The puppets were made by German POW's in camp 13 and sent to internment camp 3 as gifts for the children at Christmas time.Paper mache head hand painted brown with black hair and beard. Bright blue painted eyes. Black and white check hat. Brown fabric body with purple and white striped tie. Attached with tacks to wooden head support.pow puppets, pow handcrafts, hand puppets, sharron lohe

The puppets were made by German POW's in camp 13 and sent to internment camp 3 as gifts for the children at Christmas time.Paper mache head in shape of a skull - painted grey with black eyes, nose and white mouth. Wearing a dark brown "bush" hat.pow puppets, pow handcrafts, hand puppets, sharron lohe, ww2 internment camp puppet theatre, puppet theatre

The puppets were made by German POW's in camp 13 and sent to internment camp 3 as gifts for the children at Christmas time.Brown paper mache head and arms, no body. Long dark blue material trousers under the dress. At end of material legs are small paper wooden legs and black shoes intact. Judy has a colourful dress with yellow apron. Dress has many different pieces of material of various patterns.pow puppets, pow handcrafts, hand puppets, sharon lohe, ww2 internment camp puppet theatre, murchison internment camp

The puppets were made by German POW's in camp 13 and sent to internment camp 3 as gifts for the children at Christmas time.Tan paper mache head ,face painted with water colours, brown headscarf over white hair, green dress with long sleeves. No body or arms/legs.pow puppets, pow handcrafts, hand puppets, sharron lohe, ww2 internment camp puppet theatre, puppet theatre

The puppets were made by German POW's in camp 13 and sent to internment camp 3 as gifts for the children at Christmas time.Paper mache head ,face painted with water colours, pink headscarf held down with tacks, a red dress with long sleeves. No body or arms/legs.pow puppets, pow handcrafts, hand puppets

The puppets were made by German POW's in camp 13 and sent to internment camp 3 as gifts for the children at Christmas time.Paper mache head of man with large nose, pointed chin and moustache. Hand painted blue eyes. Moustache and eye brows made with cotton thread. Magenta tie stitched to neck. Bottle green felt jacket with magenta trim. Leather hands attached to sleeves. Light brown skirt attached to jacket. leather ears on head. pow puppets, pow handcrafts, hand puppets

The puppets were made by German POW's in camp 13 and sent to internment camp 3 as gifts for the children at Christmas time. Paper mache head & arms hand painted pink. Small paper crown on top of white painted hair. White fabric dress with metallic gold trim in front on sleeves. A high collar attached to dress made of white fabric covering leather for stiffness. Blue cotton coat with gold trim. Wooden legs covered in calico with blue painted high heel shoes, with white heels.pow puppets, pow handcrafts, hand puppets, sharron lohe, ww2 internment camp puppet theatre, puppet theatre

This photograph on an iPhone 4 during the Museums Australia (Vic) Conference at the National Wool Museum, Geelong. Since the arrival of sheep with the First Fleet in 1788, the wool industry has dominated our economy, our agriculture and our reputation as a quality wool-growing nation throughout the world. Geelong is a city synonymous with wool and the wool industry – sheep farming began here in 1835 and the first of many woollen mills opened here in 1868. For many years the city was known as the 'wool centre of the world'. Two hundred years later, in 1988, the National Wool Museum was established as Australia’s only comprehensive museum of wool. (Since the arrival of sheep with the First Fleet in 1788, the wool industry has dominated our economy, our agriculture and our reputation as a quality wool-growing nation throughout the world. Geelong is a city synonymous with wool and the wool industry – sheep farming began here in 1835 and the first of many woollen mills opened here in 1868. For many years the city was known as the 'wool centre of the world'. Two hundred years later, in 1988, the National Wool Museum was established as Australia’s only comprehensive museum of wool. (Since the arrival of sheep with the First Fleet in 1788, the wool industry has dominated our economy, our agriculture and our reputation as a quality wool-growing nation throughout the world. Geelong is a city synonymous with wool and the wool industry – sheep farming began here in 1835 and the first of many woollen mills opened here in 1868. For many years the city was known as the 'wool centre of the world'. Two hundred years later, in 1988, the National Wool Museum was established as Australia’s only comprehensive museum of wool. (http://www.geelongaustralia.com.au/nwm/about/article/item/8cbcc313afa77a5.aspx)Photograph of a timber lectern used to auction wool in Geelong. It is found in the auction room on the top floor of Geelong's national wool museum.wool, geelong, auction, auction room, national wool museum

Tie worn as part of the uniform of "Kormoran" crew member Heini Homann, from camp 13.Navy blue German WW2 naval raider crew tie insignia- Eagle at the top of yellow oval. Ship on top of a world sphere insidekormoran, german navy uniform, heini homann, camp 13 internee

This work covers the history of the building that houses the Navarre Museum. From its construction as the Presbyterian Church through to the present day.Clear Palstic cover over white page with black print and colour photgraph of a buildingNavarre Museum An Historical Sketch A Work In Progress of the Navarre & District Historical Society Inc.stawell

This is a pocket size tin, the lid has image of two cigarettes. Diagonally across the tin is written "Imperator". At bottom corner are the letters D.R.G.M. (Germany). On the bottom can be seen four extra lugs. Inside is a spring loaded mechanism that can be set then the lid shut. When the lid is opened the spring loaded arm wacks the explosive charge. This example is inert.passchendaele barracks trust collection, 22-734-t, ww1, german

This photograph shows the entrance to the newly-opened Aitken Gallery of the Kett Optometry Museum, located on the first floor of the Australian College of Optometry.Digital photograph of the entrance of the Kett Optometry Museum's Aitken Gallery. The signage is accompanied by a display of eye baths and ointment pots

Painted from Gardenia Road. The extensive farm complex on the right. (Western side of Gardenia Road). was demolished in 1972 for housing development. Buildings shown are cowshed, hay barn, engine shed and stables. Painted in the late afternoon, the lengthening shadows and lowering sky, could presage the ominous fate awaiting the farm with development. The Ziebell Farm was known as “The Pines” and sadly none of the many that proliferated there remain. Today they would be equivalent to those at the cemetery, having been planted at the same time. Provenance: John Borrack CollectionWatercolour depicting Ziebell Farmhouse from the north, Thomastown and Mernda. In gold frame with cream border.Artist signature: John Borrack; 70's Ziebells German Lane South Viewillustrations, watercolours, john borrack, ziebell, watercolour, painting

This card was produced in 1889 to advertise the Warrnambool Museum which was shifted in April 1889 from its original site in the Mechanics Institute in Liebig Street to the old Warrnambool courthouse in Timor Street. ( This building no longer exists.) The Museum remained in Timor Street until 1912 when it went back to the Mechanics Institute until its closure in 1963. The Museum was founded in 1883 by the retired Police Inspector Joseph Archibald. The card shows that the museum was open three afternoons per week and was asking for donations. The pencil writing at the bottom of the card is Joseph Archibald's writing. This card is of considerable significance as it is an original document and an important memento of the old Warrnambool Museum, a much loved institution in Warrnambool for 80 years.A piece of light card with a decorative border and black lettering. It is torn on the edges and water stained. The base has been cut for its insertion into another folder. There is pencil writing at the bottom of the card, WARRNAMBOOL MUSEUM 1883 Edward Henty arrived at Portland in the " Thistle" schooner 68 tons 19th November 1834warrnambool museum, mechanics institute, warrnambool courthouse

A talk given by Patty Boxhall on 17 Aug 2019 at a WHS meeting about the history of museums and collections and the process relating to the donation of artifacts to the W.H.S.A talk given by Patty Boxhall on 17 Aug 2019 at a WHS meeting. museum, boxhall, patty, whitehorse historical society

As part of the National Trust's Australian Heritage Festival 2021, the Kew Historical Society and the Villa Alba Museum collaborated to mount a fashion and design exhibition. The theme of the exhibition took its focus from the year-long program at the Museum featuring the use of flowers in design. The walls and ceilings of the house are notable for their use of floral and narrative painted decoration produced, in the early 1880s, for William and Anna Maria Greenlaw by the Melbourne art decoration firm the Paterson Brothers. The examples of fashion and design from the collection of the Kew Historical Society were located on the ground floor of the house: in the drawing room, dining room, morning room and in the vestibule, or ballroom as it was sometimes described in nineteenth century newspapers. The exhibition was supported by the City of Boroondara through Triennial Operational Grant funding for the Kew Historical Society and the Villa Alba Museum.Series of photographs of exhibition pieces in situ at the Villa Alba Museum in May 2021.fashion & design, exhibitions -- kew historical society, exhibitions --- villa alba museum, textiles in bloom, fashion - nineteenth century, fashion -- twentieth century, textiles - nineteenth century, headwear -- twentieth century

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: BEECHWORTH CARRIAGE MUSEUM / MARCUSE Reverse: BEECHWORTH NOSTALGIA / BW-08 / B 9 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

Handwritten letter relating to the loan of 'native weapons' from the Ballarat School of Mines Museum for exhibition at the Missions Exhibition on the Melbourne Exhibition Building. 46 Sturt Street Ballarat 19-6-14 Dear Mr Fenner Will you be good enough to give Mr Vickary some native weapons from the museum for a show at the missions exhibition being now held at the Exhibition building. Yours truly W. Middletonballarat school of mines museum, aboriginal, aboriginal weapons, melbourne exhibition building, missions exhibition, middleton, fenner, vickary

Coloured Photograph of the laundry display in the Museum Annexe of the Museum.museum, schwerkolt cottage & museum complex

This building was erected c1856 as the Wesley Church. Negotiations for its sale to the Ballarat School of Mines started in 1883, and the sale was completed for 2000 pounds. The Ballarat School of Mines Musuem was transferred to this building in 1885 giving the collection a more permanent and suitable location. The front was remodelled in 1920. The building was converted from the museum to the E.J. Tippett recreation Hall in 1959, after plans to demolish it were abandoned due to lack of funds.Colour photograph of the former Ballarat School of Mines Museum during a fall of snow. ballarat school of mines, e.j. recreation hall, ballarat school of mines museum', former wesleyan church, snow

Deakin University Museum Studies students of 1994-1997 at the Old Castlemaine Gaol to celebrate 20 years of Museum Studies, 1979-1998. Most attendees arrived at Castlemaine on board a Steam train. In the back row is Clare Gervasoni who was the curator of the Federation University Art and Historical Collection.Coloured photograph mounted in a presentation folder showing students of 1994-1997 attendees at the Deakin University Museum Studies. Names of people printed under the photographmuseum studies, deakin university museum studies, margaret birtley, anne kewshaw, chris keeler, clare gervasoni, castlemaine gaol, rachel faggoter

Coloured Photograph of kitchen items displayed in the Museum Annexe of the Museum.museum, schwerkolt cottage & museum complex

Kangaroo Ground's geology, original people, European settlers, plants used by Wurundjeri people26 leaves : ill., maps ; 30 cm.wurundjeri (australian people)