woodturner. In 1856 Hoover moved to Philadelphia and began producing elaborate wooden frames in his wood-turning and framing business. By 1865 Hoover had started to produce popular prints for publishers and artists, which included noted Philadelphia artist James F. Queen. In the 1880s Hoover set up a complete plant specialising in chromatography, the process of producing colour prints from lithographic plates. The coloured prints he produced were affordable to business and private customers. In 1893 his son Henry L., a trained lithographer, joined the company as overseer and it was called J. Hoover & Son. It became one of the largest in America by the turn of the century. Hoover won a medal for Excellence for his Chromolithographs of James Queen’s works. In 1904 Joseph’s other son, Joseph W, joined the business as a partner and the company was called Jos. Hoover & Sons. Hoover died of a heart attack in 1913. He was survived by his wife and six children: two sons who were also his business partners, and four daughters. The firm continued in production until around 1985. Hoover’s prints included scenes, still life and landscapes of America and other locations. They were sold in America and overseas to countries including Canada, Germany, Mexico and England. The three-panelled screen in the Lighthouse Keeper’s Cottage was made by the Assistant Lighthouse Keeper, Thomas Hope during one of his two terms at the Lighthouse Keepers' Quarters. It is the only object in the collection known to be connected to Hope. The Lighthouse Keeper's Cottage is part of the Lady Bay Lighthouse Complex, which is listed on the Victorian Heritage Register for being of historical, scientific (technological) and architectural significance to the State of Victoria.Fire screen comprising three black wood framed panels hinged together. Each panel contains a glass-encased print depicting a rural landscape. Ornate stencil cut wood edging and quilt-inspired parquetry sits above each panel. The central panel is taller than those either side. Screen is lined in black-painted cardboard.Printed at the base of each of the three prints “COPYRIGHT 1896 BY J. HOOVER & SON, PHILAD’’A.”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, firescreen, thomas hope junior, ellen (nell) hope, nora hope, william hope, marion hope, alan hope, jos. hoover & sons of philadelphia, lighthouse keeper, assistant lighthouse keeper, carved screen, merri street, lighthouse keeper's cottage, lighthouse residence, lighthouse, wood carving, lighthouse complex, lady bay lighthouse, fire screen -
Glen Eira Historical Society
Album - Album page, Kambrook Road, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. https://vhd.heritagecouncil.vic.gov.au/places/43737 - re 26 Kambrook Road and 345 Balaclava Road corner building: A prominently situated two-storeyed complex of late Victorian buildings consisting of "Wybar's Buildings" occupying the Balaclava Road/ Kambrook Road corner and the "Caulfield Bakery" facing Kambrook Road, separated by a driveway from a single storeyed shop. The main building has a comer splay and balustraded parapet with curved pediments, the words "Wybar's Buildings 1887" having been obliterated but "Caulfield Bakery 1887" with the characteristic wheatsheaf surviving in raised cement work. The walls are stuccoed and richly ornamented with bracketed cornices and keystones with masks extending to the Bakery. The main building is further distinguished by the Masonic symbol of the mason's dividers in the pediment whilst the upper level of the bakery is in overpainted brickwork. The single storeyed shop incorporates the bracketed cornice and consoles characteristic of the main buildings and is in other respects a utilitarian structure. https://vhd.heritagecouncil.vic.gov.au/places/35413 - re 16 Kambrook Road A small late Victorian Italianate villa distinguished by its parapeted window bays either side of a small verandah with encaustic tiled floor. The parapets are balustraded with console enrichment and glazed tiles, the stuccoed surfaces being unpainted. Ornamentation is in other respects undistinguished. https://www.gleneira.vic.gov.au/services/planning-and-building/heritage/heritage-management-plan - re 9-11 Kambrook Road ... they demonstrate most of the commonly employed aesthetic devices characteristic of the Italianate Style including patterned brickwork, patterned slate roofs, cast iron lace verandahs, ornamental stucco work and ashlar boards...https://vhd.heritagecouncil.vic.gov.au/places/43737 - 345 Balaclava and 26 Kambrook Roads HO91 in City of Glen Eira "Wybar's Buildings" at the corner of Balaclava Road and Kambrook Road are important as a prominent late Victorian commercial development incorporating a variety of activities including a bakery and possibly a coffee palace, the latter understood to be unique within the municipality, but characteristic of the period. It is a rare complex of its type in Caulfield and is important also as evocative evidence of the late Victorian Land Boom and the creation of a small now defunct commercial centre at this location by the George Wybrow. https://vhd.heritagecouncil.vic.gov.au/places/35413 - 16 Kambrook Road HO121 in City of Glen Eira ''Hollywood'' at 16 Kambrook Road is of architectural interest for its pavilions which retain their unpainted parapets and ornamental tiles in the manner of other less imposing examples in the immediate locality possibly linked with the builder George Wybar and his son, who undertook substantial projects nearby. Its association with James Yorston, presumably is Yorston of Dickson and Yorston, important builders and estate developers at Caulfield during the Inter war period is of interest. https://www.gleneira.vic.gov.au/services/planning-and-building/heritage/heritage-management-plan - re 9-11 Kambrook Road HO152 Normanby Road/Kambrook Road, Caulfield North Statement of Significance: The Precinct is historically significant for its capacity to demonstrate standards of design and building construction in this part of the municipality during the late Land Boom years and especially just prior to the bank collapse of 1891. The housing stock is representative of the standards of amenity excepted by the middle classes of Melbourne society at the time, including artists, (horse) trainers, jockeys, managers, travellers, journalists and the like, also having a functional link with the activities of the Caulfield Racecourse which forms an important element in the history of the Municipality. The row of attached pairs at 5-11 Kambrook Road and 53-67 Kambrook Road is especially significant in this respect in that the narrow allotments are indicative of the owner/developer’s determination to maximise profits at the height of the Land Boom in 1891...Page 104 of Photograph Album with four photographs (landscape) of three different properties on Kambrook Road.Handwritten: Kambrook Road [top right] / WYBAR'S BUILDING 1887/ INC CAULFIELD BAKERY / [under top right photo] / 16 KAMBROOK ROAD / 1970 HIRST MRS J.N.[under bottom left photo] / 11-9 KAMBROOK ROAD / 1970 9-BUCKLAND MRS L.A / 11- ATKINS MRS N.E. [under bottom right photo] / 104 [bottom right]trevor hart, kambrook road, victorian, caulfield north, parapets, wybar's buildings 1887, caulfield bakery 1887, architectural features, painted bricks, balaclava road, victorian italianate style, houses, bay windows, verandahs, glazed tiles, shops, george wybar, builders, james yorston, dickson and yorston, j n hirst, l a buckland, n e atkins, patterned slate roofs, patterned bricks, cast iron work, attached houses -
Glen Eira Historical Society
Newspaper - DUNERA BOYS’ PORTRAITS
One item about these unidentified drawings 1/ Jenny Ling wrote ‘Dunera Boys Hunt’ article in Caulfield Port Phillip Leader of 08/09/2011. Melbourne Tour guide Shelley Cohney (of Caulfield North) is trying to track down the subjects of a series of 28 pencil portraits of ‘Dunera Boys’ and asks for assistance. The portraits were done by Theodore Engel at the Tatura internment camp and found by Shelley in a Caulfield person’s deceased estate.dunera boys, world war 1939-1945, caulfield north, internment, engel theodore, artists, ling jenny, caulfield/ port phillip press, cohney shelley, portraits, drawing, death and dying -
Glen Eira Historical Society
Article - Glen Eira Parks and Gardens
This file contains four items. An article in the Glen Eira News reporting on a new park with indigenous planting and an interpretive walk being developed to link Duncan Mckinnon Reserve and Packer Park in Murrumbeena, dated September 2000. An article from the Glen Eira Leader on the converting of sports grounds from cool season to warm season grasses, as well as the installation of subsurface drip irrigation at Princes Park, Caulfield South, dated March 2012. An article from the Caulfield/Port Phillip leader reporting Caulfield RSL military historian Carl Johnson’s appeal to have a “lone pine” in Caulfield Park designated as a war memorial, dated 11/9/2012 An article from the Glen Eira/Port Phillip leader reporting on the Friends of Caulfield Park organising the first band stand concert in over twenty years with the city of Glen Eira Band, dated 6/11/2012glen eira council, hawthorn rd caulfield, glen eira rd caulfield, glen eira, caulfield, parks, reserves, leila rd caulfield, glen eira city council, landscaping, memorial park, kooyong rd caulfield north, caulfield recreation tennis club, murrumbeena rd caulfield, churchill green housing estate, north rd caulfield, boake street caulfield, exservices organisation, rsl clubs, sporting clubs, recreations, sportsgrounds, clubs, tennis clubs, associations, leisure, cultural events, cultural activities, sports establishments, recreations establishments, irrigation, water conservation, conservation of natural resources, water supply, ovals, playing fields, tennis courts, murrumbeena park, school concerts, musical activities, musical events, glen eira artists society, dimarco lisa, st. aloysius college, band rotundas, entertainment structures, musical ensembles, city of glen eira band, bands, the friends of caulfield park, gallipoli lone pine, princes park, packer park, duncan mckinnon reserve, king george reserve, caulfield park, glenhuntly park, glen huntly park, bentleigh reserve, victory park, schools, education establishments, recycling, water disposal, cultural structures, cultural establishments, caulfield rsl, johnson carl, war memorials, monuments, memorials, avenue of honour, “lone pine”, glen eira leader, glen eira news, caulfield/port phillip leader, glen eira leader -
Glen Eira Historical Society
Article - MONASH, JOHN, SIR
This file contains three items concerning Sir John Monash. 1/A two-page letter distributed at a rare book week event on the 22/07/2014 to the Glen Eira Historical Society from Michael Headberry. The letter requests support for the John Monash Sculptural Commission by the Monash Pioneers, who are seeking to erect a bronze full figure portrait of Sir John Monash, Monash University’s namesake. Monash is connected to the city of Glen Eira, as Monash University has a campus in Caulfield and there are a number of streets named after him. The letter discusses the life of Monash and his many achievements. Details in another two pages are also given of the statue to be erected and there are two photos of a wax model of the proposed statue; plus a donation form. 2/An article by Dana McCauley dated 17/05/2015 entitled ‘Push to rename Ports’ about Caulfield lawyer and Liberal Kate Ashmor. The article discusses how she wants the electorate of Melbourne Ports to be named after Sir John Monash due to him being one of the most prominent Victorian Jews. There is a photo of Ashmor in fron of a statue of Monash. Newspaper not known. 3/An article from the Leader on the 30/06/2015 entitled ‘Exhibit’s unique view on Jews in WW1’. The author is unknown. The article discusses an exhibition at the Jewish Museum of Australia about the social history behind the Jewish support of the war effort. One item included in the exhibition is Isaac Cohen’s painting of Lieutenant General Sir John Monash and there is a photograph, by Andrew Henshaw, of this work above the article.monash university, monash john sir, caulfield, sir john monash, sculptural commission, clubs and associations, monash pioneers, correspondence, fundraising, universities, statues, armed forces, engineers, languages, art, pianos, diaries and journals, jewish community, world war 1914-1918, businesspeople, corlett peter, artists, sculptors, headberry michael, monash pioneers, project board, portraits, models, bridges, returned sailors and soldiers imperial league, ex-service organisations, st. kilda, leader, jewish museum of australia, rechter deborah, cohen isaac, ‘lieutenant general sir john monash’, portraits, national gallery of victoria, henshaw andrew, ‘true jews and patriots: australian jews and world war one’, shows and exhibitions, social history, ‘exhibit’s unique view of jews in wwi’, caulfield, ‘push to rename ports’, mccauley dana, political candidates, australian liberal party, ashmor kate, electoral boundaries, local government -
Federation University Historical Collection
Photograph - Black and White, Ponsonby May Carew Smyth, 1906
Ponsonby Carew Smyth, A.R.C.A. London, was Victorian Art Inspector of Technical Schools. "Ponsonby May Carew-Smyth (1860-1939), educationist, was born on 7 August 1860 at Cork, Ireland, son of Emmanuel Uniacke Smyth, gentleman, and his wife Catherine Giles, née Carew. Carew-Smyth's initial art training and teaching was at the Belfast Government School of Art and Design. In 1885 he entered the National Art Training School at South Kensington, London, where he remained as student and teacher for five years. He also taught at Rugby School, studied at the Royal School of Wood Carving and the Guild School of Handicrafts, London, and was sent by the Department of Science and Art to study art, art education and museum procedures in Paris. Testimonials to his career in England affirm his ability and dedication as an educationist and his integrity as a man. On 23 December 1890 Carew-Smyth married Marie Reynolds of Brixton; they migrated to Australia next January. In September Carew-Smyth applied from Melbourne for the position of master of the school of art and design, established under the auspices of the Ballarat Fine Art Gallery. Opening in November, the school offered day classes and a broad curriculum, and under Carew-Smyth's guidance, established a sound reputation. In November 1899 he was appointed inspector of drawing in the Department of Education. Carew-Smyth saw drawing as a crucial link between primary and technical education, insisting on it as a 'mental process quite as much as a manual'; he believed strongly in the utilitarian value of drawing to the artisan class and of art as 'craftmanship'. By his emphasis on teacher-training, by his role in the Teachers' Training College, and by his constant travels, writing and lecturing, he upgraded both the standard and importance of drawing early in the century. His meticulous mind formulated the Austral Drawing Books which provided the basis of instruction in the subject in Victoria until 1927. Although he gave his occupation as 'artist', Carew-Smyth was primarily an educationist. He was actively involved in the early years of Prahran and Swinburne Technical colleges, and especially the Working Men's College which held his interest even after his retirement. In 1906 he was appointed chairman of the Victorian State Schools' Equipment and Decoration Society, and he was important in the organization of the state schools' exhibition that year. He designed the commemorative wall plaques installed in state schools after World War I, and the art teachers' certificate. He was prominent in bringing about the 1922 Jubilee Exhibition, and the 1926 showing of work of overseas schools, and especially the 1934 Melbourne centenary 'Early Victorian Art' exhibition. In the 1930s he wrote wide-ranging, informative and sometimes humorous articles for the Argus on various aspects of the decorative arts. In mid-1936 he was acting director of the National Gallery of Victoria. To students his single-mindedness sometimes suggested sternness, but Carew-Smyth was always held in the highest regard both professionally and personally. His colleagues recalled a man of kindness, unstinting devotion to work, and humour; he was considered quite a raconteur. Survived by his wife, a son and a daughter, he died in his home at South Yarra on 9 October 1939, and was cremated." (Margot Lethlean, 'Carew-Smyth, Ponsonby May (1860–1939)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/carew-smyth-ponsonby-may-5501/text9359, accessed 4 June 2013.)Image of the face and shoulders of a bearded man - Ponsonby Carew Smyth. The image was originally published from the State Schools Exhibition Catalogue, 1906. (Cat. No. 401)carew smyth, inspector, technical schools, art. -
Federation University Historical Collection
Book, Cassell and Company, Ltd, Australian War Photographs, 1917
Photographic history of Australians during World War One129 page book with soft beige, brown and black cover depicting three soldiers at the front during World War One. The book includes many photographs and artwork of Australians at the French front from November 1917 until the end of the war. Photographers include Frank Hurley, E. Brooks, H.F. Baldwin and G.H. Wilkins. Artists include Crozier, W.L. King, Alan Lewis, Lothian, John Davis, S. Perks, I. Picking, Daryl Lindsay, Alf Saville, L.H. Howie, Stuart Shaw, P. Huthnance, Stiggo, S. Perks, C.H. Gould, Ted Canon, Bernie Bragg, S. Shaw, Will Dyson, An introduction is written by W. Birdwood, France, 28 September 1917. A number of pages have written notes on them by someone who had obviously been on the French Front. (These pages have been scanned and uploaded onto Victorian Collections. non-fictionPhotographic history of Australians during World War Onechatham family collection, chatham, world war one, world war 1, world war i, france, trenches, front line, birdwood, mark ridgeay, harold williamson, flanders, poziers, somme, becourt, mouquet farm, rupert whiteley, ypres, montauban, field cooker, gueudecourt, band, bapaume, bullecourt, h. murray, hindernburg wire, messines, howitzer, w. holmes. canon, ted canon, hill 60, gas masks, siege battery, menin road, ambulance, dressing station, glencorse wood, prisoners, pigeons, australian commonwealth military forces, sgs, chatham - holmes family archive -
Federation University Historical Collection
Photograph - black and white, Harry Holmes, Australian Soldiers Breaking Camp at Metras, c1916
... than an official war artist) and shows one of the daya to day ...The postcard was sent by Harry Holmes who was a member of the Australian Imperial Force based in Egypt at the time. He sent a number of postcards home to his family in Ascot, Victoria. Egypt was a major base for the AIF from December 1914. A number of campaigns were fought in this theatre. There were two campaigns involving the AIF. Note that not all the fighting was actually geographically in Egypt. (http://www.aif.adfa.edu.au:8888/about3.html) This photograph is significant because it was taken by a soldier (rather than an official war artist) and shows one of the daya to day activities experienced by Australian Soldiers in Egypt during World War One.A number of tents and soldiers in a dry landscape. They are Australian Soldiers At Metras, Egypt during World War One. Verso: 'Breaking Camp at Metras prior to making our departure from there on March 28th.'chatham family archive, chatham, holmes, harry holmes, world war, world war 1, world war one, world war i, metras, egypt -
Federation University Historical Collection
Photograph - postcard, Cam Williamson, World War One AIF Soldiers at the Suez, c1916
... it was taken by a soldier (rather than an official war artist ...Harry Holmes and his battalion friends photographed aspects of their time on the Suez Canal, Egypt. Egypt was a major base for the AIF from December 1914. A number of campaigns were fought in this theatre. There were two campaigns involving the AIF. Note that not all the fighting was actually geographically in Egypt. (http://www.aif.adfa.edu.au:8888/about3.html) This photograph is significant because it was taken by a soldier (rather than an official war artist) and shows one of the day to day activities experienced by Australian Soldiers in Egypt during World War One.1) Four Australian soldiers during World War One in Egypt .2) Soldiers watch while two men 'fight' on a greasy pole during World War One .3) Australian soldiers stand at the grave of a German Officer at the Suez Canal, Egypt.2) Verso - "greasy Pole Fight" .3) verso: - Snap taken at grave of German officer killed in the first tussel (sic) with Turk at the Canalchatham family archive, chatham, holmes, world war, world war 1, world war i, world war one, egypt, cam williamson, greasy pole, ship, vessel, burial -
Federation University Historical Collection
Photograph - Photograph - Colour, Churchill Service Memorial, 2015, 2015
In recognition of its fallen soldiers and Churchill's 50th birthday a service memorial was erected on a concrete plinth at the Churchill town plaza and used for the first time to mark the ANZAC centenary on Anzac Day 2015. Churchill never had a war memorial and received a grant from the Department of Veterans' Affairs six years ago to commission a sculpture with Latrobe City Council's support. It was decided the sculpture needed to recognise more than just the war effort, but service and volunteerism, considering Churchill was only founded in 1965. (http://www.latrobevalleyexpress.com.au/story/2816903/churchills-new-memorial/, accessed 01 may 2015) Sculptor Paul Jesse discussed the work in Churchill and District Community news, 18 December 2014: Some time ago CDCA commissioned a sculpture to be used as a Service Memorial to commemorate the fallen that have died in service of our community and country. Traditional memorials usually commemorate Armed Services personnel, but CDCA was of the opinion that a more inclusive view which included Emergency Services personnel, such as CFA, SES and Police, could be incorporated into the Churchill Memorial. Boolarra artist, Paul Jesse, who is accomplished in Ferro-Cement sculpture techniques, was commissioned to create a memorial that would cause people to reflect on the meaning of ‘service’ and ‘sacrifice’. The following is a description of the Churchill Service Memorial Sculpture written by the sculptor, Paul Jesse. “My sculpture is different from most War Memorial sculptures because it uses as its basis the reasons why people go into service or to war. One side of the sculpture is colourful and optimistic; its theme is home, family, community and the future. These themes are crafted by flow lines which are connected to the other side of the sculpture through the round hole and the Crosspiece. These lines can be seen as a multi-layered connection between the sides. On the “dark” side of the sculpture, the lines begin with a spiral of coloured mosaics. This spiral is representative of our service people. Its beginning can be seen on one level as their soul. The spiralling mosaics of them flow to the other side of the sculpture where they create the landscape and figures. These lines can also be seen as a range of connectors between the two sides, representing a flow of thoughts, love, fear, concern and dreams. They also represent physical communication such as letters and phone calls.” This ‘Service Memorial’ is located in the Churchill Plaza (adjacent to the Town Hall), along with four flagpoles, seating and garden beds. The Churchill Service Memorial has deliberately been designed as a thought-provoking public art work. It will complement the Art and Culture Pathway which links Switchback Gallery at the Federation University Campus to the Town Centre. We hope Churchill citizens will pause to view the Memorial, ponder its meaning, reflect on the service of others and commemorate the fallen. Colour photograph on an abstract Australia-shaped sculpture by Boolarra artist Paul Jesse. The abstract Australia-shaped sculpture is in stark contrast to the bronze-cast "fallen mate" or concrete cenotaph seen in many country towns. The photograph includes wreaths from the ANZAC centenary service on ANZAC Day 2015. churchill, churchill war memorial, paul jessie, anzac centenary, federation university, gippsland, art and culture pathway, world war -
Federation University Historical Collection
Magazine - Photograph - Black and White, Ballarat School of Mines Students' Magazine, 1916-1923, 1916-1924
The Ballarat School of Mines Magazine does not appear to have been publishing in 1914, 1915, 1917, 1918, and 1919.A red bound copy of the Ballarat School of Mines Students' Magazine, holding copies for years 1916 to 1923. 1916 The 1916 Students' Magazine features many references to World War One, including an image of Ted Cannon, a gifted artist attending the Ballarat Technical Art School (part of the Ballarat School of Mines [SMB] campus) from 1912. After completing his art course Ted was employed as an assistant teacher at the Art School, before taking a position as cartoonist with the Ballarat Star newspaper at the end of 1914. In 1915 Ted was awarded the prestigious Victorian Education Department Senior Technical School Scholarship. Only months into his scholarship, Ted volunteered for the AIF. He was killed in action on 14 September 1916 in France. 1917 Editorial staff, Natural Colour Motion Pictures, Chemistry, Caricatures, Old Art School Students, Old Science School Students, Broken Hill, Lal Lal Deposits, SMB Athletic Team, SMB Roll of Honor, Junior Technical School Senior Cadet Team, Ballarat, Junior Technical School; Ballarat Junior Technical School Bugle Band, A visit to Ronaldson's Workshop 1920 Historical Sketch of the Ballarat School of Mines, War Service, Editorial Staff, Maurice Copland Obituary, The Chemist, Separation of Lead and Zinc Sulphides, Explosives, Werribee Gorge Visit, Daylesford Visit, Sports Ground, Indian Art, Dressmaking, Herbert H. Smith, Drawing From the Antique, Caricatures, Ballarat School of Mines Football Team. 1921 A.F. Hesiltine, Editorial Staff, Feathertop and Mt Buffalo trip, Plumbing, frequency changer, Melbourne excursion, Melbourne Electric Railways, Dawn of Modern Art, Moorabool Trip, Guy Fawkes, Bush Camp, Caricatures, manual art, past students, SMB Athletic Team, Cadet camp at Broadmeadows, Ballarat Junior Technical School Athletics Team. 1922 Editorial Staff, Assaying, Plasticity of Clay, Lal Lal V Morwell, Cheap Electricity, Clyde Lukeis Obituary, Ken Moss Obituary, Past Students, Old Boy's Association, Reunion, SMB Athletic Team, Military News, Athletics 1923 Editorial Staff, Alfred Mica Smith Biography, caricature, Robert James Dowling Obituary, Chemistry, America, SM Football Team, Ballarat Junior Technical School, Wireless Telegraphy, Caricatures, ballarat school of mines, motion picture photography, the chemlab, ballarat school of mines students' excursion to the lead and copper mining centres, sport, military notes, ballarat junior technical school, henry j. hall, arthur m. lilburne, ballarat school of mines history, maurice copland, maurice copland obituary, l.h. archibald, g. baragwanath, r.w. richards, c.a. schache, cadets, a.w. steane, elsie j. mckissock, coliseim theatre, advertisements, mcdorney's, w. dick, t. kift and son, f. narrow, stansfield and smith, clay, reginald calister, clyde lukeisr, w.k. moss, ken moss, robert james dowling, e.j. mcconnon, raymond fricke -
Flagstaff Hill Maritime Museum and Village
Ceramic - Gravy Boat & Plate, Burleigh Pottery, 1930
Burleigh Pottery (also known as Burgess & Leigh) is the name of a pottery manufacturer in Middleport, Stoke-on-Trent. The business specialises in traditionally shaped and patterned domestic earthenware of high quality. The business was established in 1851 at the Central Pottery in Burslem as Hulme and Booth. The pottery was taken over in 1862 by William Leigh and Frederick Rathbone Burgess, and traded from that date as Burgess & Leigh. The trademark "Burleigh", used from the 1930s, is a combination of the two names. Burgess and Leigh moved to different works, first in 1868 to the Hill Pottery in Burslem and then in 1889 to the present factory at Middleport, that at the time was regarded as a model pottery. Its scale and linear organisation was in contrast to other potteries constricted sites and haphazard layout of their working spaces. In 1887 Davenport Pottery was acquired by Burleigh primarily for its moulds. These historic moulds are still used today in the production of Burleigh ware. Leigh and Burgess died in 1889 and 1895 respectively, and were succeeded by their sons, Edmund Leigh and Richard Burgess. On Richard's death in 1912, the business passed entirely into the ownership of the Leigh family. In 1919 it became a private limited company, Burgess & Leigh Ltd. The years between the wars are often regarded as the company's "golden age", with a number of extremely talented designers and artists such as Harold Bennett, Charles Wilkes and Ernest Bailey. Perhaps the best known was Charlotte Rhead, who worked between 1926 and 1931, noted particularly for her work in tubelining. By 1939, the factory was employing over 500 people. The business took great pains, from as early as 1897, to build up a thriving export network, concentrating primarily on the Empire later becoming the Commonwealth and American markets, focusing later on Europe. After a run of financial difficulty, the company was sold in 1999 to the Dorling family, Rosemary and William Dorling, and traded as Burgess Dorling & Leigh. In 2010 it was acquired by Denby Holdings Ltd, the parent company of the Denby Pottery. A significant company producing pottery over many generations and exporting their products all over the world. Its designs are still in use today demonstrating the longevity and significance of the Burleigh Ware trade mark.Gravy Boat & plate-willow pattern Burleigh Ware "WILLOW" within a floral decoration & Made in England flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, willow pattern -
Federation University Historical Collection
Artwork - Sketch Books, Neville Bunning, 1902-1990, 1900s
... of mines and industries ballarat artist's society second world war ...Neville Mirvane Bunning was born in Rockhampton, Queensland in 1902. He was home taught until 1916 and then was a boarder at Geelong Grammar School, Victoria until 1921. He then returned to Queensland and worked on the family property. During this time he built ceramic kilns and taught himself the required skills for ceramiic production. During the Depression he went to Sydney and set up an artist's studio. In 1934 he went to England and studied, wrote and did commission work. Achieving local success and had work acquired by the Victoria and Albert Museum. Neville returned to Australia and became a lecturer at East Sydney Technical School until the outbreak of the Second World War. He joined the RAAF. After the War he joined the staff of the Art School of the Ballarat School of Mines and Industries until his retirement in 1964. Neville Bunning formed the Ballarat Artist's Society, a group which sponsored art and invite guests to speak to students and the public of Ballarat. He wrote a weekly column in "The Courier", the local newspaper where he encouraged people to be more aware of the trends in art. His works were included in the 1988 Australian Bicentennial Exhibition. His sympathetic understanding of Aboriginal culture is recorded in a letter written in 1937 to the Victoria and Albert Museum. Neville Bunning continued painting during his retirement. His last major exhibition was held at the Golden Age Gallery in Ballarat in 1983. The sketch books cover a range of topics using pen, ink and watercolour.28 A3 sketch books, spiral boundneville bunning, queensland, geelong grammar school, ceramics, kilns, depression, sydney, england, commission work, victoria and albert museum, east sydney technical school, art school, ballarat school of mines and industries, ballarat artist's society, second world war, raaf, australian bicentennial exhibition, golden age gallery ballarat, painting -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Education, Pen Nibs ' R. Esternbrook Co. Ltd, 20thC
Dip pens emerged in the early 19th century, when they replaced quill pens. They were generally used prior to the development of fountain pens in the later 19th century, and are now mainly used in illustration, calligraphy, and comics. A nib pen usually consists of a metal nib with capillary channels like those of fountain pen nibs, mounted on a handle or holder, often made of wood. Other materials can be used for the holder, including bone, metal and plastic. Generally speaking, dip pens have no ink reservoir; therefore the user has to recharge the ink from an ink bowl or bottle in order to continue drawing or writing. Birmingham, England was home to many of the first dip pen manufacturers. John Mitchell pioneered mass production of steel pens in 1822; prior to that the quill pen had been the most common form of writing instrument. His brother William Mitchell later set up his own pen making business in St Paul's square. The Mitchell family is credited as being the first manufacturers to use machines to cut pen nibs, which greatly sped up the process. Germany 1842 began at the factory of Heintze & Blanckertz in Berlin By 1860 there were about 100 companies making steel nibs in Birmingham, but 12 large firms dominated the trade. Dip pens are rarely used now for regular writing, most commonly having been replaced by fountain pens, rollerball pens, or ballpoint pens. However, dip pens are still appreciated by artists, as they can make great differences between thick and thin lines, and generally write more smoothly than other types of pens. Dip pens are also preferred by calligraphers for fine writing. Richard Esterbrook was a Cornish Quaker from England who saw an opportunity in the United States to manufacture Steel Pens. In 1856 R.Esterbrook traveled to the US to set up shop as 'The Steel Pen Manufacturing Company' where Richard made these steel pens by hand using special tools and machines (mostly that Richard had to invent). In 1858 he was able to establish himself as the sole pen manufacturer in the USA and he changed the company name to 'The Esterbrook Steel Pen Mfg. Co.' The company settled down in Camden, New Jersey. Quality was a key factor in his success. His steel pens were versatile, long lasting, and came in many different styles to fit the varied writing styles of the public. Sadly, Richard Esterbrook didn't see the 'empire' his company was to become as he passed away in Atlanta on October 12th 1895 . in 1896 they started an Esterbrook branch in England to join the ranks of the other main pen manufactures in Birmingham . In 1912 the company had gotten so large that they erected a 5 story building, just to continue manufacturing pens. By 1920 the fountain pen was fast becoming more popular amongst people who were tired of 'dipping.' To meet this demand the company manufactured its first fountain pen. In 1930 the company sought less expensive means of manufacturing pens because gold and 'jewel' tips were too expensive and in this same year they began selling fountain pens in England . The Esterbrook Company began using the metal Iridium which they called 'Durachrome.' To meet the fountain pen demand the company reformed as 'The Esterbrook Hazel Pens Ltd.' In 1940 war had come to strike a blow at the Esterbrook company. On November 19th 1940 their England location was hit by an incendiary bomb destroying half of the location! To make matters worse, when putting out the fire using a human water bucket chain, someone accidentally grabbed a bucket of paraffin and set the place further ablaze. Oddly enough, the company was able to rebuild the structure during the war. However, the government had placed a stipulation that 50% of its capacity was to be used for government related purposes. In 1947 the company bought out John Mitchell and the American branch had already acquired Hazel Pen Co. The company re-formed again as 'The Esterbrook Pen Company.' This is the last company name the dip pen nibs were manufactured under. A box of Steel dipping nibs for writing pensOn Box; Photo of man / R. Esternbrook Co. / PENS / PROBATEsteel nibs, writing pens, education, schools, writing, caligraphy, artists, moorabbin, bentleigh, cheltenham, dip pens, inkwells, fountain pens, mitchell john, birmingham england, esternbrook richard, maple barbara -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Photograph, B/W, x3 Wedding August & Frieda Rietmann 1910 and Certicicate, 1910,1915
August Rietmann (1877-1951) of Lustdorf ,Switzerland, married Maria Frieda Oesschlager (2/21878- 22/7/1942) of Baden Baden, Germany on 6/8/1910 In 1915 August and his wife Frieda migrated to Melbourne, Victoria, Australia. They leased Box Cottage, Ormond in 1917 and raised two children, Stefanie (1918 -2006) and William (1920- 1997). 1935 August purchased the property and the family used the Cottage during the day and slept in the Front House. August was a monumental mason, potter and sculptor, and was employed at Corbens Ltd Clifton Hill, to carve war memorials in Victoria post WW1 c 1915-1922. During the 1920's August set up his own business in pressed cement making pot plants, columns,paving slabs and lampstands. He continued to carve headstones and figures and took contract work for Artists eg Paul Mountford. He built a workshop in the Barn and used the Cottage for plaster moulding. His son William joined the business and and the family continued to use the site after August died in 1951. Rietman's Landscaping Ltd moved to Bay Road Highett in 1953 and later to Carrum. The land, containing the Box Cottage, was sold to Lewis Timber Pty Ltd in 1970 and Mr Lewis proposed that Moorabbin City Council should preserve the heritage Cottage. In 1984 the Cottage was dismantled and reconstructed in the adjacent Joyce Park.The Rietman family is an example of the diverse nationalities that lived and worked productively in Moorabbin Shire 1871–1933 , the City of Moorabbin 1934-1994 and continues today in the Cities of Glen Eira, Kingston, Bayside, and Monash. August, a sculptor and stone mason, was employed by Corben Pty Ltd Clifton Hill to carve WW1 Memorials before establishing his own successful masonry business in the Box Cottage during the latter 1920s. After becoming interested in pressed cement casting, he took on apprentices (1930s Depression) and among his products were garden furniture, pots and also street lamp standards, some of which were installed in St Kilda Road. After August’s death in 1951, his family continued the business ‘Rietman’s Landscaping Ltd.’, at Highett and Carrum.a) Photograph Black & White August & Frieda Rietmann Wedding 6/8/1910 in Baden Baden ; b) Passport Photograph August Rietmann 1915; c) Photograph Frieda Rietmann 1915; d) Document Wedding Certificate August & Frieda Rietmann Baden Baden 1910a) b) c) Handwritten information d) Official Document in Germanrietmann august, rietman august, rietmann frieda, rietman frieda, stonnington city town hall, war memorials, world war 1 1914-1918, rietman stefanie, rennick stefanie, francis stefanie, rietman william, rietman ray, mountford paul, malvern city town hall,box cottage museum ormond, box william, box elizabeth, joyce park ormond, rietman's landscaping pty ltd, bay road highett, macrobertson pty ltd, coleraine soldier memorial 1921, -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Documents, x3 Printed, Census Lustdorf 1914,15, Swiss Citizen Pass1915, 1914-1915
August Rietmann (1877-1951) of Lustdorf ,Switzerland, married Maria Frieda Oesschlager (2/21878- 22/7/1942) of Baden Baden, Germany on 6/8/1910 In 1915 August and his wife Frieda migrated to Melbourne, Victoria, Australia. They leased Box Cottage, Ormond in 1917 and raised two children, Stefanie (1918 -2006) and William (1920- 1997). 1935 August purchased the property and the family used the Cottage during the day and slept in the Front House. August was a monumental mason, potter and sculptor, and was employed at Corbens Ltd Clifton Hill, to carve war memorials in Victoria post WW1 c 1915-1922. During the 1920's August set up his own business in pressed cement making pot plants, columns,paving slabs and lampstands. He continued to carve headstones and figures and took contract work for Artists eg Paul Mountford. He built a workshop in the Barn and used the Cottage for plaster moulding. His son William joined the business and and the family continued to use the site after August died in 1951. Rietmann Landscaping Ltd moved to Bay Road Highett in 1953 and later to Carrum. The land, containing the Box Cottage, was sold to Lewis Timber Pty Ltd in 1970 and Mr Lewis proposed that Moorabbin City Council should preserve the heritage Cottage. In 1984 the Cottage was dismantled and reconstructed in the adjacent Joyce Park. The Rietman family is an example of the diverse nationalities that lived and worked productively in Moorabbin Shire 1871–1933 , the City of Moorabbin 1934-1994 and continues today in the Cities of Glen Eira, Kingston, Bayside, and Monash. August, a sculptor and stone mason, was employed by Corben Pty Ltd Clifton Hill to carve WW1 Memorials before establishing his own successful masonry business in the Box Cottage during the latter 1920s. After becoming interested in pressed cement casting, he took on apprentices (1930s Depression) and among his products were garden furniture, pots and also street lamp standards, some of which were installed in St Kilda Road. After August’s death in 1951, his family continued the business ‘Rietman’s Landscaping Ltd.’, at Highett and Carrum.Documents a) Census 1914 Household Register Lustdorf, Switzerland; b) Census 1915 Household Register Lustdorf, Switzerland; c) Swiss Confederation Citizen ship I.D Pass Frieda Rietman 4/8/1915;Printed Government Documents in Swiss Language lustdorf switzerland, rietmann august, rietman august, rietmann frieda, rietman frieda, stonnington city town hall, war memorials, world war 1 1914-1918, rietman stefanie, rennick stefanie, francis stefanie, rietman william, rietman ray, mountford paul, malvern city town hall,box cottage museum ormond, box william, box elizabeth, joyce park ormond, rietman's landscaping pty ltd, bay road highett, macrobertson pty ltd, coleraine soldier memorial 1921,, box cottage museum ormond -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Document, x 2 ,Photograph colour x1, Reciept NSW Govt. Immigration Dept., Ticket Orient Line 'Osterley' 1915 Mr Rietmann, Osterley steam ship, 1915
August Rietmann (1877-1951) of Lustdorf ,Switzerland, married Maria Frieda Oesschlager (2/21878- 22/7/1942) of Baden Baden, Germany on 6/8/1910 In August 8th 1915 August and his wife Frieda migrated to Melbourne, Victoria, Australia sailing on the Steam Ship ‘Osterley’ from Marseilles to Melbourne They leased Box Cottage, Ormond in 1917 and raised two children, Stefanie (1918 -2006) and William (1920- 1997). 1935 August purchased the property and the family used the Cottage during the day and slept in the Front House. August was a monumental mason, potter and sculptor, and was employed at Corbens Ltd Clifton Hill, to carve war memorials in Victoria post WW1 c 1915-1922. During the 1920's August set up his own business in pressed cement making pot plants, columns,paving slabs and lampstands. He continued to carve headstones and figures and took contract work for Artists eg Paul Mountford. He built a workshop in the Barn and used the Cottage for plaster moulding. His son William joined the business and and the family continued to use the site after August died in 1951. Rietmann Landscaping Ltd moved to Bay Road Highett in 1953 and later to Carrum. The land, containing the Box Cottage, was sold to Lewis Timber Pty Ltd in 1970 and Mr Lewis proposed that Moorabbin City Council should preserve the heritage Cottage. In 1984 the Cottage was dismantled and reconstructed in the adjacent Joyce Park. 'Osterley' SS of the Orient Line, 12,129 tons, was a Royal Mail Steam- Ship sailing to and from Australia c1915The Rietman family is an example of the diverse nationalities that lived and worked productively in Moorabbin Shire 1871–1933 , the City of Moorabbin 1934-1994 and continues today in the Cities of Glen Eira, Kingston, Bayside, and Monash. August, a sculptor and stone mason, was employed by Corben Pty Ltd Clifton Hill to carve WW1 Memorials before establishing his own successful masonry business in the Box Cottage during the latter 1920s. After becoming interested in pressed cement casting, he took on apprentices (1930s Depression) and among his products were garden furniture, pots and also street lamp standards, some of which were installed in St Kilda Road. After August’s death in 1951, his family continued the business ‘Rietman’s Landscaping Ltd.’, at Highett and Carrum.Printed Documents a) Mr A Rietmann Receipt from Immigration Department of New South Wales Australia; b) Original Ticket Orient Line Ship 'Osterley' Marseilles to Melbourne 1915 c) Photograph colour of 'Osterley' Steam Shipa) No. 4407 MELBOURNE PLACE, THE STRAND W.C. /London July 12 1915/ Received from Mr Rietmann Fourteen Pounds for passage Money to Melbourne b) ORIENT LINE/ ROYAL MAIL STEAM-SHIPS TO AUSTRALIA/ ............THIRD CLASS PASSENGER CONTRACT TICKET..............OSTERLEY ... to take in passengers of the Port of Marseilles for ..........MELBOURNE............on the Eighth day of August 1915 ..........Mr August Rietmann .......................£15:4 : - to be paid before embarkation c) Osterly Steam ship en route to Melbourneport of marseilles france, melbourne australia, orient steam ship line, osterley steam ship,rietmann august, rietman august, rietmann frieda, rietman frieda, stonnington city town hall, war memorials, world war 1 1914-1918, rietman stefanie, rennick stefanie, francis stefanie, rietman william, rietman ray, mountford paul, malvern city town hall,box cottage museum ormond, box william, box elizabeth, joyce park ormond, rietman's landscaping pty ltd, bay road highett, macrobertson pty ltd, coleraine soldier memorial 1921,