This book records the date, name, ship, nationality and signature of seafarers who visited the mission.A picture of where ships came from and the nationalities of their crews is presented. Front cover: MTS Visitors Book 10/08/07 to 22/02/08visitors, crew, ship, nationality, seamen, sailors, seafarers, melbourne, flinders street, mission to seafarers, seamen mission

Black and white aerial photographSimilar photograph -Reg 926 located in NWD 02-09-07 - Item no G0033

One of a number of documents relating to the Bostock family. Unsure to which Mr Bostock this letter relates. Generally speaks of the weather and his wife’s illness.One of a number of items relating to the Bostock family and is indicative of letters of the time. One page hand written letter in black pen. White lined paper.Addressed to Mr Bostock from J C McPherson. Dated 13/07/52 ?bostock, warrnambool

Pink card with black typing. It is a ticket for the Victorian Theatre at Sovereign Hill, Ballarat East.VICTORIA THEATRE SOVEREIGN HILL BALLARAT F 07 Balcony 20 DEC 1982victoria theatre, ticket, sovereign hill, ballarat

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 / Marcuse Reverse: B6 / Beechworth Nostalgia / BW - 07 (crossed out)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

Digital image of train ticket, Greensborough to Jolimont, single, issued 14/07/1969.Part of a collection of miscellaneous historical images with a connection to the local area.Digital image of train ticket. Light brown with black text.train tickets, greensborough station, jolimont station

Grave of Carr Brown (died 26/07/1910) in Plot# I17 Greensborough CemeteryGreensborough Cemetery was created when land was given for the cemetery by Mr William Poulter, a local settler, about 1864. The cemetery holds the graves of many early settlers in the district. Digital copy of colour photograph of grave/headstone [damaged]carr brown, greensborough cemetery

Grave of Carr Brown (died 26/07/1910) in Plot# I17 Greensborough Cemetery.Greensborough Cemetery was created when land was given for the cemetery by Mr William Poulter, a local settler, about 1864. The cemetery holds the graves of many early settlers in the district. Digital copy of colour photograph of grave/headstone.carr brown, greensborough cemetery

Grave of Carr Brown (died 26/07/1910) in Plot# I17 Greensborough Cemetery. Greensborough Cemetery was created when land was given for the cemetery by Mr William Poulter, a local settler, about 1864. The cemetery holds the graves of many of the early settlers in the district. Digital copy of colour photograph of grave/headstone [damaged]greensborough cemetery, carr brown

The Grave of [unknown child] Dunn (died 07/05/1916), St Helena Cemetery.St Helena Cemetery was originally the burial place of the Beale family and friends. The first burials took place in the 1850s. There are now over 200 burials.Digital copy of colour photograph (damaged grave)st helena cemetery, dunn family

The Grave of Ada E Jones (died 20/07/2010), St Helena Cemetery.St Helena Cemetery was originally the burial place of the Beale family and friends. The first burials took place in the 1850s. There are now over 200 burials.Digital copy of colour photograph (grave)st helena cemetery, jones family

The Grave of Lynn W Lobb (died 07/12/2002), St Helena Cemetery.St Helena Cemetery was originally the burial place of the Beale family and friends. The first burials took place in the 1850s. There are now over 200 burials.Digital copy of colour photograph (grave)st helena cemetery, lobb family

The Grave of Robert Morton Tait (died 06/07/1942), St Helena Cemetery.St Helena Cemetery was originally the burial place of the Beale family and friends. The first burials took place in the 1850s. There are now over 200 burials.Digital copy of colour photograph (grave)st helena cemetery, tait family

This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed watercolour by Dr David Alexander showing a coastal scene. Gift of David Alexander, 2013art, artwork, david alexander, alexander, landscape, gippsland campus, churchill

Creswick Road is in Ballarat.A painting of a landscape along Creswick Road, Ballarat by David Alexander. Gift of David Alexander, 2013Signed in ink lower left corner 'Along Creswick Road About 1965. D. Alexander'creswick road, ballarat, art, artist, david alexander, available

Bendigo Advertiser celebrates 160 years December 9, 1853 - 2013. A part of Bendigo life.newspaper, bendigo advertiser, 160 years

The story of the regrowth of the Marysville community after the 2009 Black Saturday bushfirePaperback. Front cover has two colour photographs. One is a blurred photograph of a silhouette of a tree with fire behind it. The other is of a plant just starting to grow. Back cover has the symbol depicting Maryville's 150 anniversary in 2013. Stamp of Marysville & District / Historical Society Inc / P.O. Box 22 / Marysville 3779marysville, black saturday, bushfire, community, triangle community, regrowth

The story of the regrowth of the Marysville community after the 2009 Black Saturday bushfirePaperback. Front cover has two colour photographs. One is a blurred photograph of a silhouette of a tree with fire behind it. The other is of a plant just starting to grow. Back cover has the symbol depicting Maryville's 150 anniversary in 2013. Stamp of Marysville & District / Historical Society Inc / P.O. Box 22 / Marysville 3779marysville, black saturday, bushfire, community, triangle community, regrowth

The story of the regrowth of the Marysville community after the 2009 Black Saturday bushfirePaperback. Front cover has two colour photographs. One is a blurred photograph of a silhouette of a tree with fire behind it. The other is of a plant just starting to grow. Back cover has the symbol depicting Maryville's 150 anniversary in 2013. Stamp of Marysville & District / Historical Society Inc / P.O. Box 22 / Marysville 3779marysville, black saturday, bushfire, community, triangle community, regrowth

The story of the regrowth of the Marysville community after the 2009 Black Saturday bushfirePaperback. Front cover has two colour photographs. One is a blurred photograph of a silhouette of a tree with fire behind it. The other is of a plant just starting to grow. Back cover has the symbol depicting Maryville's 150 anniversary in 2013. Stamp of Marysville & District / Historical Society Inc / P.O. Box 22 / Marysville 3779marysville, black saturday, bushfire, community, triangle community, regrowth

One of 14 colour photographs taken at the PMHPS Annual General Meeting (AGM) August 26, 2013; celebrating 20 years of the Society. Celebration cake made by Marilyn Allport Wendy Morris, Liana Thompson, Greg Hansencelebrations fetes and exhibitions, societies clubs unions and other organisations, port melbourne historical & preservation society, pmhps, wendy morris, liana thompson, greg hansen

One of 14 colour photographs taken at the PMHPS Annual General Meeting (AGM) August 26, 2013; celebrating 20 years of the Society. Celebration cake made by Marilyn Allport John Kirby, Phil King, Nicholas Creecelebrations fetes and exhibitions, societies clubs unions and other organisations, port melbourne historical & preservation society, pmhps, john kirby, phil king, nicholas cree

One of 14 colour photographs taken at the PMHPS Annual General Meeting (AGM) August 26, 2013; celebrating 20 years of the Society. Celebration cake made by Marilyn Allport Suzy Milburn, Ron Stranks, Marilyn Allportcelebrations fetes and exhibitions, societies clubs unions and other organisations, port melbourne historical & preservation society, pmhps, suzy milburn, ron stranks, marilyn allport

One of 14 colour photographs taken at the PMHPS Annual General Meeting (AGM) August 26, 2013; celebrating 20 years of the Society. Celebration cake made by Marilyn Allport Susan Reidy, David Thompson, Margaret Bridecelebrations fetes and exhibitions, societies clubs unions and other organisations, port melbourne historical & preservation society, pmhps, susan reidy, david thompson, margaret bride

Document. The Owen Williams Collection. Receipt headed Mitchell St Bendigo 21/11/99 'from Mr Williams for the sum of eleven pounds seven shillings and nine pence being payment of the first bill at three months on purchase of lot 2 in the Grand View Estate Bendigo.' Signed 21/11/99 by J.W? Daley. With red one penny stamp.bendigo, industry, owen williams & co.

Yields information the appearance of the SEC tramcar No. 21, and the Victoria St landscape in 1957.Digital image from the Wal Jack Ballarat Album of trams No. 21 outbound in Victoria St before arriving at the terminus and crossing over the Buninyong Rail bridge. Tram has the destination of Gardens via Sturt St west. In the background is the bridge brickwork. Photo taken 25 June 1957. See image i2 for rear of photograph.on rear of photo in ink, "SEC Ballarat, No. 21 ex Adelaide No. 10, in Victoria St near terminus, 25 June '57" and "W.Jack photo Neg. to D. Colquhoun"trams, tramways, victoria st, tram 21

Ref: LA/07 HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Handle of a pocket knife, wood and metal. Badly encrusted Length 3". Recovered from the wreck of the Loch Ard. Artefact Reg No LA/07. Handle is in 2 piecesflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, pocket knife