The two men in the curricle were in Brook Street outside Sunbury Railway Station.Before the advent of motor transport and buses, passengers from the train were taken by horse drawn vehicles to their destinations. An area was set aside at the station where the horses and vehicles waited for trains to arrive.A sepia photograph of two men seated in a stationary horse -drawn curricle beside a plantation area. There are two signs advertising horses and buggies for hire and some buildings are visible in the distance.curricles, brook street, sunbury, sunbury railway station

Great Western Street Scene 1890s. Weatherboard W.A. Stark General store with verandah. Two men standing in front and horse and cart. Weatherboard building at right corner street.Black and white photograph of a weather board store with veranda. Two men are standing at the side with horse and buggy in the street. On adjoining street corner is another building with veranda and tree behind.General Store W.A. Starkstawell

Colour photograph of man and lady in period costumes riding in four-wheel horse drawn buggy, with man seated in front driving horse, glimpse of man riding horse behind."Jim Mason (driving) Faye and Trevor Mason Len McDonald (on horse)".ldhs activities, ldhs exhibition linton park 1983, jim mason, faye mason, trevor mason, len mcdonald

Photograph of horse and buggy outside All Saint's School Greensborough. The building was demolished in 1924.Digital copy of black and white photograph.all saints anglican church, all saint's church of england

Digital copy of Louis Barelli and dog sitting on a buggy used to do local bread deliveries.Digital photograph showing Louis Barelli sitting on a cart that was used for bread deliverys.barelli louis, bakeries

Deep Lead Bunyip Bank Rail Crossing being up-graded 1933- Buggy in front of bridge.stawell transport railways

Stawell Coffee Palace formerly Castlemaine Hotel Lower Main Street with buggies in front. Established 1889.stawell

Bendigo Advertiser ''The way we were'' from 2002. Dynamic duo' Edward Wright and sister Alice Wright sit in their prize-winning 'buggy and pair' at the Rochester show in the 1920s. The clip is in a folder.newspaper, bendigo advertiser, the way we were

CLUNES POST OFFICE BUILDING NO LONGER IN USE AS POST OFFICE. TOWN HALL BUILDING NOW OWNED BY HEPBURN SHIRE, SINCE AMALGAMATION OF COUNCILS..1 PHOTOGRAPH (REPRINT) OF CLUNES POST OFFICE AND TOWN HALL, BAILEY STREET, CLUNES. BUGGY AND PEOPLE IN FRONT OF POST OFFICE. INCLUDING ST THOMAS AQUINAS CHURCH .2 NEGATIVE OF IMAGEBAILEY ST CLUNESlocal history, photography, photographs, town hall, post office

Black and white image of a man dressed in a white coat with a traditional butcher's apron seated on a horse drawn buggy. Beside him is a young boy on a horse, also wearing a traditional butcher's apron.commerce, horses, employment, moorabbin

MESCo offices in the process of construction. Sewerage contractor's buggy passing by. SW corner of Yarra and Corio Sts., Geelong.Yields information on MESCo Geelong building under construction. Black and white print on paperPlate 2-6 written in ink on the back of the photographmesco geelong, building construction, sewerage buggy

A simply design four-wheeled vehicle with one seat on a high side box tray. The transverse elliptical springs, front and rear, are set above the floor level which allows a lower centre of gravity, and easy entry. Colour Black body and reddish-brown undercarriage with black lining on the wheels. History Dating from the 1850s the piano box buggy became the most popular style of buggy in the USA and a common sight in Australia. The examples in this collection probably date from the early 1900s

Stawell railway Station with horse and buggy in front. Large trees to left of photo. Engraved "Railway Station Stawell 12.B/W/ Photgraph of the Stawell Railway Station. form the front, A large tree to the left of the station, also a Horse and Trap, also a Gaslight.stawell railways transport, mark dadswell

The photo shows a bullock team on Dunkeld Road, towards Yarram Gap.The photo shows a team of bullocks pulling a cart loaded with timber. There is a man standing directly behind the team. Further back a buggy carrying two people can be seen. There are pointy peaks rising in the background.timber industries, logging, transport, bullock team

A black and white photograph of two females sitting in a horse drawn buggy in front of a timber and corrugated iron shed. One female has been identified on the back of the photograph as Uraina Cullinan. The other is not known.on back: wrtten in pen; "The morning drive" / Uraina Cullinan - ? / DIGGERS RESTcullinan, uraina, eileen, bayview farm, diggers rest, hay bales, horse drawn vehicles, george evans collection

Photograph of unidentified horse and covered buggy. [Found when cleaning up an old house belonging to a deceased friend/relative of the Partington's]Digital copy of black and white photograph.

Hooded Buggy & Pair (Harry & Mary Johnston) 1930’s from Grange Farm corner of Sloane Street and Ararat Roadstawell

Document: Advertising flyer for J.H. Abbott & Co., Wholesale and Retail Warehouse, Market Square, Bendigo. Advertising hardware items, leather, buggy and dray harness, all handmade. Buff coloured document, printed with black.bendigo, hospital, abbott, j.h. & co, bendigo, abbott, industrial, retail

Isaac Cook Saddler Main Street Line Drawing of Isaac Cook Saddler Main Street with verandah and large glass windows. Shows lady and child on footpath, man in top hat and two horse buggy with man. Details printed below diagramstawell businesses, shop

Part of a collection donated by Miss Edith Elms via Chrisy Northcott. Lady probably early 1900's going on a visit by buggy.Woman in large hat and long dress covered by check rug sitting in a pony trap, on a grassy paddock with tree to left.local history, photography, photographs, transport, horse & buggy, sepia photograph, san remo

This is an image of the Warrnambool Lighthouse Complex on Middle Island in 1854. The Store, Lighthouse Keeper's Quarters, Lighthouse and Flagstaff are in the background. The foreground shows a covered buggy drawn by two horses and a person in attendance, and another wheeled vehicle behind it with a figure nearby. There is a saddled horse to the right with two males in conversation nearby. The ground is soft, perhaps the riverbed or sandy shore. THE LIGHTHOUSE KEEPERS Lighthouse Keepers were responsible for keeping their Lighthouse’s lights shining at night. They kept a lookout for passing vessels and changes in weather. They were expected to clean, polish and maintain the equipment and buildings. They kept regular and detailed records of who was on watch, and the time the light was lit, trimmed and extinguished. They kept a journal about other events that occurred. They keep regular, accurate Meteorological Logs. It was expected that they were competent in Morse code signalling. They would be called to help in times of disasters and shipwrecks and to give official statements about these events. Many Lighthouse Keepers also volunteered as members of the lifeboat crew. The Lady Bay lighthouses were officially classified as small, so the Keepers had the official titles of Senior Assistant Lighthouse Keeper and Assistant Lighthouse Keeper. They were employed by the Public Service and paid rent to live in the Lighthouse Quarters. They were compulsorily retired at the age of 60, with most receiving a superannuation payment. Despite their time-consuming duties, there was time to follow hobbies and crafts such as growing vegetables, playing musical instruments, making models of buildings including lighthouses, and crafting furniture pieces. An example of a keeper’s skills is the carved fire screen made by /assistant Keeper Thomas Hope in the late 19th century and displayed in the Lighthouse Keeper’s cottage at Flagstaff Hill. Both Alexander and Farncombe had served under Senior Keeper Robert Deverell, who was the first and only Senior Lighthouse Keeper at the Middle Island Complex. John Alexander was the Assistant Keeper in the 1850s. Andrew Farncombe was the last Assistant Keeper at Middle Island, serving there with his family from 1864 to 1871. During 1871 and 1872 the Lighthouse Complex was moved to Flagstaff Hill on Merri Street. Farncombe and Deverell then became the first Keepers and occupants of the Lady Bay Lighthouse Complex at Flagstaff Hill. They continued their service together; overall, Deverell served from 1859 to 1885 and Farncombe from 1864 to 1974. WARRNAMBOOL'S LADY BAY LIGHTHOUSE COMPLEX - The original Lighthouse Complex was built on Middle Island in 1858-1859 then transferred stone-by-stone to Flagstaff Hill in 1871. The Complex comprised the Lighthouse, the Lighthouse Keepers’ Quarters and a Privy. The bluestone Keeper’s Quarters was a cottage divided into two compartments, one for the Senior Keeper and his family, the other for the Assistant Keeper and his family. The bluestone Store was divided into three; a store, a workshop, and an oil store (or office). The Privy comprised a small building also divided into two separate, back-to-back toilets, one for each Keeper and his family. In the 1970s the Flagstaff Hill Planning Board was set up under the chairmanship of John Lindsay. The Board was to make recommendations to the Warrnambool City Council regarding the use of the buildings and the rest of the Crown Land on the site. The Flagstaff Hill Maritime Village opened in 1975 and began renovating the Cottage in stages, during which time evidence of a 1920s fire was found in the eastern section of the cottage. Additions of a porch on the west and a washroom on the east were made in the 1980s. The western part of the building is now a Shipwreck Museum and the east has returned to a late 19th-century Lighthouse Keeper’s cottage and includes the screen made by Assistant Lighthouse Keeper Thomas Hope in the late 19th century. Hope served two periods of time at the Lighthouse. This photograph is significant as a visual record of the original Warrnambool Lighthouse Complex on Middle Island, the origin of what is now the Lady Bay Lighthouse Complex. The photograph is significant for its connection to the Complex, which is now listed on the Victorian Heritage Register, H1520, for being of historical, scientific (technological) and architectural significance to the State of Victoria. The Complex is significant as an example of early colonial development. The photograph is significant for its connection with the important navigational function of the Lighthouses, a function still being performed to this day. The photograph is also significant as it shows an example of buildings organised by the Public Works Department in Victoria in the mid-to-late 19th century. The structures tare still stand strong. Photograph of horses, a buggy and three gentlemen in the foreground and the background shows a lighthouse and accompanying buildings. Printed in black and white. (Another two horse-drawn vehicles are partially visible). The subject is the Lighthouse Complex on Middle Island, Warrnambool, dated between 1854 and 1871.An inscription is handwritten in black pen on the back of the mounting board."The lighthouse and accompanying buildings were / established on Middle Island in 1854, as this / picture shows. In 1871 they were moved to their / present site on Flagstaff Hill."flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, warrnambool, maritime museum, shipwreck coast, lighthouse keeper's cottage, lighthouse residence, lighthouse, chart room, quarters, privy, middle island, beach lighthouse, obelisk, lighthouse complex, lady bay complex, warrnambool port, warrnambool harbour, lady bay, keepers, lighthouse keeper, upper lighthouse, lower lighthouse, assistant keeper, ports and harbours, cottage, meteorological record, 1854, 1871

Sister Rocks Stawell. Man Standing, lady in 4 wheel buggy, man on horse and children in background. View showing trees around the rocks.Black & White photocopy of Sister Rocks, Stawell. looking East. c 1900Sister Rocks, Stawellstawell scene

A four-wheeled, two-horse buggy and, further along, two men standing on a railway embankment before laying the track, near McDevitt in 1901A horseshoe curve near McDevitt during the course of construction of the Beech Forest railway, 1901.beech forest; mcdevitt; embankment; railway;

Early History of Carlton 1897-1958 by Hugh Buggy & Harry Bell. At the time of writing Carlton FC had won 8 VFL premierships. The book is significant because of information on players to 1958 and the foreword is written by Robert Menzies the then Prime Minister of Australia and the introduction is written by L R Kerr whose family are great supporters of Carlton, family members also played Carlton.265 Page Navy Blue hard cover bookInside cover signature of Ken Hands (Carlton great).

The Grinton Collection. Life after 1919, a rabbit catch. Refer Cat No. 1280 for Jack Grintons service details.Photograph - Framed. Photograph - black and white photograph on paper depicting a collection of culled rabbits on the ground below a backboard and wheels of a horse drawn buggy. Frame - Timber, light varnish finish, Perspex front, cardboard backing."Group 6: Life after 1919". " J. Rabbits." framed accesssories, camera on the somme, ww1, 38th bn, grinton

Bendigo Advertiser ''The way we were'' from 2001. Winning pair: Edward Wright and his sister Alice at Diggora West with prize-winning ''buggy and pair'' from the Rochester Show; circa 1920s. The clip is in a folder.newspaper, bendigo advertiser, the way we were

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: Charatome / Corning Buggy / Braise & Drag / believed to (illegible) built by Crawford and (illegible) / COBB & CO / WAGONETTE / B'WORTH MUSEUM Reverse: BEECHWORTH NOSTALGIA / BW-07(a) / B 8 / 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

Reproduced on pp32-33 of 'Pioneers & Painters' Royal Mail coach with passengers, parked outside Post-Office and St. Andrew's Hotel, Buggy parked in front.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 35 mm B&W negative Print 20 x 25 cm (2)shire of eltham pioneers photograph collection, queenstown, post office, pioneers and painters, st. andrews, st. andrews hotel, horse drawn carriage, royal mail coach