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: ERNEST MARCUSE / YACKANDANDAH / Reverse: Y 10 / 016 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

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 / 80 Reverse: Y 5 / 018 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

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: BANK OF VICTORIA / YACKANDANDAH / Reverse: Y 6 / 017 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

This object features a key with a labelled tag attached to it. It was once the key to the well-known Nepean Hotel. Also known locally as 'The Castle', likely due to its grand size and turret-like tower, the Nepean Hotel was officially established in 1872 by James Sandle Ford (https://poi-australia.com.au/points-of-interest/australia/victoria/portsea/approximate-site-ford-family-nepean-hotel-c-1870-pt-nepean-rd-near-fitzjohns-crt-portsea-mornington-peninsula-vic/). Born in 1811, Ford was only nineteen years old when he was sentenced to seven years transportation for 'Machine Breaking' in 1830. (https://nepeanhistoricalsociety.asn.au/james-sandle-ford/). He arrived in Van Diemen's Land (Tasmania) in 1831 and served five years of his sentence, before being pardoned in 1836. Ford met and married Irish immigrant Hannah Sullivan in 1841 in Sydney. The following year, the couple settled in Point Nepean. Ford is often accredited with the naming of the town of Portsea - after Portsea in Hampshire, UK - and spent a lifetime establishing himself throughout the area. This included: lime burning, dairying, horse judging and breeding, and the cultivation of land and livestock. Ford died in 1890, however his hotel continued to operate for many decades, run by his descendants - including Julia Cain during the first half of the twentieth century (https://trove.nla.gov.au/newspaper/article/65817831) (https://trove.nla.gov.au/newspaper/article/3734533). The hotel was demolished in 1971. This object is significant as it is important in relation to the development and prosperity of the area of Point Nepean. A door key with a rusted surface. One end of the key features a single set of teeth with three notches. Attached to the other end is a rounded handle with a hole through the middle. Looped through the hole is a piece of thin, rusted wire. The wire is looped through both the key and a hole in a white square-shaped tag. Printed on the tag are the words: 'CAIN'S HOTEL PORTSEA'. CAIN'S HOTEL, PORTSEAnepean hotel, cain family, james ford, james sandle ford, portsea hotel

This bellows was used at the Warrnambool Racecourse by Master Farrier, Brian Chapman (1931-2017), during the 1970s but its history before then is still being investigated. The bellows have continued to be used from 1978 at Flagstaff Hill's blacksmith's workshop. Even today, in 2021, this same bellows are used by a volunteer blacksmith as he demonstrate the skills and tells of the importance of the blacksmith trade to colonial Australia. This 1860s double-action bellows is a typical form of blacksmith's or shipsmith's bellows. The end is forge-fitted with an iron nozzle or tube, called a tuyere or Tue iron, which concentrates the air to fan the fire or furnace. Tuyeres were traditionally made of cow horn. The double-action design of this bellows efficiently moves air both in and out of the chambers in the one movement of the long handle. The bellows was manufactured by John C. Onions of Birmingham, England, between 1862 and 1875. The stamp with the text, Gold Medal 1862, was also used on the business’ advertising. In 1875 the company was registered and began using the name John C. Onions Limited. JOHN C. ONIONS - John C. (Collingwood) Onions (1841-1904) was the son of a bellows maker of the same name. Onions (born 1841) and his wife Helen married in 1867 and they named one of their children John Collingwood Onions (1868-1913), as was the family tradition. He was well known as a Birmingham manufacturer of patented bellows and other forge-related equipment. He sold to the wholesale and retail markets for both local and overseas customers, including the British colonies. An 1862 advertisement points out that John C. Onions was a “Bellows manufacturer and contractor to Her Majesty’s Honourable Board of Ordinance” and His Imperial Majesty the Emperor of the French [Napoleon Bonaparte]”. The advertisement includes a sketched portrait of the Emperor Napoleon III, and an Imperial Autograph Letter dated May 23, 1854, from Napoleon, Palace of the Tulleries to Mr J C Onions of Bradford Street, Birmingham. In 1863 the company registered a patent on portable forges. In 1871 there were eight employees. John C. Onions Limited became a registered company in 1875. In 1876 an advertisements included that the company were smiths for hearths and tools in general and showed a row of six medallions including one with “Napoleon III, Emperor” and his portrait, and another “ _ _ _ 1862 MEDAL”. Their advertising motto was “For Excellence of Quality”. In 1885 the company merged with William Allday and Sons to become Allday and Onions. This mid-19th century bellows has local historical significance as it were once used by blacksmiths at the Warrnambool Racecourse in the annual racing event that continues today. This bellows is significant as a working example of equipment used in the 1800 and 1900s in the trace of blacksmiths and other metal working smiths. The bellows is technologically significant as it shows the progress from simple bellows to the double-action bellows, a time saving and efficient improvement. The manufacturer John C. Onions is historically significant as a family business that began in the 1600s and continued up until the 1980s.Bellows; large, oval, mechanical double-action smith’s bellows, manually operated, in working condition. The paddles of wood that form the top, middle sections and base of the bellows have flexible leather pieces attached firmly between them, forming airtight double lungs. Cut-outs in the panels allow the bellows to fill with air then force it out. A long handle is connected to pump the bellows and control the quantity and force of the air. The blasts of air are forced through the metal nozzle or tuyere at the end of the bellows and into the forge’s fire. Inscriptions are impressed into the wood on the upper paddle or board of the bellows. There are three circular stamps containing text. Text impressed in the wooden upper paddle of the bellows has been assumed to read “JOHN C. ONIONS, PATENTEES & MANUFACTURERS, BIRMINGHAM””?” “EXTRA” “AWARDED FOR EXCELLENCE OF QUALITY”, made from the following readable text :- “JOHN C ONIONS“ “PATENT - - - & MAN - - - - - - - - -“, “BIR - - - - HAM“, “ _ ERA - - - - “- XTRA-“, “- - - - - - - FOR EXCELL-“ “OF - - - - ITY” Text in the stamp “ - - ECE - - “, “ - - - - - / 1862 / MEDAL”, “- ITY” flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, john collingwood onions, john c onions, allday and onions, bellows, smith’s bellows, 19th century bellows, double-action bellows, double-acting bellows, double lung bellows, double chamber bellows, blacksmith tools, blacksmith trade, blacksmith craft, blacksmith equipment, forging equipment, john c onions patented double-action bellows, brian chapman, warrnambool racecourse, blacksmith, shipsmith, iron smith, mechanical bellows

Programme for annual community awards and citizenship affirmation ceremonies. Citizen of the Year 2025 Nominee certificate - Robin Carter (RDHS)Welcome by Cr Kylie Spears, Mayor Thank you for joining us today at Maroondah City Council's Australia Day event at Ringwood Lake Park. Today is a free community event and an opportunity to celebrate our great city and nation in an inclusive and positive way. As Mayor, and for everyone attending the day, the Citizenship Ceremony will be a wonderful moment as we get to witness people from so many different countries embrace Australia, and Maroondah, as their new home. Citizenship is a representation of your commitment to the ideals and values of your adopted country, Australia. Becoming an Australian Citizen today indicates that you have chosen to take a significant step to be a full member of the Australian community. Maroondah City Council is especially proud that you have taken this step with us. On behalf of Council I also wish to congratulate all nominees in the Maroondah Australia Day Awards. I hope each nominee is proud of the contribution they make to our community. We appreciate your time and effort to make Maroondah a great place to live, work and play. While you're here, please take the time to discover this wonderful park and the facilities it offers, including the popular all-abilities playspace and the historical mining site (at the rear of the park) that provides an insight into the history of antimony mining in Ringwood in the 1870s. We hope you will enjoy the day with your family and friends. Awards include - Community Event of the Year - Maroondah Rotary Club Gala Night, Young Citizen of the Year - Shannon Freeman, and Citizen of the Year nominations - Kathy Adams, Ian Barnes, Andrew Brownlie, Heidi Butler-Moore, Robin Carter, Nicole Fernley, Marrianne Fry, Peter Rogers, Wendy Scott, Jonathon Tan, Heather Telford, Ken Weller.

John Woodland was the first President, Secretary and Engineer for the Shire of Wodonga, after it separated from the Yackandandah Shire in 1876, when the Victorian Government agreed to a ratepayers' petitions to form a new municipality.The framed photograph of John Woodland has local significance as he was the first President, Secretary and Engineer for the Shire of Wodonga when it was established in 1876. The photograph has historical significance as it is an illustration of three generations of a prominent family in Wodonga in the late 19th century in the stylised setting typical of that time. It also shows the kind of clothes and hair styles men, women and children from well-to-do familes wore.Sepia-toned photograph of John Woodland and his family in a brown wooden frame with a gold bevelled edge and grey matt board. Hand written inscription on the cardboard on the back of the frame." Mr John Woodland / & Family / first President / Secretary / Engineer } for Wodonga Shire" on the top of the cardboard back and above the following inscription: "Son Mr Charles Woodland & Grandson. / Daughters Mrs. R. F. Murphy, Secretary for Council for 35 years after her father's death / Mrs. Susan Nunan"john woodland, wodonga shire, woodland family, wodonga, john woodland photographs

A quarry was transformed into the Blue Lake. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p179 The dramatic steep-sided Plenty Gorge lies along the divide of two geological areas, and separates the Nillumbik Shire and the City of Whittlesea. On the Nillumbik side are undulating hills and sedimentary rock, and in Whittlesea, lies a basalt plain formed by volcanic action up to two million years ago. This provides the Plenty Gorge Park with diverse vegetation and habitats, making it one of Greater Melbourne’s most important refuges for threatened and significant species. The park, established in 1986, consists of around 1350 hectares, and extends 11 kilometres along the Plenty River, from Greensborough to Mernda. It provides a wildlife corridor for around 500 native plant and 280 animal species. The area’s plentiful food and water attracted the Wurundjeri Aboriginal people and then European settlers. By 1837 squatters had claimed large runs of land for their sheep and cattle. The Plenty Valley was among the first in the Port Phillip District to be settled - mainly in the less heavily timbered west - and was proclaimed a settled district in 1841.But by the late 1880s, the settlers’ extensive land clearing for animal grazing, then agriculture, depleted the Wurundjeri’s traditional food sources, which helped to drive them away. Many Wurundjeri artefacts remain (now government protected), and so far 57 sites have been identified in the park, including scarred trees, burial areas and stone artefacts. Pioneer life could be very hard because of isolation, flooding, bushfires and bushrangers. Following the Black Thursday bushfires of 1851, basalt was quarried to build more fire-resistant homes. Gold discoveries in the early 1850s swelled the population, particularly around Smugglers Gully; but food production made more of an impact. In the late 1850s wheat production supplanted grazing. In the 1860s the government made small holdings available to poorer settlers. These had the greatest effect on the district, particularly in Doreen and Yarrambat, where orchards were established from the 1880s to 1914. Links with a prominent early family are the remains of Stuchbery Farm, by the river’s edge bounded by Smugglers Gully to the north and La Trobe Road, Yarrambat, to the east. The Stuchberys moved to the valley in 1890, and the family still lives in the area. In 1890, Alfred and Ada first lived in a tent where four children were born, then Alfred built the house and outbuildings around 1896. They planted an orchard, then a market garden, and developed a dairy. The family belonged to the local Methodist and tennis communities. Their grandson Walter, opened the Flying Scotsman Model Railway Museum in Yarrambat, which his widow, Vi, continues to run. Wal was also the Yarrambat CFA Captain for 22 years until 1987. Walter sold 24 hectares in 1976 for development - now Vista Court - and in 1990, the remaining 22.6 hectares for the park. Remaining are an early stone dairy and remnants of a stone barn, a pig sty and a well. Until it was destroyed by fire in 2003, a slab hut stood on the Happy Hollow Farm site, at the southern end of the park. The hut is thought to have been built in the Depression around 1893. This was a rare and late example of a slab hut with a domestic orchard close to Melbourne. Emmet Watmough and his family first occupied the hut, followed by a succession of families, until the Bell family bought it around 1948. There they led a subsistence lifestyle for 50 years, despite encroaching Melbourne suburbia. The Yellow Gum Recreation Area includes the Blue Lake, coloured turquoise at certain times of the year. Following the 1957 bushfires, this area was quarried by Reid Quarries Pty Ltd for Melbourne’s first skyscrapers, then by Boral Australia. However in the early 1970s water began seeping into the quarry forming the Blue Lake and the quarry was closed. The State Government bought the site in 1997 and opened it as a park in 1999.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, blue lake, plenty gorge park

Stuchbery Farm was situated on the Plenty River bounded by Smugglers Gully to the north and La trobe Road, Yarrambat, to the east. Alan and Ada Stutchbery moved to the valley in 1890, first living in a tent where four children were born. Alfred built a home and outbuildings around 1896. They planted an orchard, then a market garden and developed a dairy. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p179 The dramatic steep-sided Plenty Gorge lies along the divide of two geological areas, and separates the Nillumbik Shire and the City of Whittlesea. On the Nillumbik side are undulating hills and sedimentary rock, and in Whittlesea, lies a basalt plain formed by volcanic action up to two million years ago. This provides the Plenty Gorge Park with diverse vegetation and habitats, making it one of Greater Melbourne’s most important refuges for threatened and significant species. The park, established in 1986, consists of around 1350 hectares, and extends 11 kilometres along the Plenty River, from Greensborough to Mernda. It provides a wildlife corridor for around 500 native plant and 280 animal species. The area’s plentiful food and water attracted the Wurundjeri Aboriginal people and then European settlers. By 1837 squatters had claimed large runs of land for their sheep and cattle. The Plenty Valley was among the first in the Port Phillip District to be settled - mainly in the less heavily timbered west - and was proclaimed a settled district in 1841. But by the late 1880s, the settlers’ extensive land clearing for animal grazing, then agriculture, depleted the Wurundjeri’s traditional food sources, which helped to drive them away. Many Wurundjeri artefacts remain (now government protected), and so far 57 sites have been identified in the park, including scarred trees, burial areas and stone artefacts. Pioneer life could be very hard because of isolation, flooding, bushfires and bushrangers. Following the Black Thursday bushfires of 1851, basalt was quarried to build more fire-resistant homes. Gold discoveries in the early 1850s swelled the population, particularly around Smugglers Gully; but food production made more of an impact. In the late 1850s wheat production supplanted grazing. In the 1860s the government made small holdings available to poorer settlers. These had the greatest effect on the district, particularly in Doreen and Yarrambat, where orchards were established from the 1880s to 1914. Links with a prominent early family are the remains of Stuchbery Farm, by the river’s edge bounded by Smugglers Gully to the north and La Trobe Road, Yarrambat, to the east. The Stuchberys moved to the valley in 1890, and the family still lives in the area. In 1890, Alfred and Ada first lived in a tent where four children were born, then Alfred built the house and outbuildings around 1896. They planted an orchard, then a market garden, and developed a dairy. The family belonged to the local Methodist and tennis communities. Their grandson Walter, opened the Flying Scotsman Model Railway Museum in Yarrambat, which his widow, Vi, continues to run. Wal was also the Yarrambat CFA Captain for 22 years until 1987. Walter sold 24 hectares in 1976 for development - now Vista Court - and in 1990, the remaining 22.6 hectares for the park. Remaining are an early stone dairy and remnants of a stone barn, a pig sty and a well. Until it was destroyed by fire in 2003, a slab hut stood on the Happy Hollow Farm site, at the southern end of the park. The hut is thought to have been built in the Depression around 1893. This was a rare and late example of a slab hut with a domestic orchard close to Melbourne. Emmet Watmough and his family first occupied the hut, followed by a succession of families, until the Bell family bought it around 1948. There they led a subsistence lifestyle for 50 years, despite encroaching Melbourne suburbia. The Yellow Gum Recreation Area includes the Blue Lake, coloured turquoise at certain times of the year. Following the 1957 bushfires, this area was quarried by Reid Quarries Pty Ltd for Melbourne’s first skyscrapers, then by Boral Australia. However in the early 1970s water began seeping into the quarry forming the Blue Lake and the quarry was closed. The State Government bought the site in 1997 and opened it as a park in 1999.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, ada stuchbery, alan stuchbery, dairy, stuchbery farm, farm buildings, yarrambat, plenty gorge park

Small grey booklet including the report from the Executive Committee, the Chaplain's report, Treasurer's report and a list of subscriptions for 1882. The report encompasses both the Victorian Seamen's Mission and Sandridge (No. 1) Sailors' Rest.The 1882 annual report outlines all the major activities involving the Mission over the course of the year as well as included names of those involved, participating, making decisions or donating time or money. The Danne family had a long standing involvement in the Mission from the latter decades of the 19th Century onwards. Handwritten in pen on top left hand corner: "Rev N.J. Danne"sandridge, sailors' rest, 1882, annual report, victorian seamen's mission, port melbourne, reverend n.j danne, mission to seafarers, seamen's mission, administrative document-annual report

Hankerchiefs have been used for centuries as a piece of cloth deemed useful for personal hygiene. They are usually kept in one's pocket but at times through history have been fluttered to attract attention or send a message. In harder times they proved to be a cheap item often used to add interest to an outfit. This item is one of five hankerchiefs which were brought back from France after WW1 by great uncles of Gloria Redman and have been passed down through her grandmother and mother. This item has significance as an item linked to a local family and World War 1 and as such has social, and historical significance. It is well provenanced and can be used to provide interest to the relating of a fairly common story whereby many soldiers brought or sent back small items such as hankerchiefs to their loved ones at home.Cream silk hankerchief embroidered in cream silk white work.The edge is done in blanket stitch on a scalloped edge. The embroidery is patterned around the edge in a wide border.warrnambool,, world war 1 hankerchief, hankerchief, redman hankerchief, embroidered hankerchief

Hankerchiefs have been used for centuries as a piece of cloth deemed useful for personal hygiene. They are usually kept in one's pocket but at times through history have been fluttered to attract attention or send a message. In harder times they proved to be a cheap item often used to add interest to an outfit. This item is one of five hankerchiefs which were brought back from France after WW1 by great uncles of Gloria Redman and have been passed down through her grandmother and mother. This item has significance as an item linked to a local family and World War 1 and as such has social, and historical significance. It is well provenanced and can be used to provide interest to the relating of a fairly common story whereby many soldiers brought or sent back small items such as hankerchiefs to their loved ones at home.Cream silk hankerchief with gold coloured blanket stitch on scalloped edge. Hot pink flowers with green leaves and stems are embroidered in each corner.warrnambool, silk hankerchief, embroidered hankerchief, ww1 embroidered hankerchief, redman

Hankerchiefs have been used for centuries as a piece of cloth deemed useful for personal hygiene. They are usually kept in one's pocket but at times through history have been fluttered to attract attention or send a message. In harder times they proved to be a cheap item often used to add interest to an outfit. This item is one of five hankerchiefs which were brought back from France after WW1 by great uncles of Gloria Redman and have been passed down through her grandmother and mother. This item has significance as an item linked to a local family and World War 1 and as such has social, and historical significance. It is well provenanced and can be used to provide interest to the relating of a fairly common story whereby many soldiers brought or sent back small items such as hankerchiefs to their loved ones at home.Cream silk hankerchief with soft pink edge in blanket stitch Embroidered with cluster of flowers and leaves in each corner with embroidered mauve butterfly. Smaller embroidered flowers above each butterfly. All done in colours of pink mauve, green and cream.warrnambool, embroidered hankerchief, ww1 embroidered hankerchief, redman hankerchief ww1

The Children's Cottages at Kew were first opened in 1887 as the "Idiot Ward" of Kew Asylum. Located on the asylum's grounds, the children's cottages were established to provide separate accommodation for child inmates who had previously been housed with adult patients. Although the Cottages only admitted children as patients, many of those children remained in residence at the Cottages as adults. The function of the institution was to provide accommodation and educational instruction for intellectually disabled children. Some Wards of the State and other various "difficult" children were also admitted.Shortly after opening, the Idiot Ward began functioning separately from the Kew Lunatic Asylum, and became known as the Kew Idiot Asylum from 1887 until c.1929. From 1929 they have been known as the "Children's Cottages, Kew" or alternatively "Kew Cottages Training Centre". The institution was finally closed in July 2008. [Source: Wikipedia, 2016]One of a series of framed historical photographs of the Kew Cottages that once formed part of the collection of the Kew Cottages Historical Society, founded by Dr. Cliff Judge and Fran Van Brummelen in the 1980s. The set contains both copies of originals in other collections such as the Public Record Office Victoria and photographs taken by Dr Judge for his books on intellectual disability in Victoria. The significance of the set of framed photographs is that they provide a curated collection of images of the development of the Cottages over a one hundred year period.Framed photograph, forming part of the Kew Cottages collection, donated by Kew Cottages Historical Society 1987-1993 in 1993. Dr. Judge was a consultant psychiatrist at the cottages for 14 years, as well as an author and vocal advocate for the intellectually disabled and their families."Kew Cottages - 1973 [sic] Boys exercising. Boys of the Cottages. The Superintendent's Office, right (until 1973). Wards 12 and 13 left."kew cottages, dr cliff judge, kew cottages historical society 1987-1993

The Children's Cottages at Kew were first opened in 1887 as the "Idiot Ward" of Kew Asylum. Located on the asylum's grounds, the children's cottages were established to provide separate accommodation for child inmates who had previously been housed with adult patients. Although the Cottages only admitted children as patients, many of those children remained in residence at the Cottages as adults. The function of the institution was to provide accommodation and educational instruction for intellectually disabled children. Some Wards of the State and other various "difficult" children were also admitted.Shortly after opening, the Idiot Ward began functioning separately from the Kew Lunatic Asylum, and became known as the Kew Idiot Asylum from 1887 until c.1929. From 1929 they have been known as the "Children's Cottages, Kew" or alternatively "Kew Cottages Training Centre". The institution was finally closed in July 2008. [Source: Wikipedia, 2016]One of a series of framed historical photographs of the Kew Cottages that once formed part of the collection of the Kew Cottages Historical Society, founded by Dr. Cliff Judge and Fran Van Brummelen in the 1980s. The set contains both copies of originals in other collections such as the Public Record Office Victoria and photographs taken by Dr Judge for his books on intellectual disability in Victoria. The significance of the set of framed photographs is that they provide a curated collection of images of the development of the Cottages over a one hundred year period.Framed photograph, forming part of the Kew Cottages collection, donated by Kew Cottages Historical Society 1987-1993 in 1993. Dr. Judge was a consultant psychiatrist at the cottages for 14 years, as well as an author and vocal advocate for the intellectually disabled and their families."Kew Cottages - Matron Malloy 19..-1944. Matron Molloy of Kew CCE until about 1944"kew cottages, matron maud molloy, kew cottages historical society 1987-1993

The Children's Cottages at Kew were first opened in 1887 as the "Idiot Ward" of Kew Asylum. Located on the asylum's grounds, the children's cottages were established to provide separate accommodation for child inmates who had previously been housed with adult patients. Although the Cottages only admitted children as patients, many of those children remained in residence at the Cottages as adults. The function of the institution was to provide accommodation and educational instruction for intellectually disabled children. Some Wards of the State and other various "difficult" children were also admitted.Shortly after opening, the Idiot Ward began functioning separately from the Kew Lunatic Asylum, and became known as the Kew Idiot Asylum from 1887 until c.1929. From 1929 they have been known as the "Children's Cottages, Kew" or alternatively "Kew Cottages Training Centre". The institution was finally closed in July 2008. [Source: Wikipedia, 2016]One of a series of framed historical photographs of the Kew Cottages that once formed part of the collection of the Kew Cottages Historical Society, founded by Dr. Cliff Judge and Fran Van Brummelen in the 1980s. The set contains both copies of originals in other collections such as the Public Record Office Victoria and photographs taken by Dr Judge for his books on intellectual disability in Victoria. The significance of the set of framed photographs is that they provide a curated collection of images of the development of the Cottages over a one hundred year period.Framed photograph, forming part of the Kew Cottages collection, donated by Kew Cottages Historical Society 1987-1993 in 1993. Dr. Judge was a consultant psychiatrist at the cottages for 14 years, as well as an author and vocal advocate for the intellectually disabled and their families.Kew Cottages - Yard 1926/27. The yard of what was previously ward 26/27. New unit 7/8. kew cottages, dr cliff judge, kew cottages historical society 1987-1993

The Children's Cottages at Kew were first opened in 1887 as the "Idiot Ward" of Kew Asylum. Located on the asylum's grounds, the children's cottages were established to provide separate accommodation for child inmates who had previously been housed with adult patients. Although the Cottages only admitted children as patients, many of those children remained in residence at the Cottages as adults. The function of the institution was to provide accommodation and educational instruction for intellectually disabled children. Some Wards of the State and other various "difficult" children were also admitted.Shortly after opening, the Idiot Ward began functioning separately from the Kew Lunatic Asylum, and became known as the Kew Idiot Asylum from 1887 until c.1929. From 1929 they have been known as the "Children's Cottages, Kew" or alternatively "Kew Cottages Training Centre". The institution was finally closed in July 2008. [Source: Wikipedia, 2016]One of a series of framed historical photographs of the Kew Cottages that once formed part of the collection of the Kew Cottages Historical Society, founded by Dr. Cliff Judge and Fran Van Brummelen in the 1980s. The set contains both copies of originals in other collections such as the Public Record Office Victoria and photographs taken by Dr Judge for his books on intellectual disability in Victoria. The significance of the set of framed photographs is that they provide a curated collection of images of the development of the Cottages over a one hundred year period.Framed photograph, forming part of the Kew Cottages collection, donated by Kew Cottages Historical Society 1987-1993 in 1993. Dr. Judge was a consultant psychiatrist at the cottages for 14 years, as well as an author and vocal advocate for the intellectually disabled and their families.Kew Cottages - Dormitory (12 beds). A dormitory at the Cottages.kew cottages, dr cliff judge, kew cottages historical society 1987-1993

The wooden pattern is part of a set that are stored in a strong wooden crate. It was used at Briggs’ Brass Foundry for making sand casts. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century. Pattern; rectangular wooden block made from laminated sections of wood painted black. A half-cylinder shape was carved into the long side, and a dowel shape was placed at the lower side. The pattern is part of a set of foundry patterns from Briggs Brass Foundry.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912

The wooden pattern is part of a set that are stored in a strong wooden crate. It was used at Briggs’ Brass Foundry for making sand casts. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century. Pattern; pair of U-shaped carved blocks, unpainted. The blocks have opposing metal pins and holes to hold them together. One block has a disc shape carved into the base. The pattern is part of a set of foundry patterns from Briggs Brass Foundry.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912

The Children's Cottages at Kew were first opened in 1887 as the "Idiot Ward" of Kew Asylum. Located on the asylum's grounds, the children's cottages were established to provide separate accommodation for child inmates who had previously been housed with adult patients. Although the Cottages only admitted children as patients, many of those children remained in residence at the Cottages as adults. The function of the institution was to provide accommodation and educational instruction for intellectually disabled children. Some Wards of the State and other various "difficult" children were also admitted.Shortly after opening, the Idiot Ward began functioning separately from the Kew Lunatic Asylum, and became known as the Kew Idiot Asylum from 1887 until c.1929. From 1929 they have been known as the "Children's Cottages, Kew" or alternatively "Kew Cottages Training Centre". The institution was finally closed in July 2008. [Source: Wikipedia, 2016]One of a series of framed historical photographs of the Kew Cottages that once formed part of the collection of the Kew Cottages Historical Society, founded by Dr. Cliff Judge and Fran Van Brummelen in the 1980s. The set contains both copies of originals in other collections such as the Public Record Office Victoria and photographs taken by Dr Judge for his books on intellectual disability in Victoria. The significance of the set of framed photographs is that they provide a curated collection of images of the development of the Cottages over a one hundred year period.Framed photograph, forming part of the Kew Cottages collection, donated by Kew Cottages Historical Society 1987-1993 in 1993. Dr. Judge was a consultant psychiatrist at the cottages for 14 years, as well as an author and vocal advocate for the intellectually disabled and their families." Kew Cottages - Airing Court Shed demolished 1976. The building in the foreground was a so-called 'airing-court-shed'. The other building is an old Court Pell hut (ex Royal Park) transported here after World War II. There were two other such huts behind this. All these buildings were demolished in 1976 to make way for the Graham Perkins Unit."kew cottages, dr cliff judge, kew cottages historical society 1987-1993

The Children's Cottages at Kew were first opened in 1887 as the "Idiot Ward" of Kew Asylum. Located on the asylum's grounds, the children's cottages were established to provide separate accommodation for child inmates who had previously been housed with adult patients. Although the Cottages only admitted children as patients, many of those children remained in residence at the Cottages as adults. The function of the institution was to provide accommodation and educational instruction for intellectually disabled children. Some Wards of the State and other various "difficult" children were also admitted.Shortly after opening, the Idiot Ward began functioning separately from the Kew Lunatic Asylum, and became known as the Kew Idiot Asylum from 1887 until c.1929. From 1929 they have been known as the "Children's Cottages, Kew" or alternatively "Kew Cottages Training Centre". The institution was finally closed in July 2008. [Source: Wikipedia, 2016]One of a series of framed historical photographs of the Kew Cottages that once formed part of the collection of the Kew Cottages Historical Society, founded by Dr. Cliff Judge and Fran Van Brummelen in the 1980s. The set contains both copies of originals in other collections such as the Public Record Office Victoria and photographs taken by Dr Judge for his books on intellectual disability in Victoria. The significance of the set of framed photographs is that they provide a curated collection of images of the development of the Cottages over a one hundred year period.Framed photograph, forming part of the Kew Cottages collection, donated by Kew Cottages Historical Society 1987-1993 in 1993. Dr. Judge was a consultant psychiatrist at the cottages for 14 years, as well as an author and vocal advocate for the intellectually disabled and their families."Kew Cottages - Group of 30 Men – Hospital Ward in Background. The Hospital Ward in the background."kew cottages, dr cliff judge, kew cottages historical society 1987-1993

The Children's Cottages at Kew were first opened in 1887 as the "Idiot Ward" of Kew Asylum. Located on the asylum's grounds, the children's cottages were established to provide separate accommodation for child inmates who had previously been housed with adult patients. Although the Cottages only admitted children as patients, many of those children remained in residence at the Cottages as adults. The function of the institution was to provide accommodation and educational instruction for intellectually disabled children. Some Wards of the State and other various "difficult" children were also admitted.Shortly after opening, the Idiot Ward began functioning separately from the Kew Lunatic Asylum, and became known as the Kew Idiot Asylum from 1887 until c.1929. From 1929 they have been known as the "Children's Cottages, Kew" or alternatively "Kew Cottages Training Centre". The institution was finally closed in July 2008. [Source: Wikipedia, 2016]One of a series of framed historical photographs of the Kew Cottages that once formed part of the collection of the Kew Cottages Historical Society, founded by Dr. Cliff Judge and Fran Van Brummelen in the 1980s. The set contains both copies of originals in other collections such as the Public Record Office Victoria and photographs taken by Dr Judge for his books on intellectual disability in Victoria. The significance of the set of framed photographs is that they provide a curated collection of images of the development of the Cottages over a one hundred year period.Framed photograph, forming part of the Kew Cottages collection, donated by Kew Cottages Historical Society 1987-1993 in 1993. Dr. Judge was a consultant psychiatrist at the cottages for 14 years, as well as an author and vocal advocate for the intellectually disabled and their families."Kew Cottages. Girls in front of Ward 25."kew cottages, dr cliff judge, kew cottages historical society 1987-1993

The Children's Cottages at Kew were first opened in 1887 as the "Idiot Ward" of Kew Asylum. Located on the asylum's grounds, the children's cottages were established to provide separate accommodation for child inmates who had previously been housed with adult patients. Although the Cottages only admitted children as patients, many of those children remained in residence at the Cottages as adults. The function of the institution was to provide accommodation and educational instruction for intellectually disabled children. Some Wards of the State and other various "difficult" children were also admitted.Shortly after opening, the Idiot Ward began functioning separately from the Kew Lunatic Asylum, and became known as the Kew Idiot Asylum from 1887 until c.1929. From 1929 they have been known as the "Children's Cottages, Kew" or alternatively "Kew Cottages Training Centre". The institution was finally closed in July 2008. [Source: Wikipedia, 2016]One of a series of framed historical photographs of the Kew Cottages that once formed part of the collection of the Kew Cottages Historical Society, founded by Dr. Cliff Judge and Fran Van Brummelen in the 1980s. The set contains both copies of originals in other collections such as the Public Record Office Victoria and photographs taken by Dr Judge for his books on intellectual disability in Victoria. The significance of the set of framed photographs is that they provide a curated collection of images of the development of the Cottages over a one hundred year period.Framed photograph, forming part of the Kew Cottages collection, donated by Dr Cliff Judge in 1993. Dr. Judge was a consultant psychiatrist at the cottages for 14 years, as well as an author and vocal advocate for the intellectually disabled and their families. [Conservation note: Broken glass to be replaced]"Kew Cottages - Wards 11,12,13 & Old Conference Room. Left to right - Wards 11, 12 and 13. Old Conference Room - Wards 23, 22 and 21."kew cottages, dr cliff judge, kew cottages historical society 1987-1993

The Children's Cottages at Kew were first opened in 1887 as the "Idiot Ward" of Kew Asylum. Located on the asylum's grounds, the children's cottages were established to provide separate accommodation for child inmates who had previously been housed with adult patients. Although the Cottages only admitted children as patients, many of those children remained in residence at the Cottages as adults. The function of the institution was to provide accommodation and educational instruction for intellectually disabled children. Some Wards of the State and other various "difficult" children were also admitted.Shortly after opening, the Idiot Ward began functioning separately from the Kew Lunatic Asylum, and became known as the Kew Idiot Asylum from 1887 until c.1929. From 1929 they have been known as the "Children's Cottages, Kew" or alternatively "Kew Cottages Training Centre". The institution was finally closed in July 2008. [Source: Wikipedia, 2016]One of a series of framed historical photographs of the Kew Cottages that once formed part of the collection of the Kew Cottages Historical Society, founded by Dr. Cliff Judge and Fran Van Brummelen in the 1980s. The set contains both copies of originals in other collections such as the Public Record Office Victoria and photographs taken by Dr Judge for his books on intellectual disability in Victoria. The significance of the set of framed photographs is that they provide a curated collection of images of the development of the Cottages over a one hundred year period.Framed photograph, forming part of the Kew Cottages collection, donated by Dr Cliff Judge in 1993. Dr. Judge was a consultant psychiatrist at the cottages for 14 years, as well as an author and vocal advocate for the intellectually disabled and their families. [Conservation note: Glass to be replaced]"Kew Cottages - Old Ward 21 (The Nursery). Old Ward 21, previously the 'nursery', and demolished in 1973 to make way for units 4 and 5. "kew cottages, dr cliff judge, kew cottages historical society 1987-1993

The Children's Cottages at Kew were first opened in 1887 as the "Idiot Ward" of Kew Asylum. Located on the asylum's grounds, the children's cottages were established to provide separate accommodation for child inmates who had previously been housed with adult patients. Although the Cottages only admitted children as patients, many of those children remained in residence at the Cottages as adults. The function of the institution was to provide accommodation and educational instruction for intellectually disabled children. Some Wards of the State and other various "difficult" children were also admitted.Shortly after opening, the Idiot Ward began functioning separately from the Kew Lunatic Asylum, and became known as the Kew Idiot Asylum from 1887 until c.1929. From 1929 they have been known as the "Children's Cottages, Kew" or alternatively "Kew Cottages Training Centre". The institution was finally closed in July 2008. [Source: Wikipedia, 2016]One of a series of framed historical photographs of the Kew Cottages that once formed part of the collection of the Kew Cottages Historical Society, founded by Dr. Cliff Judge and Fran Van Brummelen in the 1980s. The set contains both copies of originals in other collections such as the Public Record Office Victoria and photographs taken by Dr Judge for his books on intellectual disability in Victoria. The significance of the set of framed photographs is that they provide a curated collection of images of the development of the Cottages over a one hundred year period.Framed photograph, forming part of the Kew Cottages collection, donated by Kew Cottages Historical Society 1987-1993 in 1993. Dr. Judge was a consultant psychiatrist at the cottages for 14 years, as well as an author and vocal advocate for the intellectually disabled and their families."Kew Cottages - Wards 11,12,13,13A. Wards 11, 12, 13 and 13A. The Hospital Ward is in the background. Ward 13A was demolished in 1966."kew cottages, dr cliff judge, kew cottages historical society 1987-1993

The Children's Cottages at Kew were first opened in 1887 as the "Idiot Ward" of Kew Asylum. Located on the asylum's grounds, the children's cottages were established to provide separate accommodation for child inmates who had previously been housed with adult patients. Although the Cottages only admitted children as patients, many of those children remained in residence at the Cottages as adults. The function of the institution was to provide accommodation and educational instruction for intellectually disabled children. Some Wards of the State and other various "difficult" children were also admitted.Shortly after opening, the Idiot Ward began functioning separately from the Kew Lunatic Asylum, and became known as the Kew Idiot Asylum from 1887 until c.1929. From 1929 they have been known as the "Children's Cottages, Kew" or alternatively "Kew Cottages Training Centre". The institution was finally closed in July 2008. [Source: Wikipedia, 2016]Framed photograph, forming part of the Kew Cottages collection, donated by Dr Cliff Judge in 1993. Dr. Judge was a consultant psychiatrist at the cottages for 14 years, as well as an author and vocal advocate for the intellectually disabled and their families."Kew Cottages - Outside Old Ward 12. Outside old Ward 12 (now Unit 10). The persons first, second and fourth from the left were blind."kew cottages, dr cliff judge, kew cottages historical society 1987-1993

The Children's Cottages at Kew were first opened in 1887 as the "Idiot Ward" of Kew Asylum. Located on the asylum's grounds, the children's cottages were established to provide separate accommodation for child inmates who had previously been housed with adult patients. Although the Cottages only admitted children as patients, many of those children remained in residence at the Cottages as adults. The function of the institution was to provide accommodation and educational instruction for intellectually disabled children. Some Wards of the State and other various "difficult" children were also admitted.Shortly after opening, the Idiot Ward began functioning separately from the Kew Lunatic Asylum, and became known as the Kew Idiot Asylum from 1887 until c.1929. From 1929 they have been known as the "Children's Cottages, Kew" or alternatively "Kew Cottages Training Centre". The institution was finally closed in July 2008. [Source: Wikipedia, 2016]One of a series of framed historical photographs of the Kew Cottages that once formed part of the collection of the Kew Cottages Historical Society, founded by Dr. Cliff Judge and Fran Van Brummelen in the 1980s. The set contains both copies of originals in other collections such as the Public Record Office Victoria and photographs taken by Dr Judge for his books on intellectual disability in Victoria. The significance of the set of framed photographs is that they provide a curated collection of images of the development of the Cottages over a one hundred year period.Framed photograph, forming part of the Kew Cottages collection, donated by the Kew Cottages Historical Society 1987-1993 in 1993. Dr. Judge was a consultant psychiatrist at the cottages for 14 years, as well as an author and vocal advocate for the intellectually disabled and their families."An old dormitory in the year 1973. It is still in use as a therapy room and store. Originally these buildings were called tents. Open air treatment was used to cure bad cases of insanity."kew cottages, dr cliff judge, kew cottages historical society 1987-1993

Diggers & Mining. Stores at the diggings. This old photograph shows a hotel on the Wedderburn diggings in 1855. The wooden structures have chimneys. Slide shows that there are families with horses and carts in the photo as well. Markings: 44 994.LIF. 5. Used as a teaching aid.hanimounteducation, tertiary, goldfields

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: ERNEST MARCUSE / BANK OF VICTORIA / YACKANDANDAH Reverse: Y 2 / 013 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

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 / ERNEST MARCUSE Reverse: Y 1 / 012 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