WW1 Holmes Family souvenirAustralian soldier's WW1 souvenirBlack and white postcard showing a street in Dublin with trams, horse drawn carriages, people, monuments and multi-storey buildingschatham-holmes family collection, dublin, ireland, world war 1

Black and white photo of steam tram with 2 carriages, telegraph wire pole in background. '(5)' written on back of photo.person, individual, basil miller

Two photos. Worker Laying Bricks at the rebuilding of the Great Western Railway Station 1953. 1953. Passenger Carriages visible. trainsport, railways, train

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: ABBOT BAGGY / B'WORTH / CARRIAGE MUSEUM Reverse: B7 / Beechworth Nostalgia / BW - 07 B (crossed out) / 008ernest 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

The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a two horse drawn enclosed Hansom Cabriolet replicates the vehicle that enjoyed respect from the public from c.1833 until 1935. A model of a black enclosed coach which is a four wheeled passenger horse drawn vehicle where the driver sits at the front behind the two white horses. It has two large and two smaller gold painted spoked wheels with black rims and gold mudguards on the rear wheels, two gold painted coach lamps, red vinyl padded seating and four open windows with rolled up blinds. There are two doors with a step for easy access into the coach. A long brown wooden shaft separates the horses as well as the necessary horse tack for carriage use to help the driver communicate with the horses. A hand operated brake pad is on the rear wheels. The first Hansom Cabs were clumsy, dangerous awkward vehicles. The drivers were suspected of 'Rude Bohemia'. It took the refinement of Joseph Aloysius Hansom himself to clear airs and remodel the cab to a safe vehicle. It enjoyed respect from c.1833 until 1935. It came in four types.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses, road transport, coaches

The clock parts were discovered in 1980 by Julie Wilkins, a Victorian scuba diver who had already experienced more than 500 dives in Australia and overseas. She was holidaying in Peterborough, Victoria, and looking forward to discovering more about the famous Loch Ard ship, wrecked in June 1878 at Mutton Bird Island. The fast Glasgow-built clipper ship was only five years old when the tragedy occurred. There were 54 people on board the vessel and only two survived Julie's holiday photograph of Boat Bay reminds her of her most memorable dive. Submerged in the calm, flat sea, she was carefully scanning around the remains of the old wreck when, to her amazement, a gold coin and a small gold cross suddenly came up towards her. She excitedly cupped them in her hands and then stowed the treasures safely in her wetsuit and continued her dive. She soon discovered a group of brass carriage clock parts and some bottles of champagne. It was a day full of surprises. The items were easily recognisable, without any build-up of encrustations or concretion. Julie secretly enjoyed her treasures for twenty-four years then packed them up for the early morning train trip to Warrnambool. After a short walk to Flagstaff Hill Maritime Museum and Village, her photograph was taken as she handed over her precious find. She told her story to a local newspaper reporter, lunched a café in town then took the late afternoon train home. Her generous donation is now part of a vast collection of Loch Ard shipwreck artefacts, including the gold watch and the Minton Majolica model peacock. This group of brass clockwork parts is incomplete. The pieces were in the ocean for over 100 years before Julie recovered them from the Loch Ard wreck. Their size would suit the works of a carriage clock, with a mainspring and weight to power the clock movement, a pendulum to measure the clock's speed, arbours, posts, pillars and at least one other plate. They would have been mounted inside a protective case with a small door to easily access the clock face for setting the time and accessing the key's winding hole. The clock cases were usually made from decorative gilt brass with a glass front and a carrying handle. The parts include a weighted second hand with a decorative four-pronged finish at one end, a rounded weight at the other, and a hole for attaching it to the clock face. The gear teeth profiles are ‘cycloidal’, an arch shape with vertical sides, which is common for antique clocks. Modern clockworks have ‘involute’ teeth with sloping sides and a squared-off top. The brass carriage clock parts are an example of a mechanical clock produced in the 1870s. The clock's design is a part of the chain of technological improvements in methods for timekeeping. Its cycloidal gear teeth were the forerunner of the more modern involute gears. The group of clock parts includes a weighted hand or arm for signifying the seconds. This feature was uncommon in portable Victorian-era clocks. The clock parts are also significant for their association with the ill-fated sailing ship Loch Ard, wrecked in 1878. The travelling clock or officer’s clock may have been part of the cargo destined for the 1880 Melbourne Exhibition, or the personal possession of one of the people on board the vessel. Brass clockwork parts from a mechanical clock, sixteen pieces. Parts comprise a plate, large gears or wheels, small pinions or wheels with fine teeth, wheels with cogs, and a weighted second hand. The parts were from a carriage clock ca. 1878. They were recovered from the wreck of the sailing ship Loch Ard.flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, loch ard, wreck of the loch ard, 1878, mutton bird island, peterborough, scuba diver, 1980s, shipwreck artefact, relic, clock, mechanical, clock parts, time, timekeeper, horology, chronometry, cogs, time keeping device, scientific instrument, chronometer, john harrison, longitude, carriage clock, coach clock, portable clock, travelling clock, travel clock, traveller’s clock, officer’s clock, weighted second hand, victorian era, cycloidal gear teeth, brass clock, julie wilkins

Black and white photograph of 'R' class locomotive No. 704 and passenger carriages steaming through a cutting. Reverse: written in pencil 41911832person, individual, basil miller

Black and white photograph of Dodge funeral vehicle and gun carriage carrying the coffin of James Kelly Kerr attended by the Bearer Partyphotograph, funeral procession, james kelly kerr

Carriage and half-loaded goods wagon behind a flat railway wagon, all in front of the station building, Beech Forest, 1908.beech forest; passenger car; goods wagon;

Local Scene of the railways, probably as viewed from the Sunshine OverpassGary James. Afternoon, Sunshine. Charcoal on paper, 45 x 36cm, View of the railway tracks with carriages on the foreground left - AR0067

Copy of sepia? Photo of Messrs Scholten and Marsh' Establishments. Scholten and Marsh, manufacturers, carriages on front of building carriages and workmen on roadway. Inscription: hand written on centre front with arrow 'Mr, G.J. Scholten'. Included also a handwritten letter to Felicity Kingerlee from Vernon Scholten and 5 pices of paper describing the photoorganization, business, messers. scholten & marsh's estab., 802 (supp), 803, 804, 805, 814

Belt worn for carriage of ammunition.Brown leather ammunition belt with large metal buckle. Belt consists of 6 compartments. Four compartments have pockets for 10 cartridges, one compartment has pocket for 6 cartridges and one compartment has room for 4 cartridges. Nilammuniton belt, cartridge belt, leather, metal

Postcard, WW1, B&W photo of a 6 camel team pulling a gun carriage in a desert landscape. A soldier walking behind the gun carriage and an officer standing at right. Handwritten in ink on the back - Testing Rdrail attachment (10 wheels) in loose sand. Zeitoun Jany'16. (Zeitoun is the NZ army training camp near Cairo)postcard, postcard, ww1, egypt, zeitoun, camels

Personal papers - 1 A4 sheet - untitled 0 with notes on the MMTB, horse tram, Max Hayes himself, double Decker buses, MMTB Prepaid fare stamps used for the carriage of newspapers, , SEC parcel stamps, the tramcar restaurant and Christmas City Shopper tickets. See 558 and 936 for examples of the newspaper carriage stamps.trams, tramways, tickets, reports, melbourne, newspaper carriage, restaurant tram, sec

Sepia photograph glued on cardboard. The top left corner is missing. In blue writing all around the photo the words: Haisman's (Lond)on Carriage Works and waggonettes built to order. All descriptions of Carria(ges). Dowling Street & Lyttleton Terrace, Sandhurst. In the photo two men standing in front of the factory with three carriages beside them.business, coachbuilder, haisman's

One of a collection of 13 photographs donated by Ralph Correy.Coloured photograph of the Shelter at The Nobbies. Three women sitting on the ground near the back of a horse drawn carriage. Three men walking away.the nobbies phillip island, ralph correy, shelter at the nobbies, the nobbies shelter

Ford prison van showing insignia in the middle of the carriage section of the van. Side view. Circa 1961. Outside City Watch housepolice vehicles; motor transport branch; motor transport section; brawler van

Black and white photo of steam tram, name on double deck carriage 'WOOLAHRA', No 34. '(3)' written in blue ink on back of photo.person, individual, basil miller

Black and white photograph, small photo of train carriages, derailed. Written on back: Sea Lake Mileage 239, Sunday June, 1961.place, train, derailment, photograph, train derailment. sea lake. mileage 239, sunday june, 1961.

Black and white photograph, a collection, train derailment. Photo of carriages off the track, grain on ground, fence down. There are 2 photos of the same.place, train, derailment, photograph, train derailment. sea lake, 19th june, 1961. mileage 139.

The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Baker's Cart replicates the vehicle that enjoyed respect from the public during the 1880 and early 1900's. A model of a single horse drawn red enclosed Capital Bakery Cart which is a lightweight four wheeled one passenger horse drawn carriage where the driver sits behind. It has two large and two smaller gold painted spoked wheels with brown rims, grey and black painted seating two gold coach lamps and a sloped red and tan footrest for the driver. There is a brake lever on the right side of the cart which activates the brake on the back wheel. At the rear are two ventilated gold doors and cupboards underneath the seat. There are two silver metal tubular shafts on each side to surround the brown horse which has a black tail and mane. It has the necessary horse tack for cart use to help the driver communicate with the horse. These carrier carts or vans were four wheeled medium weight Commercial Vehicles which were a very familiar sight in the horse drawn era. Every kid 'whipped behind' bread carts. The first models were imported from England around 1870 and later the local coachworks built many models. The biggest producer was Flood in St Kilda Road until 1926.CAPITAL BAKERY is painted in white lettering on each side of the cart.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses, early commercial vehicles, bread cart

Box used for carriage of harness dressingsDressing for leather harness imported and sold by Holden and FrostRectangular wooden box with hinged lidFrank Millars Harness Dressingwood, box, printed

These were introduced in 1992 on the Lilydale-Belgrave lines only (not on the Alamein or Waverley lines). They were a prototype. Many station platforms had to have the coping reduced or replaced in order to provide clearance. The trial was a failure because, while the carriages carried more passengers, they also took longer to load and unload, negating any benefits from carriage of extra passengers. They were used as off-peak trains only on the Surrey Hills line. The 4D carriages were based on the Tangara carriage being built by A Goninan & Co for CityRail in Sydney, however they were similar only in terms of interior and exterior bodywork. They were manufactured from stainless steel and were fitted with air-conditioning, tinted windows, and inter-car doors, allowing passengers to access all carriages of the train. A coloured photograph of a double decker train - silver in colour with a yellow and green strip across the front of the train.Double Decker train / through Surrey Hillssurrey hills, trains, tangarra carriage, a goninan & co, 4d train, belgrave lilydale lines

Raitts & Willoughby family picnic in the Grampians c 1890. The photo is in a bush setting showing 4 women and 5 children around a picnic on the ground. Five men are standing around the horse carriage with one sitting on the carriage. Sepia photograph of a picnic scene in a bush settings in the Grampians in 1980. The photo show 3 grey horses and a 4 wheel vehicle with 15 people at the picnic, 6 males, 4 females and 5 children. A enlarged photo copy is also included in the file."Grampians 1890" on the front. "Raitts & Willoughby's" on the back of the photo.stawell

As made by kendalls for the carriage of their product ca 1900Imported and sold by Holden and FrostRectangular wooden box without lid sign written as to the contentsKendalls Spavin cure. Drawing of a Horse being constrained by riderwooden, box, kendalls

Bridle used on horses that pulled light carriages.ReplicaBlack leather straps, with metal fittings as neededS C, SHOW CRAFTbridle, leather, equine

The photograph was taken after 1910 when the chapel, on the left, was built.This is a rare photograph of the Central Institute built in 1907 replaced by the Flinders Street Institute in 1917. The two buildings coexisted for many years until the this one was demolished (date still unknown).Small monochrome photograph at 45 degree angle depicting a horse carriage passing in front of the Siddeley Street mission, known as the Central Seamen Institute.In pencil: 137seamen institute, siddeley street, brick, huddard company, australian wharf, horse carriage, smoke, flag, chapel, walter richmond butler (1864–1949), goldsmith album