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 coloured pencil landscape drawing on paper.Obverse: MARCUSE / B.worth (in pen) Reverse: BEECHWORTH NOSTALGIA / BW – 01 (crossed out) / B2 / CORNER CAMP + FORD STREET / (on masking tape) 001 (pencil) 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 coloured pencil landscape drawing on paper.Obverse: MILLS / DISPENSARY / MARCUSE 83 / YACKANDANDAH Reverse: Y 12 / 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, yackandandah

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: Marcuse / YACKANDANDAH / 83 Reverse: YACKANDANDAH / Y 7 / 019 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 / ERNEST MARCUSE / Reverse: Y 4 / 015 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: 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

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: B'WORTH NEWTOWN / OLD HOUSE / E MARCUSE Reverse: B 11/ 023 / BEECHWORTH NOSTALGIA / BW - 04 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: Reverse: CHILTERN ? / (SAME (illegible), SAME PAPER + COLOURS AS CHILTERN PHARMACY / BOTH MAY HAVE BEEN 1981 WHEN IN YACKANDANDAH? / 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 / MARCUSE / 83 Reverse: YACKANDANDAH / Y 911/ 022 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: Reverse: YACKANDANDAH / Y 9 / 021 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: Marcuse / YACKANDANDAH / Reverse: YACKANDANDAH / Y 8 / 020 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: CHILTERN PHARMACY / Reverse: 025 / 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

Edendale Farm is Nillumbik Shire Council's environment centre situated in Gastons Road, Eltham between the railway and the Diamond Creek. The homestead on the property was built in 1896 and is of historical significance, being the subject of a Heritage Overlay under the Nillumbik Planning Scheme. The Edendale property was originally part of an extensive land purchase in 1852 from the Crown by pioneer Eltham farmer Henry Stooke. He initially purchased 51 acres and later expanded his holdings by purchasing another three adjacent Crown allotments extending northerly from Josiah Holloway's Little Eltham subdivision. Despite clearing the land, Stooke did not build on this property, choosing to live on his property "Rosehill" at Lower Plenty. In 1896 Thomas Cool, Club Manager of the Victoria Coffee Palace in Melbourne purchased 7 acres of the original Stooke land and built the house now known as Edendale. Cool did not farm the land, instead using it as a gentleman’s residence, retiring to Eltham at weekends. In 1918 he purchased an additional 7 acres but in 1919 he sold the property. Later owners included J.W. Cox, the Gaston family and D. Mummery. In the 1980s the Eltham Shire Council purchased the site for use as a Council depot, but this use did not proceed. Subsequently, it was used as the Council pound. The Edendale Farm Pet Education and Retention Centre was established in the summer of 1988/1989 and was set up to replace the existing dog kennels with a high standard pet retention centre. The design style of the building was established to compliment the features of the existing house. It was equipped with 10 retention pens, a veterinary room and a pet education area where school children and other interested parties learnt about pet care procedures. It was later developed into a community farm and was run by an advisory committee and in 2000 it became an Environment Centre. In early 2006 an advisory committee was established for the development of a master plan for future development at Edendale Farm. The committee included Russell Yeoman, a former long-time shire planner and founding member of the Eltham District Historical Society. At the time of filming the Master Plan and future for Edendale was about continuing to develop Edendale as a centre of environment learning and looking at expanding displays and school program, running a lot more of life-long learning and workshops around sustainable living. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p101 A sharp turn from busy Wattletree Road by the railway line, brings a surprise. Only 1.4 km from Eltham’s centre, sheep feed, blissfully unaware of the hectic suburban activity so close by. At the entrance to the 5.6ha Edendale Farm is another surprise. A work of art that looks like huge tree trunks transformed into bowler and top-hatted men. The Fences Act 1968 by Tony Trembath with Mark Cain and John Doyle, 1996, is classified by the National Trust of Australia as having Regional Significance. The title refers to a government act on disputes between neighbors over the placement of fences and boundaries. This takes a ‘wry swipe’ at a community divided by trivial squabbles. It also celebrates making do with limited resources.1 Further along on the left, the office wall is decorated with a massive Eltham Copper Butterfly, designed by Robert Tickner and made by school children with used plastic bottles and other waste material. Nillumbik Council runs Edendale as an Environmental Education Centre, to help preserve and enhance the local environment. As early as 1988 the former Eltham Shire Council realised Edendale’s importance in meeting people’s needs, particularly of children, to enjoy farmland. The centre, with the Eltham North Reserve to the north - including remnant bushland and open parkland - makes up the major part of the public open space for this area. The council considers this area will become increasingly important to the local community for recreational use.2 Educational programs aim to encourage community involvement to ensure the long-term rehabilitation and protection of natural bushland areas. Edendale is used by people of all ages - from school children to adults - for environmental programs and workshops, as well as for recreation, to enjoy the domestic animals and to picnic. Edendale is also home to the Environmental Works staff who manage reserves and roadsides and support Nillumbik Friends environmental groups. The Friends propagate plants at the nursery, which grows indigenous plants and sells these to the public.3 The centre demonstrates the sustainable living the farm teaches, with features like solar hot water and drive lighting and for the fireplace, logs of recycled cardboard. Edendale has had a varied history as a dog pound and even as a retreat for Thomas Cool, Club Manager of the Victoria Coffee Palace in Melbourne. His single-storey weatherboard house built in 1896, which still stands, was grander than most homes in Eltham. Although such buildings were common in many other parts of Melbourne, Eltham’s poverty and remoteness did not encourage such construction. The Victorian rectangular-shaped house, with a corrugated iron roof and veranda, has elegant large rooms, leadlight windows, ceiling roses, two bay windows and ornately carved wooden fireplace surrounds. Cool bought seven acres (2.8ha) from pioneer Eltham farmer Henry Stooke’s 200 acre (81ha) farm, which he had bought from the Crown in 1852. In 1918 Cool bought an extra seven acres (2.8ha) but in 1919 sold the estate to farmer John Cox. In 1933 Cox sold Edendale to Mrs Elizabeth Gaston, after whom the road leading to the centre was named. The property was owned by several Gaston family members, who called it Edendale, then by a police constable, Douglas Mummery, until the Shire of Eltham bought it in 1970. Oddly Edendale was known as Mummery’s for almost 20 years, although Mummery owned it only for a short time.4 The shire used Edendale as a dog pound until amalgamation with other municipalities in 1996. The pound then moved to the Yan Yean Road, Plenty site, which had been used by the former Diamond Valley Shire Council. To the west and north the centre is bounded by Diamond Creek and on the east by the Melbourne-Hurstbridge railway line. Part of the Research creek forms the centre’s southern boundary.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, edendale farm

Self guided heritage tour information produced by the Shire of Eltham Historical Society for 1978 Eltham Community Festival of 36 locations each numbered on accompanying map. Locations and detail provided current to 1978: 1. ELTHAM SHOPPING CENTRE Whilst very little remains in the centre of historical importance, this area has interest as the "village" which developed over many years following the opening of the railway from Melbourne in 1902. Previously the shopping centre had been spread out over a long length of Main Road to the south. Shops have been continuously demolished or remodelled and the majority of buildings date from the 1950's or later. The recently erected Post Office replaced the "old" Post Office opened on the same site only in 1958. 2. WOOLWORTHS ELTHAM VILLAGE Part of the site of this modern shopping development was occupied by the former Eltham Shire Offices and Hall. The hall was paid for by public subscription whilst the Council raised a loan for the offices. The combined building was opened in 1941. It served as office and Council meeting place until 1965 and as the hall until its demolition in 1970. 3. ELTHAM WAR MEMORIAL The complex of buildings adjoining the present Shire Offices were financed by public subscription as a Memorial following World War II. Their construction and for many years their operation was organised by the now disbanded Eltham War Memorial Committee. The original buildings were the; Infant Welfare Centre, Children’s Library (now War Memorial Hall and Dental Clinic) and Kindergarten. In later years the Elderly Citizens Club was built at the rear. 4. ELTHAM SHIRE OFFICES These offices were opened in 1965 and extended in 1971 to provide additional office accommodation and the Eltham Library. They represent the last of a long line of offices and meeting places of the Eltham Shire Council and its predecessor the Eltham District Road Board. The building occupies the former site of Shillinglaw Cottage. The three tall cypress trees which stood in front of the Cottage have been retained as a feature of the office surrounds. 5. OUR LADY'S CHURCH AND SCHOOL The Catholic Church and School complex opposite the Shires Offices shows a number of stages in the development of Eltham township. The recently constructed church adjoins its predecessor (now the parish centre). Many years ago the Catholic Church was located opposite Wingrove Park and the present central site follows the northerly drift of the township. 6. SHILLINGLAW COTTAGE The Cottage was built in 1859 by George Stebbing, a local builder who was responsible for a number of other prominent buildings in the area. Its removal from the site of the Shire Offices and re-erection on the present site was financed by public subscription. It is built of handmade bricks laid in Flemish Bond with an unusual design featuring burnt "leader" bricks over the whole facade. The Cottage is occupied by Eltham Fleececrafts and will be open during the Festival and at other times during weekends. It is classified by the National Trust. 7. RAILWAY BRIDGE The timber trestle bridge over the Diamond Creek was built in 1901. Whilst all of its timbers have been replaced at various times over the years the only change to its character has been the addition of pylons and wiring for electric trains in 1923. It is one of very few similar bridges remaining in the metropolitan area. In 1976 a proposal to replace the bridge with an earth embankment and large culvert pipes was abandoned following community protests. The bridge, however, remains under threat because of the necessity for future deuplication of the railway line. 8. ELTHAM CENTPAL PARK The area between the railway and the creek has for many years been used as a park which included Eltham' s main football oval. The access road, Panther Place is named after Eltham's team playing in the Diamond Valley League. In recent years a large area extending to Bridge Street and locally known as the Town Park has been landscaped and added to the area. The excellent blending of the park with the natural landscape of the creek valley has earned a National Trust Landscape Classification. 9. OLD BAKERY On the southern corner of York Street and Main Road is an old house with a shop front which was for many years the local baker's shop. The brick bakery at the rear is of somewhat later vintage than the house. 10. BRIDGE STREET CUTTING Before reconstruction of Main Road this intersection had deep cutting embankments on all four corners, forming a distinctive feature of the entrance to Eltham. Roadworks and private development have levelled the land on the low side of the road. A memorial to the Eltham soldiers of World War I which was located at the north-western corner is now situated at the Eltham R.S.L.   11. HILLTOP MILK BAR For many years this was the site of the Eltham Post Office under the control of the Hunniford family and later their descendants the Burgoynes. It was transferred to this site in 1855, although at that time the building apparently fronted Bridge Str e et. The site contained Eltham's first telephone exchange. The post office was relocated in 1954 but the shop was operated until recently by the Burgoyne family who still own the surrounding land. 12. UNITING CHURCH and former C.B.A. BANK The former Methodist Church was built in 1880 by George Stebbing. The Sunday School extension was built in 1929 and there have been more recent extensions. The adjoining opportunity shop was built as a bank in 1874 and purchased by the Methodist Church in 1954. 13. R.S.L. HALL, TELEPHONE EXCHANGE These relatively recent buildings occupy the site of a row of shops forming part of the early ribbon of business development along Main Road. In front of the R.S.L. building is the World War I Memorial relocated from the corner of Bridge Street and Main Road. 14. ELTHAM COMMUNITY CENTRE Australia's first mudbrick "community building" was opened in April this year. Part of the site of the building was purchased in 1856 by Henry Dendy (of Brighton fame). At the rear of the land near the creek was a steam flour mill whilst Dendy's house was at the Main Road frontage of the land. His purchase totalled about 2 Ha (5 acres) and included land on the opposite side of Maria Street (Main Road). Dendy became a prominent member of the Eltham community and served one term as President of the Eltham District Road Board. In 1867 Dendy sold his land and business to William Ford of Malmsbury and shifted to Walhalla. The avenue of trees leading past the Community Centre to the creek may well have bordered the track to the mill. 15. ELTHAM HOTEL The original part of this hotel was built in 1927 following the burning of the former Watson's Eltham Hotel on the same site. The car park on the opposite side of Main Road was also the site of a hotel variously known over the years as; the Fountain of Friendship, the Fountain and the Evelyn Arms. As the Fountain of Friendship it was the first meeting place of the Eltham District Road Board in 1856. 16. ST. MARGARET'S CHURCH, PITT STREET In 1860 Henry Dendy was appointed Chairman of a committee to establish a church of England in Eltham. He donated part of his land in Pitt Street and in 1861 the church was opened. It was built by George Stebbing and remains in a well preserved state today. Th adjoining old vicarage is now named Dendy Hou se. A new mudbrick church hall is under construction on the site. The church and Dendy House are now listed on the Register of Historic Buildings. 17. NO. 86 PITT STREET Cottage built by George Stebbing and believed to be his home for some years in the 1850s. 18. LIVING AND LEARNING CENTRE The house was built in the 1850s with the kitchen at the front being added about 40 years later. By the creek below the house a number of early Eltham industries were located. These included a tannery and a brewery. 19. ELTHAM COURT HOUSE A Court of Petty Sessions was established in Eltham in 1858 and the present building dates from 1860. It is the oldest public building remaining in Eltham. In its early days the building was used as the meeting place and office of the Eltham District Road Board and as an overflow classroom for the local school. The Court House has been classified by the National Trust. The citation states that it is an example of the simple form of early brick Court House with gabled roof and porch. 20. LANDS DEPARTMENT OFFICE This building is the former police station and is probably of about the same age as the Court House. The lockup at the rear has been demolished but the old stables remain as garages. A licence was first granted for a police station at Eltham in 1856. 21. JARROLD COTTAGE The old Cottage opposite Dalton Street was formerly owned by the Jarrold family. Early records indicate that this was the building leased from the Jarrolds as a temporary police station prior to construction of the building on the corner of Brougham Street. The small building on the corner of the property was used as a boot repairer's shop. The elevated studio at the rear is a more recent construction by the present owners. 22. STATE SCHOOL RESIDENCE Erected in 1891 23. WINGROVE COTTAGE This building fills an important place in the history of Eltham and is now used as a medical clinic. It was built in 1858 for Charles S. Wingrove who was Secretary to the Eltham District Road Board and Shire Council from 1858 to 1904. During part of this period he was also Shire Engineer and was Secretary to the Heidelberg Road Board. The house was used as the office of the Board and Council for many years. Wingrove is buried in the cemetery at St. Helena.   24. WINGROVE PARK The parkland opposite Wingrove Cottage has been named after Charles Wingrove. The old Manna Gums are an outstanding feature of the park. 25. ELTHAM FRI.MARY SCHOOL NO. 209 The school first opened in the slab building in 1855 and operated from the present site since 1857. The oldest part of the present school is the stone building erected in 1876. The first school teacher, David Clark remained at the school until 1888. This school is the government township and has always been known as the Eltham School. An earlier school (no.371) known as Little Eltham School operated in Swan Street from 1853 to 1872. 26. "SHOESTRING" This house was built for school teacher David Clark. It has been extensively extended in recent years but the extensions do not detract from the character of the older part of the building. 27. ELTHAM CEMETERY The cemetery contains the graves of many of the district's pioneers . 28. MONTSALVAT This unique complex of buildings was commenced in 1935 by the late Justus Jorgensen and its development has extended over many years. Montsalvat has exerted a significant impact on Eltham The earth and stone construction of many of the buildings has influenced local architecture to a great extent and it has served as a "nerve centre" of the local artistic community. Montsalvat is open to the public for a small charge. 29. MAIN ROAD BRIDGE This location has been the main crossing of Diamond Creek since the earliest days of settlement. The present concrete bridge was erected in 1925 .and was preceded by a number of timber bridges. 30. ELTHAM LOWER PARK This park, being an unusually large flat area for Eltham, was originally the local racecourse. Horse races were held here from 1855 and the area was gazetted as a reserve for a racecourse and recreation reserve in 1857. The park is well known as a venue for school "bird days" and more recently as the site of the Diamond Valley Railway. This miniature railway features scale models of modern and old locomotives and rolling stock and has operated on this site since 1961 . Before that the railway operated at Chelsworth Park, Ivanhoe.   31. FALKINER HOUSE Frederick Falkiner was one of the earliest settlers in the Eltham township area and occupied a substantial leasehold prior to the first land sales. Early records show that Falkiner was the subject of a number of complaints from his neighbours but he has nevertheless been considered a prominent enough citizen to have a street named for him. This house was the home of Evelyn (Ely) Falkiner a member of Frederick's family. 32. WEST HOUSE Behind the large house on the hill is an early house built by the West family. This was relocated from a site near the front of the land by the present owner Mr. Fabbro. 33. FALKINER HOUSE This very old house is believed to have been the home of Frederick and may have been Eltham's first post office. Falkiner was the first post master for a short period. in 1854/55. 34. WITHERS HOUSE This house was the home of famous artist Walter Withers who shifted here from Heidelberg in 1903. 35. ELTHAM HIGH SCHOOL This school celebrated its jubilee this year, having commenced as the Eltham Higher Elementary School 50 years ago. 36. DIAMOND CREEK FOOTWAY If returning from the High School to the town centre the footpath by the bank of the Diamond Creek provides a pleasant route to finish your walk. The creek is a major tributary of the Yarra River. Together with its own major tributaries Arthurs Creek and Running Creek it commences on the southern slopes of the Dividing Range at Kinglake. It gives the name Diamond Valley to an area extending well beyond its actual drainage catchment.Recognition of the significance of various landmarks to the history of the Eltham community as of 1978‘shoestring’, 1978, bridge street cutting, burgoyne store, c.b.a. bank, diamond creek trail, eltham cemetery, eltham central park, eltham community centre, eltham community festival, eltham court house, eltham festival, eltham high school, eltham hotel, eltham lower park, eltham primary school, eltham railway trestle bridge, eltham shire offices, eltham shopping centre, eltham state school no. 209, eltham village, eltham war memorial, falkiner house, heritage trail, hilltop milk bar, jarrold cottage, lands department office, living, living and learning centre, main road bridge, montsalvat, old bakery, our eltham artistic recollections, our lady help of christian’s church, our lady help of christian’s primary school, pitt street, post office, r.s.l. hall, shillinglaw cottage, st margaret’s church, state school residence, stebbing cottage, telephone exchange, uniting church, west house, wingrove cottage, wingrove park, withers house, woolworths

This 1813 cannon is classified as a carronade, having been made by the Carron Ironworks foundry in Stirling, Scotland in 1813. It is a large calibre, short range, gun mainly used on ships. The carronade model of cannon was first used when introduced into the British Royal Navy in the American War of the Revolution (1775-1883). This cannon was originally a 28pdr, 48cwt, 8ft gun. The date ‘1837’ on the barrel probably indicates the date that the Board of Ordinance accepted the change in size to a 32pdr. It may originally have been a naval gun and the conversion undertaken when it was brought ashore. It is very probably one of the 15 guns that are known to have constituted the defences of Victoria in 1860. This group of 32pdrs was the shorter model of the 4800width and 8ft length cannon and as such are different from the 32pdrs found in NSW. It was originally located on Cannon Hill in Warrnambool when it was the site of the Warrnambool Battery Western Artillery, formed in 1866. It was obsolete by the time of the 1887 fortifications, and was moved from the Warrnambool Fortifications to the Botanic Gardens in 1910, when the Fortifications were declared obsolete. HISTORIC INFORMATION ABOUT THE CANNON IN THE WARRNAMBOOL AREA In the years following the Crimean War (1854-1857J) there was a great concern in the Colony that Imperial Russia would attempt an invasion. Coastal defences in the colony of Victoria were greatly strengthened by the Government as a result. Warrnambool was originally protected by cannons at Cannon Hill, approximately 1 kilometer west of the Flagstaff Hill Fortifications. The cannons included two 1866 guns, both 80 Pound Rifled Muzzle Loaders (RML) purchased by Victoria’s Colonial Government. They were part of a shipment of 26 such guns sent from England in December 1866. They are registered as No. 23 (80cwt-2qr-0lbs) - Gun 1, and No.13 (81cwt-1qr-12lbs) - Gun 2. They were cast at the Royal Gun Factory, Woolwich Arsenal, in 1866 and have a 6.3 inch bore. Both barrels carry the Royal Cypher of Queen Victoria, Insignia of the Royal Engineers, within the Garter and Motto surmounted by the Crown, with the Royal Cypher of Queen Victoria within the Garter (letters in centre “VR”, motto “HONI SOIT QUI MAL Y PENSE”, "Shame be to him who thinks evil of it."). The guns were originally supplied with wooden carriages. (The Royal Arsenal at Woolwich, England, was established eleven years after the Restoration of King Charles II. It was the principal supplier of armaments to the British and Empire Governments. At the height of its operations during World War One the factory covered 1300 acres and employed very nearly 80,000 workers. Woolwich was the Headquarters of the Royal Artillery since the raising of that Regiment in 1716. The Arsenal was closed in the late 1960’s.) The two 80pdr cannons were transferred to the Warrnambool Garrison Artillery Battery Fortifications erected at Flagstaff Hill in 1887 as part of Victoria’s Coastal Defences. The original wooden carriages were subsequently replaced with the present iron garrison carriages in 1888. They are a “C” pivot. The ‘racers’ or curved track set into the floor of the gun emplacement (which enabled the guns to be traversed more quickly) are as specified for guns up to 10 inch, being of wrought iron 2.78 inches wide. A temporary third gun, now no longer on Flagstaff Hill’s site, was a 5 inch Rifled Breech Loading (BL) Armstrong gun mounted on an Elswick hydro pneumatic disappearing carriage It was faster to load and fire than the 80 pound RMLs and its arrival spelt the end of the older 80 pound guns’ useful life, apart from being used for practice sessions. The 5 inch BL gun was the main defensive weapon of the Warrnambool Battery until the Battery was downgraded in importance and the gun was recalled to Melbourne in 1910. The gun emplacement still remains in place set between the 2 80pdr cannon. The State of Victoria took over the ownership of the guns at the time of Australian Federation in 1901. In about 1901/1902 the Garrison Battery was converted to the Warrnambool Battery of the Australian Field Artillery (No 4 Field Battery). It was equipped with 4.7 inch naval guns mounted on field carriages. They were now a mobile unit but continued to use the Warrnambool Garrison area at Flagstaff Hill for practice. When the Fortifications were declared obsolete the two 80 Pounder RML were relocated to Cannon Hill in 1910. On the outbreak of World War 1 the 4.7 inch guns were recalled to Melbourne, and the Battery was disbanded. Most of the personnel probably re-enlisted in the local 4th Australian Light Horse Regiment. The two 80 Pounder RML were moved back to the Fortifications in 1973. They were both fully restored by Army First Year Apprentices at the Ordinance Factory in Bendigo in time for the centenary year of the fortifications in 1987. The guns are capable of firing 80 pound (32.3kg) armour piercing exploding shells 3.65kms out to sea. They were original manned by volunteers before a paid Garrison was established. Now the Guns are again fired by volunteers on Special Event days. Since restoration the Gun Number 1 had been fired on a regular basis but Gun Number 2 hadn’t been fired since the mid 1990’s. In April 2015 Gun Number 2 was serviced in preparation for the firing of both cannons on the ANZAC Centenary commemorations on April 25th 2015. Other guns from the original Cannon Hill location were obsolete by the time the 1887 Warrnambool Garrison Artillery Battery was built. These guns are (1) a 32 Pounder Muzzle Loading Smooth Bore (SB) cast in 1813 at the famous Carron Foundry, number 80837 and now located in the Warrnambool Botanic Gardens. It is now mounted on a replica carriage due to the original carriage being in a fragile condition (the original carriage stored under cover at Flagstaff Hill). (2) a 68 Pounder Muzzle Loading Smooth Bore cast in 1861 at the equally august Low Moor Foundry, number 10310 and now located on the lawn area at the entrance to Flagstaff Hill Maritime Village. It is still mounted on its original wooden garrison carriage. Its wooden slide compressor mechanism is fragile and now kept in Flagstaff Hill’s storage. There are only seven 32 Pounder SB made by Carron and fifteen 68 Pounder SB made at Low Moor known to exist in the State of Victoria Plaque attached to the carriage “This replica carriage was constructed by the Warrnambool Tritan Woodworkers club in conjunction with the generosity of local businesses and the Warrnambool community. The original carriage (circa 1860) was removed for restoration and is now located at Flagstaff Hill Maritime Village. The timber used for the replica carriage is Monterey Cypress, which was an early planting in the gardens. 2010 marked the centenary of the cannon’s relocation in the Warrnambool Botanic Gardens.” (Reference; Victorian Guns and Cannons, South Western Victoria Assessment, May 2008, item W/B/01; Flagstaff Hill Maritime Village datasheets and archives). There are only seven 32 Pounder SB made by Carron known to exist in the State of Victoria and this is one of them. On a world level, this cannon represents a high level of rarity. Further, as it has been modified (bored up) it is representative of the historical process of amending artillery in order to ensure a longer usefulness of each piece despite rapidly advancing artillery technology. The number of surviving carriages with traversing slides in this group in South Western Victoria is unique in Australia and probably in the World. Out of 10 such platforms surviving in Australia, the South Western Victorian group has half. Several survive around the world but probably not in such a large group. The wooden sliding compressor mechanism belonging to this cannon is extremely rare, and the only one in this South Western Victorian group of Guns and Cannons. As a whole, this cannon has undergone very little restoration or modification, giving it a high level of integrity. The City of Warrnambool is one of several custodians of a collection of artillery pieces of heritage significance at a state, national and international level. These pieces are directly related to the defence of south-west Victoria in the 19th century. The care and preservation come under the Heritage Act 1995. (Reference; Victorian Guns and Cannons, South Western Victoria Assessment, May 2008).Cannon, or carronade, 32pdr with wheels. Muzzle loading smooth bore (SB) cannon. Cannon has original wooden Burmese Teak carriage and slide with wrought iron fittings and iron wheels. Manufactured by Carron in Scotland, in 1813. It has been converted from a 28pdr. There is a loop for a rope on the cascabel, which was part of the original casting. Re-bored in 1837. Marks include Serial Number, Royal Cypher of King George III, broad arrow of proofing, and numbers to represent the weight. NOTE: The cannon is displayed in the Warrnambool Botanic Gardens and is mounted on a replica wooden carriage; the original wooden carriage is now stored under cover at Flagstaff Hill Maritime Village. This carriage has 4 wheels on swivel attachments and a central gear that allows the wheels to turn on rails. Pressed into left trunnion “80837 / CARRON / 1813”, cast on barrel“symbol (Royal Cypher of King George III”, “symbol (broad arrow of proofing)” and numbers “45-3-24 / 1837” . Cascable “CV” and marks with gradations from nought to three in quarters on each side, On the carriage the end of one of the main slide members carries the mark “W symbol (broad arrow) D” incised into the timber. Plaque attached to the carriage by the Warrnambool Tritan Woodworkers club, 2010, marking the centenary of the cannon’s relocation in the Warrnambool Botanic Gardens and the addition of the replica carriage. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, victoria’s coastal defences, warrnambool fortification, warrnambool garrison battery, ordinance, armaments, cannon hill fortifications, victorian colonial government, carron ironwroks foundary, 32pdr smooth bore cannon, 28pdr smooth bore cannon, 1813 cannon, carronade

This baker’s wagon (or cart) was used to transport and deliver bread and other baked goods in the Warrnambool area. It is currently decorated with signwriting advertising H.H. Smith, Baker who owned and operated his Warrnambool bakery in the late 19th and early 20th century. The design of this baker’s wagon is similar to others dating around the 1930’s and 1940’s and was likely to have been built around that time for Stephenson’s Bakery in Warrnambool. The wagon’s original internal shelves were removed due to it being used in the early days at Flagstaff Hill to give children rides around the Village. BAKERS’ HISTORY There were many bakeries in Warrnambool in the 19th to mid-20th century. Each bread bakery made bread deliveries by horse and wagon in their appointed delivery zone. This wagon has sign writing representing Smith’s bakery although it is most likely the delivery wagon of Stephenson’s bakery. SMITH’S BAKERY – as shown on the wagon’s signage Henry Huntington Smith (1857-1941) was born and educated in Warrnambool. He worked at Davis’ steam biscuit factory in Timor Street before he started his own bakery business in 1885 at a premises near the corner of Fairy and Koroit Streets. A few years later Smith built his new bakery on the corner of Fairy and Lava Street where it still stands today as Monaghan’s Pharmacy. The building was designed by James McLeod in 1892 as a bakehouse, shop and residence for Smith The address was known locally as Smith’s corner. Next door to the bakery, at 136 Fairy Street, were Stables built by Jobbins and McLeod in 1886 for William Cust. A photograph in the archives of the Warrnambool and District Historical Society shows the 1892 building with four fancy horse-drawn wagons on the street with white clad drivers and a promotional stand erected with 5 bakers in uniform and the signage “H H Smith & Co, Pastry Cooks and Confectioners”. One of the wagons appears to have “H H Smith” painted on the side. H.H. Smith & Co. placed an Advertisement in the Weekly Times in December 1896 promoting its business as bakers, confectioners and pastry cooks, praising their shop as an ‘ornament to the town’ with ‘neat appointments’ and ‘dainty decorations’. It also boasted that the business supplied a large number of customers within a twelve mile radius of Warrnambool. In November 1919 The Warrnambool Standard announced the marriage of Henry H Smith, Mayor of Warrnambool, to Jeannie Samson-Goodman in East Adelaide. In the same newspaper was a notice that Frank Crossley was to open as baker and pastry cook in H.H. Smith’s premises. As well as being the proprietor of the H.H. Smith Bakery, Henry Huntington Smith was a Councillor for the Warrnambool Municipality from 1913 – 1937 and Mayer for two terms. In December 1919 during his first term as Mayor he was honoured for the work he had done with returning soldiers after World War I, receiving a document in recognition of this work, presented by the Mothers, Wives and Sisters of returned soldiers. Smith was very interested and involved in the community in many roles, including being the Vice President of the first Warrnambool and District Historical Society. STEPHENSON’S BAKERY – believed to be the past owner of the wagon The last owner of the bakery was Harold Stephenson. Stephenson was enlisted in the A.I.F. and was invalided home in 1943 before the end of the Second World War. He also served as a Councillor 1958-1976, during which time he served six terms as Mayor for the City of Warrnambool (1966-1973) while he had the bakery. He was very involved in many local organisations including the Warrnambool Surf Life Saving Club and the Road Race Committee. He died in 1985, lauded as being one of Warrnambool’s “most distinguished civic leaders”. It has been said that the baker injured in World War II invented a special contraption to enable him to get up into the wagon and that he alerted his customers that he was in their vicinity by blowing a whistle. The customers would come out and choose their own bread from the back of his wagon then pay him for it. However another account is given by a man who once earned pocket money by helping the baker on his rounds. He says that it was Stephenson, the owner and manager of the bakery, and not the delivery baker who received a significant injury during the war, making him unable to climb the stairs of his upstairs accommodation at the bakery, therefore causing him to sleep downstairs. At this time in the early to late 1940’s Stephenson’s bakery had three wagons, one for each of the delivery rounds. The wagons were painted black and yellow. Two of the drivers were Stan Lake and Ali (Alec) Dean who both had wagons with the covered cabin design. The third driver was Bill Lake who had a flat wagon. Stan Lake delivered in the area around Lava and Koroit Streets, Ali Dean had another round and Bill Lake had the Dennington area. Bread continued to be delivered into the 1960’s but by this time the delivery vehicles were motorised. The goods produced at Stephenson’s bakery included breads baked in different shaped tins such as High Tin, Sandwich and Vienna. Some shapes were easily divided into half by breaking them apart, therefore the baker could make two quarter loaves from a half loaf, satisfying different needs. There was the option of white or brown bread, sweet buns, fruit buns and Boston buns. The baker’s assistant was known to take great delight in ‘trimming’ the broken halves of excess bread and crust, enjoying his treat. THE BAKERY PREMISES – South east corner of Fairy and Lava Streets, Warrnambool The building retains the original cast iron veranda. Above the veranda a motif of a wheat sheaf in ornamental plaster can be seen. Inside the building there are still has some of the original fittings. The building was classified by the National Trust in August 1979. After the Second World War an official system of zoning was introduced as a fair way for the baking industry to operate. In 1949 different pricing was introduced by the Government for either delivered or retail purchased bread. Many of the small local bakeries went out of business after the Government banned zoning. The way was made open for the larger bread manufacturers to enter the local market with cheaper prices. Some of those companies were Mc Queens, Tip Top, Twisties, Sunicrust, (Mc Queens ‘new’ bakery building was where the current Toyworld shop now stands, is, in the Ozone carpark.) O’Grady’s Bakery, later changing hands and known as Burkes Bakery, was in Fairy Street near Timor Street intersection, on the North West side. There was also a bakery named Almay. The baker’s wagon is significant because of its association with H.H. Smith’s Bakery in Warrnambool.. The H.H. Smith’s Bakery building on the corner of Fairy and Lava Streets, built in 1892, is classified by the National Trust, August 1979. Smith Street Warrnambool was named after Henry Huntington Smith, who was a Warrnambool Councillor 1913 – 1937 and Mayor 1919 – 1921. Baker’s wagon, often referred to as a baker’s cart. Four wheeled horse-drawn delivery wagon, front wheels smaller than rear wheels. Wagon is clad with metal sheets and lined with varnished timber panels. Wheels have metal rims, wooden spokes and rear wheels have wooden brake pads. Horse shaft is timber with metal fittings. Front has a metal lamp holder, brake lever, metal hand grips and decorative metal foot plates. The wagon has suspension leaves on back and sides and double suspension leaves on the front. Driver’s area at front has a roof, glass side windows and wooden box seat with hinged compartment accessing wagon storage area. Door above back of seat has buckled leather handgrip strap attached, door slides open for access to wagon area. Back of wagon has a wooden step and a split door; top door has ventilation louvers, both doors have metal latches. Wagon is painted cream with brown trim and signage and green step. Remnants of red and green paint are visible; underside of seat panel is painted grey. Wagon advertises H.H. Smith & Co. Baker, a Warrnambool business established in 1885, but is of a more modern design seen around 1930’s and 1940’s and most likely belonging to Stephenson's bakery. Brown signwriting on sides of wagon “H.R. SMITH & CO. / BAKER” Brown signwriting across front of wagon “BAKER” warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, great ocean road, baker’s wagon, h.h. smith baker, warrnambool, henry h smith, jeannie samson-goodman, frank crossley, mayor of city of warrnambool, vice president of warrnambool and district historical society, stephenson’s bakery warrnambool, harold stephenson, warrnambool surf life saving club, road race committee, national trust building, stan lake, bill lake, ali dean, 19th and 20th century bakers, davies steam biscuit factory warrnambool, james mcleod building designer, jobbins and mcleod, william cust, h h smith & co, pastry cooks and confectioners, bakery trade, bread delivery wagon

The set of seven 1858 plans shows proposed plans for the original Lighthouse Complex that was built on Middle Island in 1858-1859. The whole complex was then transferred to Flagstaff Hill in 1871. The plan, dated 1909, is for proposed additions and repairs to the Quarters at Flagstaff Hill. The plan 'Alterations and Additions' shows alternate plans for changes to the quarters at the Flagstaff Hill location. This plan has no date. The Complex comprised the Lighthouse, the Lighthouse Keepers’ Quarters, the Store (now called the Chart Room) and a Privy, which was not included in these plans. The Keeper’s bluestone Quarters was a cottage divided into two compartments, one for each keeper and his family. The bluestone Store was divided into three; a store, a workshop an oil store (or office). The Privy comprised of a small building also divided into two separate, back-to-back toilets, one for each Keeper and his family. The Flagstaff Hill Keeper's Quarters have had extensions and additions at various times, and these have also been removed at various other times. THE PLANS - *Dec. 1858 (12/58) ‘Lighthouse Keepers Quarters No.2 Warrnambool’ (2375.01)* Public Works Office Melbourne – Front and Back elevations, sections, and floor plan. The drawing shows timber walls. [The floor plan is the closest plan to the current building, however, the walls are timber in this plan.] *Nov. 1858 – No.3 ‘Lighthouse Keepers Quarters Warrnambool’ (2375.02)* Office of Public Works, Melbourne – Back and End elevations and section through. The drawing shows stone walls. One side; Senior Keeper’s bedroom, living room and kitchen with storeroom. Another side; is the Assistant’s bedroom, living room and storeroom. *Nov. 1858 - No.4 ‘Lighthouse Stores Warrnambool’ (2375.03)* Office of Public Works – Front, Side and end elevations, centre section. The drawing shows stone walls. *Nov. 1858 – No.4, ‘Lighthouse Stores No. 2 Warrnambool’ (2375.04)* Office of Public Works – Front, side and end elevations, centre section. The drawing shows timber walls. *Nov. 1858 – ‘Details Lighthouse Keepers Quarters No. 2 Warrnambool’ (2375.05)* Public Works Office Melbourne. The plan shows the foundations, joists and eaves. The drawing shows timber walls. (Nov. 1858 – ‘No.4 ‘Lighthouse No. 2 – Warrnambool’ (2375.06)* Public Works Melbourne (Part of the paper is missing). This plan shows an octagonal tower, internal stairs, a balcony landing, and a weather vane on top. *November 1858 – No. 1, ‘Lighthouse – Warrnambool’ (2375.07)* Office of Public Works Melbourne. This plan shows a round tower, including the stairs, windows on the tower and the weather vane on the top. *4/3/9 [1909] – ‘Additions and Repairs, Lighthouse Quarters, Warrnambool, General Plan’ (2375.8)* Department of Public Works Melbourne’s official stamp is signed by Croft. It shows the floor plans of the Store, Upper Lighthouse and the Quarters. The Store building has three sections; a Store, Work-Shop and Office, with an internal wall between them and separate entries. The Quarters are divided into two dwellings. The Senior Keeper’s side on the left has fireplaces in two of the three bedrooms and there is a pantry and wash house. The Assistant’s side has no fireplaces in the bedrooms and there’s no pantry or washhouse. These plans include proposed changes to the buildings. The Senior Keeper’s Quarters would have a partition on bedroom 2, a bath with plumbing and drainage, a wall moved and a built-in side porch. The Store would also have a built-in porch. The undated plan 'Additions and Alterations' (2375.9) shows alternative arrangements for water tanks, plumbing and such. WARRNAMBOOL'S LADY BAY LIGHTHOUSES- In the 1800s ships sailing from England to Australia began to use Bass Strait as a faster route to Melbourne. Small navigation errors led to many tragic shipwrecks. From 1848 lighthouses were operating along Victoria’s southern coast as a guide for sailors. Coastal towns such as Warrnambool grew and the exchange of trade and passengers were of great benefit. However, the uncertain weather changes, relatively shallow waters and treacherous, hidden rocky reefs were not suitable for a Harbour and in the 1840s and 1850s there were many shipwrecks in the area, with some even stranded in its Lady Bay harbour. A jetty was built in 1850 and a flagstaff to guide seafarers was placed up high on what became known now as Flagstaff Hill. In November 1857 the Victorian Government recommended that Warrnambool Harbour had beacons and two lighthouses to guide vessels into and out of the Harbour safely. The white light of the Middle Island lighthouse was to be used for the first time on September 1, 1859. The red light of the Beach Lighthouse, a wooden obelisk structure, was first operated on March 25, 1860, but in 1868 this light was ‘discontinued’ due to it being too low. Melbourne’s Department of Public Works decided to relocate the Middle Island Lighthouse Complex - Lighthouse, Keeper’s Quarters, Privy, Store Room and even water tanks - to Flagstaff Hill. The lower obelisk was shortened, and a protruding gallery, railing, and external ladder were added, as well as the light from the Beach Lighthouse. A green guiding light was erected on the end of the jetty. The transfer of the Complex began in March 1871. Each shaped stone of the lighthouse was carefully numbered, removed then reassembled on Flagstaff Hill. In 1872 the well was sunk behind the Lighthouse Keeper’s Cottage. The Keepers and families had left Middle Island in April and moved to Flagstaff Hill in October 1871. Vessels entering Lady Bay align the Upper and Lower Lighthouse towers during the day and the lights at night. The Upper Lighthouse is a round tower, the Lower Light is square. The Lighthouses were categorised as harbour lights rather than coastal lights, so they remain under the control of the Victorian Government’s Ports and Harbours section. The lights were originally powered by oil, then acetylene gas, later by electricity, and then converted to solar power in 1988. In 1993 the solar panel was replaced by a battery charger. A decision was made in 1936 to replace the lighthouses’ lights with unattended lights that no longer required Keepers and Assistants. At least 29 Keepers had attended to the lighthouse from its opening in 1859 to when the last official Lightkeepers left In April 1916. The Warrnambool Harbour Board rented out the Quarters from 1916 to 1936. The Board closed down but the rentals continued with other unknown landlords. 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 during one of his two periods of service there. 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 early 20th century and displayed in the Lighthouse Keeper’s cottage at Flagstaff Hill. The last occupants of the Middle Island Complex were Senior Keeper Robert Deverell, his Assistant Keeper, Andrew Farncombe, and their families. They all became the first occupants at the Lady Bay Lighthouse Keepers’ Quarters on Merri Street. The Warrnambool Lighthouse Complex plans are the origin of what is now the Lady Bay Lighthouse Complex. They are a record of the people, process and departments involved in bringing the complex into fruition. The plans are significant 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 plan are significant for their connection with the important navigational function of the Lighthouses, a function still being performed to this day. The plans are also significant as an example of a product from the Public Works Department in Victoria in the mid-to-late 19th century. The structures built to these plans still stand strong. Plans for the Lighthouse Complex in Warrnambool, including Lighthouses, Keeper's Quarters and Stores. Seven of the plans are on thin fragile paper, one is on thicker, stronger paper. The drawings have been made in pens coloured red and black. They originate from Public Works in Melbourne. Seven were drawn in 1858, one in 1904, the other is not dated.Dec. 1858 - Lighthouse Keepers Quarters No.2 Warrnambool. Public Works Office Melbourne. Nov. 1858 - No.3 ‘Lighthouse Keepers Quarters Warrnambool. Public Works Office Melbourne. Nov. 1858 - No.4 ‘Lighthouse Stores Warrnambool. Office of Public Works. Nov. 1858 - No.4, ‘Lighthouse Stores No. 2 Warrnambool. Office of Public Works. Nov. 1858 - Details Lighthouse Keepers Quarters No. 2 Warrnambool. Public Works Office Melbourne. Nov. 1858 - No.4 ‘Lighthouse No. 2 – Warrnambool. Public Works Melbourne. Nov. 1858 - No. 1, Lighthouse - Warrnambool. Office of Public Works Melbourne. 4/3/9 [1909] - Additions and Repairs, Lighthouse Quarters, Warrnambool, General Plan. Department of Public Works Melbourne. SIGNED "Croft" "15A" on reverse [no date] - Lighthouse Quarters Warrnambool, Additions and Alterations. "9A" on reverseflagstaff hill, warrnambool, lighthouse keeper's cottage, lighthouse residence, lighthouse, plans, public works, melbourne, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, chart room, quarters, privy, middle island, beach lighthouse, obelisk, lighthouse keeper, assistant keeper, lighthouse complex, lady bay, lady bay complex, keepers, upper lighthouse, lower lighthouse, ports and harbours, cottage, harbour board, flagstaff hill planning board, meteorological record, robert deverell, andrew farncombe, warrnambool port, warrnambool harbour, residence, alterations, repairs, department of works

This surgical silk is braided for strength and used for purposes such as sewing sutures to close wounds and attaching drainage tubes after surgery. The thread is usually classified by its diameter. The surgical thread was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he would take time to further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . The organisation began in South Australia through the Presbyterian Church in that year, with its first station being in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill where he’d previously worked as Medical Assistant and purchased a share of the Nelson Street practice and Mira hospital from Dr Les Middleton one of the Middleton Brothers, the current owners of what was once Dr Tom Ryan’s practice. Dr L Middleton was House Surgeon to the Nhill Hospital 1926-1933, when he resigned. [Dr Tom Ryan’s practice had originally belonged to his older brother Dr Edward Ryan, who came to Nhill in 1885. Dr Edward saw patients at his rooms, firstly in Victoria Street and in 1886 in Nelson Street, until 1901. The Nelson Street practice also had a 2 bed ward, called Mira Private Hospital ). Dr Edward Ryan was House Surgeon at the Nhill Hospital 1884-1902 . He also had occasions where he successfully performed veterinary surgery for the local farmers too. Dr Tom Ryan then purchased the practice from his brother in 1901. Both Dr Edward and Dr Tom Ryan work as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He too was House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. Dr Tom Ryan moved from Nhill in 1926. He became a Fellow of the Royal Australasian College of Surgeons in 1927, soon after its formation, a rare accolade for a doctor outside any of the major cities. He remained a bachelor and died suddenly on 7th Dec 1955, aged 91, at his home in Ararat. Scholarships and prizes are still awarded to medical students in the honour of Dr T.F. Ryan and his father, Dr Michael Ryan, and brother, John Patrick Ryan. ] When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery states “HOURS Daily, except Tuesdays, Fridays and Saturday afternoons, 9-10am, 2-4pm, 7-8pm. Sundays by appointment”. This plate is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. Dr Edward Ryan and Dr Tom Ryan had an extensive collection of historical medical equipment and materials spanning 1884-1926 and when Dr Angus took up practice in their old premises he obtained this collection, a large part of which is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. During his time in Nhill Dr Angus was involved in the merging of the Mira Hospital and Nhill Public Hospital into one public hospital and the property titles passed on to Nhill Hospital in 1939. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. ). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (The duties of a Port Medical Officer were outlined by the Colonial Secretary on 21st June, 1839 under the terms of the Quarantine Act. Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. Their interests included organisations such as Red Cross, Rostrum, Warrnambool and District Historical Society (founding members), Wine and Food Society, Steering Committee for Tertiary Education in Warrnambool, Local National Trust, Good Neighbour Council, Housing Commission Advisory Board, United Services Institute, Legion of Ex-Servicemen, Olympic Pool Committee, Food for Britain Organisation, Warrnambool Hospital, Anti-Cancer Council, Boys’ Club, Charitable Council, National Fitness Council and Air Raid Precautions Group. He was also a member of the Steam Preservation Society and derived much pleasure from a steam traction engine on his farm. He had an interest in people and the community He and his wife Gladys were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Beige envelope containing white braided silk. “Braided silk / No. 16” from the W.R. Angus Collection. Hand written in blue pen on front of envelope. Red Cross symbol is printed onto top left corner of envelope and at bottom of envelope are the words printed in red “ISSUED FREE BY AUSTRALIAN RED CROSS SOCIETY TO HOSPITAL PATIENTS”. Once part of Dr T.F. Ryan's medical practice.Envelope has text “Braided silk / No. 16”, “ISSUED FREE BY AUSTRALIAN RED CROSS SOCIETY TO HOSPITAL PATIENTS”. It also has a red cross on the upper left cornerflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, suture, silk suture, surgical silk, dr t f ryan, dr angus, medical equipment, nhill base hospital, warrnambool base hospital, flying doctor, medical history, medical treatment, mira hospital, flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, suture, silk suture, surgical silk, dr t f ryan, dr angus, medical equipment, nhill base hospital, warrnambool base hospital, flying doctor, medical history, medical treatment, mira hospital

EDHS_04863 - Binder: Eltham Justice Precinct 1. Courthouse 1. Eltham Courthouse interesting facts 2. Plan and elevation drawings 3. Other courthouse plans and fittings 1880s – Brunswick, Maffra, Dunolly , Sunbury, Landsborough and Wodonga 4. Newspaper articles: i. ELTHAM POLICE COURT. (1892, April 1). Evelyn Observer, and South and East Bourke Record (Vic. : 1882 - 1902), p. 2 (MORNING.). Retrieved July 5, 2022, from http://nla.gov.au/nla.news-article60667022 ii. BREAKING A PUBLICAN'S LEG. (1900, July 13). Evelyn Observer, and South and East Bourke Record (Vic. : 1882 - 1902), p. 2 (MORNING.). Retrieved July 5, 2022, from http://nla.gov.au/nla.news-article60688367 iii. ELTHAM COURT. (1901, March 1). Mercury and Weekly Courier (Vic. : 1878 - 1903), p. 3. Retrieved July 5, 2022, from http://nla.gov.au/nla.news-article58578953 iv. ANNIE CHASES A TINKER. (1902, October 3). Evelyn Observer, and South and East Bourke Record (Vic. : 1882 - 1902), p. 2 (MORNING.). Retrieved July 5, 2022, from http://nla.gov.au/nla.news-article64029968 v. ELTHAM POLICE COURT. (1927, May 6). Advertiser (Hurstbridge, Vic. : 1922 - 1939), p. 4 (AFTERNOON). Retrieved July 5, 2022, from http://nla.gov.au/nla.news-article57754748 vi. ELTHAM POLICE COURT. (1927, May 20). Advertiser (Hurstbridge, Vic. : 1922 - 1939), p. 3 (AFTERNOON). Retrieved July 5, 2022, from http://nla.gov.au/nla.news-article57754814 vii. Eltham Police Court (1931, January 9). Advertiser (Hurstbridge, Vic. : 1922 - 1939), p. 4. Retrieved July 5, 2022, from http://nla.gov.au/nla.news-article56734073 viii. Repairs to Eltham Police Station, The Advertiser (1929, May 24). Advertiser (Hurstbridge, Vic. : 1922 - 1939), p. 2 (AFTERNOON.). Retrieved July 5, 2022, from http://nla.gov.au/nla.news-article57759907 ix. ELTHAM COURT. (1929, August 2). Advertiser (Hurstbridge, Vic. : 1922 - 1939), p. 4 (AFTERNOON.). Retrieved July 5, 2022, from http://nla.gov.au/nla.news-article57760345 x. See also Trove list https://trove.nla.gov.au/list/116634 5. Letter: Shire of Eltham Historical Society to Shire of Eltham, 1 July 1969 regarding potential replacement of Eltham Courthouse and the building’s historical significance and acknowledgement 10 July 1969 6. Letter: Shire of Eltham Historical Society to Law Department, 26 May 1972, re preservation of Eltham Courthouse and potential classification and acknowledgement 7 June 1972 7. Newspaper article: Strangers around, so Eltham sought protection by Marguerite Marshall, Diamond Valley News, Tuesday, April 6, 1982, p2 (On reverse side, Top job for our Pauline, p1) 8. Eltham Courthouse Colour Scheme, Public Works Department, 10 September 1983 9. Newspaper article: Eltham Courthouse under threat of closure by Helen Gillman, Diamond Valley News, October 16, 1984 10. Newspaper article: Courthouse to close by Helen Gillman, Diamond Valley News, Tuesday, November 20, 1984, p1 (also on p2 an article about Diamond Valley Shire festivities for the State’s 150th) 11. We will keep your court – Kennett, Diamond Valley News (probable), c.Dec. 1984 12. Letter: Shire of Eltham to Shire of Eltham Historical Society, 15 March 1985, regarding potential for use of building as a museum and reply dated 17 April 1985 regarding Society’s interest in use of the building 13. Letter: Department of Conservation Forests & Lands to Shire of Eltham, August 1987, regarding expressions of interest in the building and letter from Shire (18 August 1987) to Society advising of same 14. Letter: Department of Conservation Forests & Lands to Shire of Eltham, 30 March 1988, advising Courthouse to be used by Eltham Youth Resources Centre and the rear section by other community groups. Noted that the historical society was suggested by Council as a future user of the adjoining police residence when Council first sought management of the building and that should be investigated. Includes Schedule of Repair and Maintenance Work (4 pages), Existing Conditions Survey 30/7/1987 (6 pages) and 1 page plan view diagram 15. Memo: Historic Places Section to Eltham Youth Resource Centre re paint analysis of Courthouse, 17/5/1988, (6 pages) 16. Newspaper article: Courthouse renovation by Jodie Haythorne, Diamond Valley News, November 23, 1992 17. National Trust of Australia Registration (classified 20 Oct 1977), printed March 2000 18. Letter: Heritage Victoria 28 Feb 2002 regarding the replacement of the Courthouse Stand (Witness Box) 19. Article: There’s still order in this stately court house, Eltham Shire (magazine), date unk., p22-23 20. Eltham Court House, Statement of Significance, Heritage Victoria Register, printed Nov 2004 21. Eltham 1860 Former Court House 730 Main Road Eltham, collated by Eltham District Historical Society Incorporated 2005 (4 pages) 22. Book Extract: Eltham, Historical Court Houses of Victoria by Michael Challinger, Palisade Press, 2001 23. Newspaper article: Courthouse rich with history by Harry Gilham, Nillumbik Mail, c.2001 (see also EDHS_03333) 24. Notes on history of site from Crown Reserve File Rs 12128, Municipal Buildings (Local Community Welfare Reserve) at Eltham, Department of Sustainability and Environment, April 2005 (4 pages) 25. Newspaper article: Historic building upgrade, Diamond Valley Leader, August 3, 2005, p17 26. Newspaper article: Courthouse regeneration secures boost, Valley Weekly, August 10, 2005 with picture of Harry Gilham, Steve Herbert and Greg Johnson 27. Newspaper article: Poets are summonsed, Diamond Valley Leader February 22, 2006, p37 features picture of Helen Lucas at the Eltham Courthouse 28. Newspaper article: Sharing a love of legalities, Diamond Valley Leader, March 1, 2006, p7 features a picture of Rob Hulls and Steve Herbert talking to students in the courthouse 29. Newspaper advertisement: Nillumbik Tender No. 2021-33, Building Restoration Works, Old Eltham Courthouse, The Age, November 7, 2020 30. Form: Police Officer’s Return To A Warrant Of Distress 31. Handwritten notes: three pages listing all 48 of the pigeon hole form listings in the cabinet in the courthouse 2. Police Quarters 1. 1971 Surveyors Plan of 728 Main Road and the Adjoining Courthouse 2. Letter: Shire of Eltham to Shire of Eltham Historical Society, 5 June 1981, requesting the society give consideration to the suitability of the existing buildings (former Vermin and Noxious Weeds Office, Department of Crown Lands and Survey) for historical purposes such as a museum 3. Minutes: Shire of Eltham Historical Society Committee Meeting, 10 June 1981 (2 pages) includes reference to possible use of building as a museum (also reference to Bills Horse trough to be retained) 4. Extract from Victoria Police Gazette 1930 with details of building and site 5. Newspaper article: Cubby haven, Diamond Valley News, October 28, 1991 about replica Police Station with picture of replica along with Monika Roitinger and Garry Bartlett outside the Police Station 6. Environment office up for sale? Mountain Views, Monday, June 12, 1995 (Nillumbik Shire Council proposing to sell property. Did not proceed as ownership held by the State of Victoria) 7. Extract from National Trust February 1998 edition, “Police Rescue” which states Heidelberg and Eltham Police Residences are the oldest known Police Residences in the Melbourne Metropolitan district 8. Newspaper article: The first police office by Harry Gilham, Nillumbik Mail, December 13, 2000 (also photocopy with notations on picture identifying buildings and Harry’s typed draft) 9. Fax Memo: Victoria Police List of Officers in Charge, Eltham Police Station, 1857-1991 onward, 21 Jan 2003 10. Former Police Quarters, Statement of Significance, Heritage Victoria Register, printed Nov 2004 11. Eltham 1860 Former Police Quarters 728 Main Road Eltham, collated by Eltham District Historical Society Incorporated 2005 (5 pages) 12. Report: Eltham District Historical Society to Living and Learning Nillumbik, 14 April 2010 regarding the poor state of condition of the former Police Residence 13. Photocopy of three photos of the former Police Residence, former Police Station (relocated to rear of site) and Stables, October 18, 1991 3. Lockup 1. Newspaper article: Heritage permit bid, Diamond Valley News, January 17, 2001 (also article “Eltham library tops”) includes picture of lockup located in Youth Road 2. Newspaper article: Old lockup in new site, Diamond Valley Leader, March 21, 2001, p15. Includes picture of Harry Gilham with lockup at justice Precinct 3. Letter: Victoria Police to Eltham District Historical Society, 20 March 1991 including laser print photo of lockup in 1963 at 23 Pryor Street 4. Fax: Graham Clark, Associated Crane Trucks Pty Ltd, 833 Main Road Hurstbridge; Quote 26.2.99 for $1,080 to move lockup from Youth Road to 728 Main Road 4. Local History Centre 1. Victoria Government Gazette: Photocopy, No. 165, Tuesday, December 7, 1858, establishment of a Court of Petty Sessions at Eltham, 7 December 1858 2. Victoria Government Gazette: Photocopy, September 16, 1859, contract issued for Police buildings at Eltham to Langridge and Co., McCarter, Baillie, Nicol and Co, Chadley, Amos and Co., Cameron, Payne, £1,150.7.0 3. Victoria Government Gazette: Photocopy, October 2, 1860, contract issued for Court of Petty Sessions at Eltham to James Duncan, £600 4. President’s Report, Eltham District Historical Society, Annual General Meeting, Wednesday, March 11, 1998 – covers the establishment of the Local History Centre and new home for the Society 5. Extract for EDHS Newsletter July 1998 – Eltham Local History Centre – Official Opening 6. Unveiling of 728 Street Sign, Speech notes by Cr Dianne Bullen, December 2000, includes invoice from John Sharp Signs Pty Ltd, 24/10/2000 and planning approval drawing dated 24/3/1999 reproduced in Newsletter No. 135 November 2000 7. Letter: Eltham District Historical Society to Living and Learning Centre, undated draft regarding being a member of the committee reviewing the development of the site 8. Notes from Rod Grant re funding of site development under the Community Jobs Program 9. Letter: Eltham District Historical Society to Nillumbik Living and Learning, 28 October 2004 re inclusion of the Society in enhancing the site under the Community Jobs Program 10. Letter: Department of Sustainability and Environment to Eltham District Historical Society, 28 February 2005 re preparing draft Conservation Plan and copy of cover letter in response 2 April 2005 11. Levels and Layout Plan, Nillumbik Shire Council, September 2005, AO copy 12. Letter: Department of Sustainability and Environment to Eltham District Historical Society, 12 September 2005 re Eltham Justice Precinct Conservation Management Plan 13. Letter: Living and Learning Nillumbik, 2 February 2006 to Eltham District Historical Society re forming a Committee to advise on the use, maintenance, management and preservation of the Justice Precinct 14. Minutes: Meeting of a Task group to explore the establishment of a Committee to manage the Eltham Justice Precinct, 20 December 2005 (with hand written notes) 15. President’s notes (EDHS), General Meeting item, 11 May 2006 pertaining to use and condition of the Eltham Justice Precinct 16. Paint estimates, Old Eltham Court House, undated 17. Notes from meeting 26 September (2006), Eltham Justice Precinct Committee 18. Notes from meeting 27 November (2006), Eltham Justice Precinct Committee 19. Terms of Reference for the Eltham Justice Precinct Committee, Draft for Living and Learning Committee Meeting 24 Jan 2007 (4 pages) 20. Newspaper article: Panel set up, Diamond Valley Leader, 7 March 2007 21. Minutes: Meeting of Eltham Justice Precinct Subcommittee, 10 May 2007 22. Minutes: Meeting of Eltham Justice Precinct Subcommittee, 5 July 2007 23. Minutes: Meeting of Eltham Justice Precinct Subcommittee, 11 October 2007 24. Minutes: Meeting of Eltham Justice Precinct Subcommittee, 7 February 2008 25. Minutes: Meeting of Eltham Justice Precinct Subcommittee, 10 April 2008 26. Minutes: Meeting of Eltham Justice Precinct Subcommittee, 14 August 2008 27. Letter: EDHS (Sue Law) to Living and Learning, 6 September 2008 re proposed signage 28. Agenda: Meeting of Eltham Justice Precinct Subcommittee, 16 October 2008 29. Suggested guidelines for use of the Court House for exhibitions 30. Handwritten note re Ken Eckersal and Uniting Church of possible donation of church organ for sale, proceeds to be used for activities at the Justice precinct 31. One page typed notes on each of the buildings in the Eltham Justice Precinct 5. Miscellaneous 1. Photocopy from Pioneers & Painters (2 pages) covering the establishment of Police and Court of Petty Sessions at Eltham 2. Photocopy of photo looking northeast across Little Eltham buildings c.1910 with notes 3. Photocopy of J.H Clarke photo looking up Maria Street from near Dalton Street with notes identifying precinct buildings 4. Photocopy of photo of Court House and Police Quarters with cow outside from Heather Jenkins scrapbook with notes identifying buildings 5. Sketch and notes with dimensions for blue stone lockup including other miscellaneous handwritten notes 6. Unidentified heritage review details of Justice Precinct (c.2004) 7. Hand written notes of telephone conversation held with Dennis McKay (6 May 1997) re Council use of site 8. Flyer: Victoria Police Historical Unit 9. Photocopy of thumbnail images of various Justice Precincts (not identified) 10. Email correspondence, 4 and 10 January 2008; J. Connor to Council and Councillors pertaining to proposed new toilet facilities at rear of Courthouse annexe. Two ring lever arch binder, white with various photocopies, printouts, newspaper clippingsHG Folders 15/52/59 integratedharry gilham collection, eltham courthouse, eltham justice precinct, eltham police residence, lockup, eltham community festival, eltham festival, eltham, heritage assessment, police residence

The Beechworth Historic Courthouse is a living history museum in Victoria, Australia. Built in 1858, it has been in continuous service for 131 years and is currently home to a unique collection of artifacts, including its original furniture and fittings. The Courthouse Law Library is also recognised as being of outstanding national significance with many rare books held in the collection. The courthouse was built in 1858 and is located in the centre of the Beechworth Historic Precinct. It was built from granite with a double height gabled courtroom with the entrance via a central projecting porch. The building was classified in 1959 as part of Group Classification (B2615)with Forests Office, Lands Office, Police Lock-up & Police Station. The Courthouse is a significant site in Australia’s legal history because it was the location of more than 40 trials and hearings for the Kelly Gang and their sympathisers.This a rectangular, black and white photograph, unmounted.Reverse Ministry of Tourism, Melbourne1850s beechworth, beechworth courthouse, ned kelly, 1800s beechworth, kelly gang, beechworth historic courthouse, 1858, kelly trials, daniel kelly, dan kelly, edward kelly, ellen kelly, elizabeth scott, the first woman hanged in victoria, colony of victoria, 1863, domestic violence related murder

The carronade was designed as a short-range naval weapon with a low muzzle velocity for merchant ships, but it also found a niche role on warships. It was produced by the Carron Iron Works and was at first sold as a complete system with the gun, mounting, and shot altogether. Carronades initially became popular on British merchant ships during the American Revolutionary War. A lightweight gun that needed only a small gun crew and was devastating at short range was well suited to defending merchant ships against French and American privateers. The invention of the cannon is variously attributed to Lieutenant General Robert Melville in 1759, or to Charles Gascoigne, manager of the Carron Company from 1769 to 1779. In its early years, the weapon was sometimes called a "mellvinade" or a "gasconade". The carronade can be seen as the culmination of a development of naval guns reducing the barrel length and thereby the gunpowder charge. The Carron Company was already selling a "new light-constructed" gun, two-thirds of the weight of the standard naval gun and charged with one-sixth of the weight of the ball in powder before it introduced the carronade, which further halved the gunpowder charge. The theory of its design was to use less powder and had other advantages that were advertised in the company's sales pamphlet of the time, state. The smaller gunpowder charge reduced the barrel heating in action, also reduced the recoil. The mounting, attached to the side of the ship on a pivot, took the recoil on a slider, without altering the alignment of the gun. The pamphlet advocated the use of woollen cartridges, which eliminated the need for wadding and worming, although they were more expensive. Carronades also simplified gunnery for comparatively untrained merchant seamen in both aiming and reloading that was part of the rationale for adopting the gun. Other advantages promoted by the company were. The replacement of trunnions by a bolt underneath, to connect the gun to the mounting, reduced the width of the carriage that enhanced the wide angle of fire. A merchant ship would almost always be running away from an enemy, so a wide-angle of fire was much more important than on a warship. A carronade weighed a quarter as much as a standard cannon and used a quarter to a third of the gunpowder charge. This reduced charge allowed Carronades to have a shorter length and much lighter weight than long guns. Increasing the size of the bore and ball reduces the required length of the barrel. The force acting on the ball is proportional to the square of the diameter, while the mass of the ball rises by the cube, so acceleration is slower; thus, the barrel can be shorter and therefore lighter. Long guns were also much heavier than Carronades because they were over-specified to be capable of being double-shotted, (to load cannons with twice the shot, for increased damage at the expense of range), whereas it was dangerous to do this in a carronade. A ship could carry more carronades, or carronades of a larger calibre, than long guns, and carronades could be mounted on the upper decks, where heavy long guns could cause the ship to be top-heavy and unstable. Carronades also required a smaller gun crew, which was very important for merchant ships, and they were faster to reload. The small bore carronade and carriage is part of a collection of nineteenth Century Flagstaff Hill Guns and Cannon, which is classified as being of significance and was made a few years after the beginning of Queen Victoria's reign in 1837 and fires a 6 lb pound cannon ball. This nineteenth century artillery piece is a rare and representative item of artillery of this era, used predominately on ships, both military and merchant. The artillery piece, individually and as part of the collection, is highly significant for its historical, scientific and aesthetic reasons at the state, national and world level. This carronade represents the methods of artillery technology, its advancement and its modifications to suit dangerous situations that sailors encountered from attacks from free booters (pirates, living from plunder) or others at the time. Carronade firing a 6 lb cast iron ball, with a smooth bore barrel 6.5 cm in dia the item is mounted on stepped wooden carriage with wooden wheels. Cannon barrel can have its elevation adjusted via a wooden wedge. Gun carriage has loops for locating and holding in position to a deck by ropes. Carriage is a replica made 1982Cast into the barrel is the royal emblem of Queen Victoria (VR "Victoria Regina") indicating the carronade was cast during Queen Victoria's reign / 1840 & 4-2-0 denoting the weight of the barrel. Right hand trunnion has a serial number “8708”. Also on top of the barrel is the British "Board of Ordinance" identifying mark a broad arrow indicating the carronade was in military use. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, colonial defences, victoria’s coastal defences, warrnambool fortification, warrnambool garrison battery, warrnambool volunteer corps, ordinance, armaments, garrison gun, smooth bore cannon, carronade, black powder, 12 pounder, 1840, artillery, lieutenant general robert melville, charles gascoigne, carron company, mellvinade, gasconade

The turpentine timber used to construct this table was originally used to build the second Hopkins River bridge in 1895. That long timber truss road bridge was built across the river close to the river mouth. The first Hopkins River bridge was built in 1862. That bridge was replaced by the second bridge, built in 1895. In 2001 the new third bridge was built to replace the 1895 bridge, in a design to look similar to the 1895 bridge. The timber from the second bridge was recycled to make this hall table, a cheeseboard presented to the Mayor at that time, and other mementos. The plaque attached to the table states the table was made in 2009 by Ralph Speirs, Warrnambool Triton Woodwork Club. The table is significant for its connection with the second Hopkins River bridge, built in 1895. The timber used to make the table has been recycled from the second Hopkins River bridge that was destroyed to make way for the new, third bridge. The Timber Truss Hopkins River Bridge was classified with State Significance on 16th April 1996, being the oldest of six surviving timber truss bridges in Victoria and the most intact timber road bridge of any type for its size and age. Its design was unique within Australia. It was the largest timber bridge built in Victoria during the 1890s. The bridge was of importance to the economical development of the region, opening up access to allow ease of trade and social connections between the eastern region of southwest Victoria and the town, later city, of Warrnambool and regions further west.Table made from turpentine timber. The timber was recycled from the second Hopkins River Bridge after the bridge was destroyed. The bridge was built in 1895. The table was constructed in 2009 by Ralph Speirs, Warrnambool Triton Woodwork Club. The front corners of the table are rounded and bthe back corners are straight. A plaque with eight rows of text is attached to the table."TABLE BUILT FROM TURPENTINE TIMBER RECYCLED FROM THE SECOND HOPKINS RIVER BRIDGE, BUILT IN 1895 AND DEMOLISHED IN 2000 TO BE RPLACED BY THE PRESENT THIRD BRIDGE. CONSTRUCTION BY RALPH SPEIRS, MEMBER OF WARRNAMBOOL TRITON WOODWORK CLUB, IN 2009"flagstaff hill, warrnambool, hopkins river, bridge, 1895, 2009, ralph speirs, warrnambool triton club, domestic furniture, table, hall table, side table, timber table, hall stand, furniture

A sculpture of local author Alan Marshall welcomes visitors in the grounds of Eltham library. Alan loved telling stories and talking to children and his own story overcoming the legacy of polio has been an inspiration to generations of Australians. Marcus Skipper, the sculptor, knew Alan well and the sculpture is said to capture his spirit and appearance perfectly; the jumper was even cast from one of Alan’s own. A realistic depiction (almost life size) of Alan Marshall (1902-1984) cast in bronze with green patination. Dressed in a jumper and slacks, Marshall is shown perched on a crutch, holding a book to his heart, gesturing to his audience to come and listen to his words. It was scupluted by local artist Marcus Skipper (b.1950 Melb. died 2011). HISTORICAL INFORMATION Alan Marshall was an author of more than fifteen books, and lived much of his life in Eltham. He became a central figure in the area's arts community of writers, artists, sculptors, film makers, actors and musicians . He is shown stroking a book to his heart, perched on a crutch, which references his disability (contracted polio when he was young), and his status as one of Australia's most successful and loved authors. His most famous book, 'I Can Jump Puddles' is based on his life story and the obstacles he faced as a child in trying to overcome his disability. Marcus Skipper submitted the idea for the work to the first 'Art in Public Places' Awards in 1990. The selectors at the time recommended that the work would be more suitably placed near the Eltham Library. It was commissioned and installed for the new Eltham Library, which was designed by Greg Burgess in 1994. It was partially funded by the then Shire of Eltham's Art Development Fund (Eltham Arts Council) and the rest donated by the artist Marcus Skipper. - Highlights from the Nillumbik Public Art Collection. "The setting and location are ideal and Marcus has really captured the typical Marshall character. It has attracted much favourable comment since its completion. .. Alan Marshall, A.M., O.B.E., Hon.LL.D. (1902-1984) was born at Noorat, Victoria and became one of Australia's most famous authors. His association with the Eltham area began in 1920 when he started his first job as a junior clerk at the Eltham Shire Offices, Kangaroo Ground. In the 1940s he spent some time living at Research. From 1955 he lived in Eltham for nearly 20 years. Disabilities resulting from polio as a young child did not prevent a wide range of experiences. Alan's occupations have been listed as clerk, night watchman, fortune teller, freelance journalist and author. He has been patron of many disadvantaged Children's Societies. Alan's books are numerous and include novels, short stories, children's books, history and travel. Among the best known are his autobiographies "I Can Jump Puddles" and "This is the Grass". Others include "These are My People", "Ourselves Writ Strange", "People of the Dreamtime", "The Gay Provider" and "Wild Red Horses". In 1971 he wrote the Centenary History of the Shire of Eltham, "Pioneers and Painters". -EDHS Newsletter No. 104, September 1995This work has significance for its reference to two well known names associated with Eltham and its history. The sculpture is a realistic statue of the famous Australian author Alan Marshall who wrote "I Can Jump Puddles". He lived and worked in the Shire. The artist Marcus Skipper represents a highly recognised family of artists associated with Monsalvat . The sculpture 'Alan Marshall' has been classified as of regional significance by the National Trust of Australia. - Highlights from the Nillumbik Public Art Collection.Born Digitalart in public places, alan marshall, marcus skipper, sculptures, eltham library

The history of the Thunderchild gun is not known. It was presumably manufactured in Torquay in the second half of the 19th century. Such guns were often attached to a ship’s rail through the holes in the swivel base, as in the base of this gun. The guns fired grapeshot and were originally used on ships to repel boarders. They were also used to launch whaling harpoons and were sometimes employed for signalling. The relatively late date makes the latter application most likely. This Thunderchild gun is complete with ramrod and wad remover. It is in good working order and easily assembled. It is used locally for special ceremonies and for Whaleboat Races as a starting gun. (Guns and Cannon, South Wester Victoria, May 2008, ref W/F/03) The small bore cannon is part of a collection of nineteenth century Flagstaff Hill Guns and Cannon, which is classified as being a high level of significance, on State, National and World The nineteenth century artillery pieces are a very rare and representative collection of artillery of this era. The artillery pieces, individually and as a collection, are highly significant for historical, scientific and aesthetic reasons at the state, national and world levels. The artillery pieces are excellent examples of nineteenth century artillery designed for the shore defence of western Victoria in the mid to late 1800s. The collection demonstrates the system of nineteenth century Imperial Defence implemented by Britain and of the recycling of obsolete technology to the colonies by Britain. The collection represents the methods of artillery technology, its advancement and its modifications in order to remain active. It also illustrates the transference of defence technology from Britain to Australia and demonstrates the level of reliance Australia had on British defence equipment. The artillery pieces form prominent elements in their landscapes and, together with the batteries and sites in which they are located, create a strong visual link to the region’s defence history. Importantly the artillery pieces, individually and as a collection, represent a very rare and intact group of nineteenth century artillery. Very few examples of nineteenth century artillery have survived worldwide, the largest collections being sited in Canada. The collection is a rare collection of artillery which demonstrates the advancements made in artillery technology during the nineteenth century, and is one of the largest collections of nineteenth century artillery in Australia. Further, the collection is extremely intact, with most pieces retaining original carriages and many located within their original emplacement. This collection of artillery, with their carriages and in their locations, are of exceptional national significance as they represent the largest intact collection of artillery within a single defensive network, outside of major colonial ports. The collection of nineteenth century carriages and slides are in themselves an extremely rare and important collection, however their significance is enhanced by their placements within batteries and with guns. (Conservation Management Plan for Victorian Guns and Cannon, South Western Victoria, May 2008) Cannon; small 1pdr cast iron, smooth bore muzzle loading swivel gun, painted glass black. 19th century cannon has polished wood handle, two detachable metal stirrups and metal swivel base with cuff, attached to block of wood by four bolts. Accessories are a wood tamper and wood ramrod. Name on gun is Thunder-Child, Torquay, Vic. There are Maker’s Marks on the gun and base, and a number on the cannon.. Marks; Barrel "Thunder/ Child". Base cuff " THUNDER / -CHILD / TORQUAY / VIC ", Trunnion "2825/H"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, cannon, torquay, thunder child cannon, thunderchild cannon, signal cannon, muzzle loading cannon, ordinance, munitions

This toy monkey was part of the cargo from the Fiji and amongst the articles salvaged from the wreck. The three-masted iron barque Fiji had been built in Belfast, Ireland, in 1875 by Harland and Wolfe for a Liverpool based shipping company. The ship departed Hamburg on 22nd May 1891 bound for Melbourne, under the command of Captain William Vickers with a crew of 25. The ship’s manifest shows that she was loaded with a cargo of 260 cases of dynamite, pig iron, steel goods, spirits (whisky, schnapps, gin, brandy), sailcloth, tobacco, coiled fencing wire, concrete, 400 German pianos (Sweet Hapsburg), concertinas and other musical instruments, artists supplies including brushes, porcelain, furniture, china, and general cargo including candles. There were also toys in anticipation for Christmas, including wooden rocking horses, miniature ships, dolls with china limbs and rubber balls. On September 5th, one hundred days out from Hamburg in squally and boisterous south west winds the Cape Otway light was sighted on a bearing differing from Captain Vickers’ calculation of his position. At about 2:30am, Sunday 6th September 1891 land was reported 4-5 miles off the port bow. The captain tried to put the ship on the other tack, but she would not respond. He then tried to turn her the other way but just as the manoeuvre was being completed the Fiji struck rock only 300 yards (274 metres) from shore. The place is known as Wreck Bay, Moonlight Head. Blue lights were burned and rockets fired whilst an effort was made to lower boats but all capsized or swamped and smashed to pieces. Two of the younger crewmen volunteered to swim for the shore, taking a line. One, a Russian named Daniel Carkland, drowned after he was swept away when the line broke. The other, 17 year old able seaman Julius Gebauhr, a German, reached shore safely on his second attempt but without the line, which he had cut lose with his sheath-knife when it become tangled in kelp. He rested on the beach a while then climbed the steep cliffs in search of help. At about 10am on the Sunday morning a party of land selectors - including F. J. Stansmore, Leslie Dickson (or Dixon) and Mott - found Gebauhr. They were near Ryans Den, on their travels on horseback from Princetown towards Moonlight Head, and about 5km from the wreck. Gebauhr was lying in the scrub in a poor state, bleeding and dressed only in singlet, socks and a belt with his sheath-knife, ready for all emergencies. At first they were concerned about his wild and shaggy looking state and what seemed to be gibberish speech, taking him to be an escaped lunatic. They were reassured after he threw his knife away and realised that he was speaking half-English, half-German. They gave him food and brandy and some clothing and were then able to gain information about the wreck. Some of the men took him to Rivernook, a nearby guest house owned by John Evans, where he was cared for. Stansmore and Dickson rode off to try and summon help. Others went down to the site of the wreck. Messages for rescuing the rest of the crew were sent both to Port Campbell for the rocket rescue crew and to Warrnambool for the lifeboat. The S.S. Casino sailed from Portland towards the scene. After travelling the 25 miles to the scene, half of the Port Campbell rocket crew and equipment arrived and set up the rocket tripod on the beach below the cliffs. By this time the crew of the Fiji had been clinging to the jib-boom for almost 15 hours, calling frantically for help. Mr Tregear from the Rocket Crew fired the line. The light line broke and the rocket was carried away. A second line was successfully fired across the ship and made fast. The anxious sailors then attempted to come ashore along the line but, with as many as five at a time, the line sagged considerably and some were washed off. Others, nearly exhausted, had to then make their way through masses of seaweed and were often smothered by waves. Only 14 of the 24 who had remained on the ship made it to shore. Many onlookers on the beach took it in turns to go into the surf and drag half-drowned seamen to safety. These rescuers included Bill (William James) Robe, Edwin Vinge, Hugh Cameron, Fenelon Mott, Arthur Wilkinson and Peter Carmody. (Peter Carmody was also involved in the rescue of men from the Newfield.) Arthur Wilkinson, a 29 year old land selector, swam out to the aid of one of the ship’s crewmen, a carpenter named John Plunken. Plunken was attempting to swim from the Fiji to the shore. Two or three times both men almost reached the shore but were washed back to the wreck. A line was thrown to them and they were both hauled aboard. It was thought that Wilkinson struck his head on the anchor before s they were brought up. He remained unconscious. The carpenter survived this ordeal but Wilkinson later died and his body was washed up the next day. It was 26 year old Bill Robe who hauled out the last man, the captain, who had become tangled in the kelp. The wreck of the Fiji was smashed apart within 20 minutes of the captain being brought ashore, and it settled in about 6m of water. Of the 26 men on the Fiji, 11 in total lost their lives. The remains of 7 bodies were washed onto the beach and their coffins were made from timbers from the wrecked Fiji. They were buried on the cliff top above the wreck. The survivors were warmed by fires on the beach then taken to Rivernook and cared for over the next few days. Funds were raised by local communities soon after the wreck in aid of the sufferers of the Fiji disaster. Captain Vickers was severely reprimanded for his mishandling of the ship. His Masters Certificate was suspended for 12 months. At the time there was also a great deal of public criticism at the slow and disorganised rescue attempt to save those on board. The important canvas ‘breech buoy’ or ‘bucket chair’ and the heavy line from the Rocket Rescue was in the half of the rocket outfit that didn’t make it in time for the rescue: they had been delayed at the Gellibrand River ferry. Communications to Warrnambool were down so the call for help didn’t get through on time and the two or three boats that had been notified of the wreck failed to reach it in time. Much looting occurred of the cargo that washed up on the shore, with nearly every visitor leaving the beach with bulky pockets. One looter was caught with a small load of red and white rubber balls, which were duly confiscated and he was ‘detained’ for 14 days. Essence of peppermint mysteriously turned up in many settlers homes. Sailcloth was salvaged and used for horse rugs and tent flies. Soon after the wreck “Fiji tobacco” was being advertised around Victoria. A Customs officer, trying to prevent some of the looting, was assaulted by looters and thrown over a steep cliff. He managed to cling to a bush lower down until rescued. In 1894 some coiled fencing wire was salvaged from the wreck. Hundreds of coils are still strewn over the site of the wreck, encrusted and solidified. The hull is broken but the vessel’s iron ribs can be seen along with some of the cargo of concrete and pig iron. Captain Vickers presented Bill Robe with his silver-cased pocket watch, the only possession that he still had, as a token for having saved his life and the lives of some of the crew. (The pocket watch came with 2 winding keys, one to wind it and one to change the hands.) Years later Bill passed the watch to his brother-in-law Gib (Gilbert) Hulands as payment of a debt and it has been passed down the family to Gilbert Hulands’ grandson, John Hulands. Seaman Julius Gebauhr later gave his knife, in its hand crafted leather sheath, to F. J. Stansmore for caring for him when he came ashore. The knife handle had a personal inscription on it. A marble headstone on the 200m high cliffs overlooking Wreck Beach, west of Moonlight Head, paying tribute to the men who lost their lives when Fiji ran aground. The scene of the wreck is marked by the anchor from the Fiji, erected by Warrnambool skin divers in 1967. Amongst the artefacts salvaged from the Fiji are bisque (or china) toys, (including miniature animals, limbs from small bisque dolls), rubber balls, a slate pencil, a glass bottle, sample of rope from the distress rocket and a candlestick holder. These items are now part of the Fiji collection at Flagstaff Hill Maritime Museum, along with Captain Vickers’ pocket watch and Julius Gebauhr’s sheath knife. This toy monkey is classified as Fiji 5 on the SWR Flagstaff Hill’s Fiji collection is of historical significance at a State level because of its association with the wreck Fiji, which is on the Victorian Heritage Register VHR S259. The Fiji is archaeologically significant as the wreck of a typical 19th century international sailing ship with cargo. It is educationally and recreationally significant as one of Victoria's most spectacular historic shipwreck dive sites with structural features and remains of the cargo evident. It also represents aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The Fiji collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. Ceramic toy monkey salvaged from the wreck of the Fiji. The monkey is in a seated pose with its arms around its knees. This solid, moulded toy is made of bisque (sometimes described as bisque or porcelain) and the material is an orange colour. The surface is slightly pitted.ceramic, china, flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, porcelain, moonlight head, wreck bay, bisque, toys, miniature animals, monkey, ornament

This toy monkey was part of the cargo from the Fiji and amongst the articles salvaged from the wreck. The three-masted iron barque Fiji had been built in Belfast, Ireland, in 1875 by Harland and Wolfe for a Liverpool based shipping company. The ship departed Hamburg on 22nd May 1891 bound for Melbourne, under the command of Captain William Vickers with a crew of 25. The ship’s manifest shows that she was loaded with a cargo of 260 cases of dynamite, pig iron, steel goods, spirits (whisky, schnapps, gin, brandy), sailcloth, tobacco, coiled fencing wire, concrete, 400 German pianos (Sweet Hapsburg), concertinas and other musical instruments, artists supplies including brushes, porcelain, furniture, china, and general cargo including candles. There were also toys in anticipation for Christmas, including wooden rocking horses, miniature ships, dolls with china limbs and rubber balls. On September 5th, one hundred days out from Hamburg in squally and boisterous south west winds the Cape Otway light was sighted on a bearing differing from Captain Vickers’ calculation of his position. At about 2:30am, Sunday 6th September 1891 land was reported 4-5 miles off the port bow. The captain tried to put the ship on the other tack, but she would not respond. He then tried to turn her the other way but just as the manoeuvre was being completed the Fiji struck rock only 300 yards (274 metres) from shore. The place is known as Wreck Bay, Moonlight Head. Blue lights were burned and rockets fired whilst an effort was made to lower boats but all capsized or swamped and smashed to pieces. Two of the younger crewmen volunteered to swim for the shore, taking a line. One, a Russian named Daniel Carkland, drowned after he was swept away when the line broke. The other, 17 year old able seaman Julius Gebauhr, a German, reached shore safely on his second attempt but without the line, which he had cut lose with his sheath-knife when it become tangled in kelp. He rested on the beach a while then climbed the steep cliffs in search of help. At about 10am on the Sunday morning a party of land selectors - including F. J. Stansmore, Leslie Dickson (or Dixon) and Mott - found Gebauhr. They were near Ryans Den, on their travels on horseback from Princetown towards Moonlight Head, and about 5km from the wreck. Gebauhr was lying in the scrub in a poor state, bleeding and dressed only in singlet, socks and a belt with his sheath-knife, ready for all emergencies. At first they were concerned about his wild and shaggy looking state and what seemed to be gibberish speech, taking him to be an escaped lunatic. They were reassured after he threw his knife away and realised that he was speaking half-English, half-German. They gave him food and brandy and some clothing and were then able to gain information about the wreck. Some of the men took him to Rivernook, a nearby guest house owned by John Evans, where he was cared for. Stansmore and Dickson rode off to try and summon help. Others went down to the site of the wreck. Messages for rescuing the rest of the crew were sent both to Port Campbell for the rocket rescue crew and to Warrnambool for the lifeboat. The S.S. Casino sailed from Portland towards the scene. After travelling the 25 miles to the scene, half of the Port Campbell rocket crew and equipment arrived and set up the rocket tripod on the beach below the cliffs. By this time the crew of the Fiji had been clinging to the jib-boom for almost 15 hours, calling frantically for help. Mr Tregear from the Rocket Crew fired the line. The light line broke and the rocket was carried away. A second line was successfully fired across the ship and made fast. The anxious sailors then attempted to come ashore along the line but, with as many as five at a time, the line sagged considerably and some were washed off. Others, nearly exhausted, had to then make their way through masses of seaweed and were often smothered by waves. Only 14 of the 24 who had remained on the ship made it to shore. Many onlookers on the beach took it in turns to go into the surf and drag half-drowned seamen to safety. These rescuers included Bill (William James) Robe, Edwin Vinge, Hugh Cameron, Fenelon Mott, Arthur Wilkinson and Peter Carmody. (Peter Carmody was also involved in the rescue of men from the Newfield.) Arthur Wilkinson, a 29 year old land selector, swam out to the aid of one of the ship’s crewmen, a carpenter named John Plunken. Plunken was attempting to swim from the Fiji to the shore. Two or three times both men almost reached the shore but were washed back to the wreck. A line was thrown to them and they were both hauled aboard. It was thought that Wilkinson struck his head on the anchor before s they were brought up. He remained unconscious. The carpenter survived this ordeal but Wilkinson later died and his body was washed up the next day. It was 26 year old Bill Robe who hauled out the last man, the captain, who had become tangled in the kelp. The wreck of the Fiji was smashed apart within 20 minutes of the captain being brought ashore, and it settled in about 6m of water. Of the 26 men on the Fiji, 11 in total lost their lives. The remains of 7 bodies were washed onto the beach and their coffins were made from timbers from the wrecked Fiji. They were buried on the cliff top above the wreck. The survivors were warmed by fires on the beach then taken to Rivernook and cared for over the next few days. Funds were raised by local communities soon after the wreck in aid of the sufferers of the Fiji disaster. Captain Vickers was severely reprimanded for his mishandling of the ship. His Masters Certificate was suspended for 12 months. At the time there was also a great deal of public criticism at the slow and disorganised rescue attempt to save those on board. The important canvas ‘breech buoy’ or ‘bucket chair’ and the heavy line from the Rocket Rescue was in the half of the rocket outfit that didn’t make it in time for the rescue: they had been delayed at the Gellibrand River ferry. Communications to Warrnambool were down so the call for help didn’t get through on time and the two or three boats that had been notified of the wreck failed to reach it in time. Much looting occurred of the cargo that washed up on the shore, with nearly every visitor leaving the beach with bulky pockets. One looter was caught with a small load of red and white rubber balls, which were duly confiscated and he was ‘detained’ for 14 days. Essence of peppermint mysteriously turned up in many settlers homes. Sailcloth was salvaged and used for horse rugs and tent flies. Soon after the wreck “Fiji tobacco” was being advertised around Victoria. A Customs officer, trying to prevent some of the looting, was assaulted by looters and thrown over a steep cliff. He managed to cling to a bush lower down until rescued. In 1894 some coiled fencing wire was salvaged from the wreck. Hundreds of coils are still strewn over the site of the wreck, encrusted and solidified. The hull is broken but the vessel’s iron ribs can be seen along with some of the cargo of concrete and pig iron. Captain Vickers presented Bill Robe with his silver-cased pocket watch, the only possession that he still had, as a token for having saved his life and the lives of some of the crew. (The pocket watch came with 2 winding keys, one to wind it and one to change the hands.) Years later Bill passed the watch to his brother-in-law Gib (Gilbert) Hulands as payment of a debt and it has been passed down the family to Gilbert Hulands’ grandson, John Hulands. Seaman Julius Gebauhr later gave his knife, in its hand crafted leather sheath, to F. J. Stansmore for caring for him when he came ashore. The knife handle had a personal inscription on it. A marble headstone on the 200m high cliffs overlooking Wreck Beach, west of Moonlight Head, paying tribute to the men who lost their lives when Fiji ran aground. The scene of the wreck is marked by the anchor from the Fiji, erected by Warrnambool skin divers in 1967. Amongst the artefacts salvaged from the Fiji are bisque (or china) toys, (including miniature animals, limbs from small bisque dolls), rubber balls, a slate pencil, a glass bottle, sample of rope from the distress rocket and a candlestick holder. These items are now part of the Fiji collection at Flagstaff Hill Maritime Museum, along with Captain Vickers’ pocket watch and Julius Gebauhr’s sheath knife. This toy monkey is classified as Fiji 5 on the SWR Flagstaff Hill’s Fiji collection is of historical significance at a State level because of its association with the wreck Fiji, which is on the Victorian Heritage Register VHR S259. The Fiji is archaeologically significant as the wreck of a typical 19th century international sailing ship with cargo. It is educationally and recreationally significant as one of Victoria's most spectacular historic shipwreck dive sites with structural features and remains of the cargo evident. It also represents aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The Fiji collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. China toy monkey salvaged from the wreck of the Fiji. The monkey is in a seated pose with its arms around its knees. This solid, moulded toy is made of bisque (sometimes described as bisque or porcelain) and the material is an pinkish brown colour with darker orange in its lap. The surface is worn and slightly pitted.1891, china, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwrecked artefact, flagstaff hill maritime village, shipwreck coast, warrnambool, porcelain, moonlight head, wreck bay, cargo, bisque, toys, miniature animals, monkey

This toy rabbit was part of the cargo from the Fiji and amongst the articles salvaged from the wreck. The three-masted iron barque Fiji had been built in Belfast, Ireland, in 1875 by Harland and Wolfe for a Liverpool based shipping company. The ship departed Hamburg on 22nd May 1891 bound for Melbourne, under the command of Captain William Vickers with a crew of 25. The ship’s manifest shows that she was loaded with a cargo of 260 cases of dynamite, pig iron, steel goods, spirits (whisky, schnapps, gin, brandy), sailcloth, tobacco, coiled fencing wire, concrete, 400 German pianos (Sweet Hapsburg), concertinas and other musical instruments, artists supplies including brushes, porcelain, furniture, china, and general cargo including candles. There were also toys in anticipation for Christmas, including wooden rocking horses, miniature ships, dolls with china limbs and rubber balls. On September 5th, one hundred days out from Hamburg in squally and boisterous south west winds the Cape Otway light was sighted on a bearing differing from Captain Vickers’ calculation of his position. At about 2:30am, Sunday 6th September 1891 land was reported 4-5 miles off the port bow. The captain tried to put the ship on the other tack, but she would not respond. He then tried to turn her the other way but just as the manoeuvre was being completed the Fiji struck rock only 300 yards (274 metres) from shore. The place is known as Wreck Bay, Moonlight Head. Blue lights were burned and rockets fired whilst an effort was made to lower boats but all capsized or swamped and smashed to pieces. Two of the younger crewmen volunteered to swim for the shore, taking a line. One, a Russian named Daniel Carkland, drowned after he was swept away when the line broke. The other, 17 year old able seaman Julius Gebauhr, a German, reached shore safely on his second attempt but without the line, which he had cut lose with his sheath-knife when it become tangled in kelp. He rested on the beach a while then climbed the steep cliffs in search of help. At about 10am on the Sunday morning a party of land selectors - including F. J. Stansmore, Leslie Dickson (or Dixon) and Mott - found Gebauhr. They were near Ryans Den, on their travels on horseback from Princetown towards Moonlight Head, and about 5km from the wreck. Gebauhr was lying in the scrub in a poor state, bleeding and dressed only in singlet, socks and a belt with his sheath-knife, ready for all emergencies. At first they were concerned about his wild and shaggy looking state and what seemed to be gibberish speech, taking him to be an escaped lunatic. They were reassured after he threw his knife away and realised that he was speaking half-English, half-German. They gave him food and brandy and some clothing and were then able to gain information about the wreck. Some of the men took him to Rivernook, a nearby guest house owned by John Evans, where he was cared for. Stansmore and Dickson rode off to try and summon help. Others went down to the site of the wreck. Messages for rescuing the rest of the crew were sent both to Port Campbell for the rocket rescue crew and to Warrnambool for the lifeboat. The S.S. Casino sailed from Portland towards the scene. After travelling the 25 miles to the scene, half of the Port Campbell rocket crew and equipment arrived and set up the rocket tripod on the beach below the cliffs. By this time the crew of the Fiji had been clinging to the jib-boom for almost 15 hours, calling frantically for help. Mr Tregear from the Rocket Crew fired the line. The light line broke and the rocket was carried away. A second line was successfully fired across the ship and made fast. The anxious sailors then attempted to come ashore along the line but, with as many as five at a time, the line sagged considerably and some were washed off. Others, nearly exhausted, had to then make their way through masses of seaweed and were often smothered by waves. Only 14 of the 24 who had remained on the ship made it to shore. Many onlookers on the beach took it in turns to go into the surf and drag half-drowned seamen to safety. These rescuers included Bill (William James) Robe, Edwin Vinge, Hugh Cameron, Fenelon Mott, Arthur Wilkinson and Peter Carmody. (Peter Carmody was also involved in the rescue of men from the Newfield.) Arthur Wilkinson, a 29 year old land selector, swam out to the aid of one of the ship’s crewmen, a carpenter named John Plunken. Plunken was attempting to swim from the Fiji to the shore. Two or three times both men almost reached the shore but were washed back to the wreck. A line was thrown to them and they were both hauled aboard. It was thought that Wilkinson struck his head on the anchor before s they were brought up. He remained unconscious. The carpenter survived this ordeal but Wilkinson later died and his body was washed up the next day. It was 26 year old Bill Robe who hauled out the last man, the captain, who had become tangled in the kelp. The wreck of the Fiji was smashed apart within 20 minutes of the captain being brought ashore, and it settled in about 6m of water. Of the 26 men on the Fiji, 11 in total lost their lives. The remains of 7 bodies were washed onto the beach and their coffins were made from timbers from the wrecked Fiji. They were buried on the cliff top above the wreck. The survivors were warmed by fires on the beach then taken to Rivernook and cared for over the next few days. Funds were raised by local communities soon after the wreck in aid of the sufferers of the Fiji disaster. Captain Vickers was severely reprimanded for his mishandling of the ship. His Masters Certificate was suspended for 12 months. At the time there was also a great deal of public criticism at the slow and disorganised rescue attempt to save those on board. The important canvas ‘breech buoy’ or ‘bucket chair’ and the heavy line from the Rocket Rescue was in the half of the rocket outfit that didn’t make it in time for the rescue: they had been delayed at the Gellibrand River ferry. Communications to Warrnambool were down so the call for help didn’t get through on time and the two or three boats that had been notified of the wreck failed to reach it in time. Much looting occurred of the cargo that washed up on the shore, with nearly every visitor leaving the beach with bulky pockets. One looter was caught with a small load of red and white rubber balls, which were duly confiscated and he was ‘detained’ for 14 days. Essence of peppermint mysteriously turned up in many settlers homes. Sailcloth was salvaged and used for horse rugs and tent flies. Soon after the wreck “Fiji tobacco” was being advertised around Victoria. A Customs officer, trying to prevent some of the looting, was assaulted by looters and thrown over a steep cliff. He managed to cling to a bush lower down until rescued. In 1894 some coiled fencing wire was salvaged from the wreck. Hundreds of coils are still strewn over the site of the wreck, encrusted and solidified. The hull is broken but the vessel’s iron ribs can be seen along with some of the cargo of concrete and pig iron. Captain Vickers presented Bill Robe with his silver-cased pocket watch, the only possession that he still had, as a token for having saved his life and the lives of some of the crew. (The pocket watch came with 2 winding keys, one to wind it and one to change the hands.) Years later Bill passed the watch to his brother-in-law Gib (Gilbert) Hulands as payment of a debt and it has been passed down the family to Gilbert Hulands’ grandson, John Hulands. Seaman Julius Gebauhr later gave his knife, in its hand crafted leather sheath, to F. J. Stansmore for caring for him when he came ashore. The knife handle had a personal inscription on it. A marble headstone on the 200m high cliffs overlooking Wreck Beach, west of Moonlight Head, paying tribute to the men who lost their lives when Fiji ran aground. The scene of the wreck is marked by the anchor from the Fiji, erected by Warrnambool skin divers in 1967. Amongst the artefacts salvaged from the Fiji are bisque (or china) toys, (including miniature animals, limbs from small bisque dolls), rubber balls, a slate pencil, a glass bottle, sample of rope from the distress rocket and a candlestick holder. These items are now part of the Fiji collection at Flagstaff Hill Maritime Museum, along with Captain Vickers’ pocket watch and Julius Gebauhr’s sheath knife This toy rabbit is classified as Fiji 4 on the SWR Flagstaff Hill’s Fiji collection is of historical significance at a State level because of its association with the wreck Fiji, which is on the Victorian Heritage Register VHR S259. The Fiji is archaeologically significant as the wreck of a typical 19th century international sailing ship with cargo. It is educationally and recreationally significant as one of Victoria's most spectacular historic shipwreck dive sites with structural features and remains of the cargo evident. It also represents aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The Fiji collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. China toy rabbit salvaged from the wreck of the Fiji. The rabbit is in a lying pose. This solid, moulded toy is made of bisque (sometimes described as bisque or porcelain) and the material is an orange-sandy colour with darker orange markings. The surface is slightly pitted.1891, china, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwrecked artefact, flagstaff hill maritime village, shipwreck coast, warrnambool, porcelain, moonlight head, wreck bay, cargo, bisque, toys, miniature animals, rabbit

This toy gorilla was part of the cargo from the Fiji and amongst the articles salvaged from the wreck. The three-masted iron barque Fiji had been built in Belfast, Ireland, in 1875 by Harland and Wolfe for a Liverpool based shipping company. The ship departed Hamburg on 22nd May 1891 bound for Melbourne, under the command of Captain William Vickers with a crew of 25. The ship’s manifest shows that she was loaded with a cargo of 260 cases of dynamite, pig iron, steel goods, spirits (whisky, schnapps, gin, brandy), sailcloth, tobacco, coiled fencing wire, concrete, 400 German pianos (Sweet Hapsburg), concertinas and other musical instruments, artists supplies including brushes, porcelain, furniture, china, and general cargo including candles. There were also toys in anticipation for Christmas, including wooden rocking horses, miniature ships, dolls with china limbs and rubber balls. On September 5th, one hundred days out from Hamburg in squally and boisterous south west winds the Cape Otway light was sighted on a bearing differing from Captain Vickers’ calculation of his position. At about 2:30am, Sunday 6th September 1891 land was reported 4-5 miles off the port bow. The captain tried to put the ship on the other tack, but she would not respond. He then tried to turn her the other way but just as the manoeuvre was being completed the Fiji struck rock only 300 yards (274 metres) from shore. The place is known as Wreck Bay, Moonlight Head. Blue lights were burned and rockets fired whilst an effort was made to lower boats but all capsized or swamped and smashed to pieces. Two of the younger crewmen volunteered to swim for the shore, taking a line. One, a Russian named Daniel Carkland, drowned after he was swept away when the line broke. The other, 17 year old able seaman Julius Gebauhr, a German, reached shore safely on his second attempt but without the line, which he had cut lose with his sheath-knife when it become tangled in kelp. He rested on the beach a while then climbed the steep cliffs in search of help. At about 10am on the Sunday morning a party of land selectors - including F. J. Stansmore, Leslie Dickson (or Dixon) and Mott - found Gebauhr. They were near Ryans Den, on their travels on horseback from Princetown towards Moonlight Head, and about 5km from the wreck. Gebauhr was lying in the scrub in a poor state, bleeding and dressed only in singlet, socks and a belt with his sheath-knife, ready for all emergencies. At first they were concerned about his wild and shaggy looking state and what seemed to be gibberish speech, taking him to be an escaped lunatic. They were reassured after he threw his knife away and realised that he was speaking half-English, half-German. They gave him food and brandy and some clothing and were then able to gain information about the wreck. Some of the men took him to Rivernook, a nearby guest house owned by John Evans, where he was cared for. Stansmore and Dickson rode off to try and summon help. Others went down to the site of the wreck. Messages for rescuing the rest of the crew were sent both to Port Campbell for the rocket rescue crew and to Warrnambool for the lifeboat. The S.S. Casino sailed from Portland towards the scene. After travelling the 25 miles to the scene, half of the Port Campbell rocket crew and equipment arrived and set up the rocket tripod on the beach below the cliffs. By this time the crew of the Fiji had been clinging to the jib-boom for almost 15 hours, calling frantically for help. Mr Tregear from the Rocket Crew fired the line. The light line broke and the rocket was carried away. A second line was successfully fired across the ship and made fast. The anxious sailors then attempted to come ashore along the line but, with as many as five at a time, the line sagged considerably and some were washed off. Others, nearly exhausted, had to then make their way through masses of seaweed and were often smothered by waves. Only 14 of the 24 who had remained on the ship made it to shore. Many onlookers on the beach took it in turns to go into the surf and drag half-drowned seamen to safety. These rescuers included Bill (William James) Robe, Edwin Vinge, Hugh Cameron, Fenelon Mott, Arthur Wilkinson and Peter Carmody. (Peter Carmody was also involved in the rescue of men from the Newfield.) Arthur Wilkinson, a 29 year old land selector, swam out to the aid of one of the ship’s crewmen, a carpenter named John Plunken. Plunken was attempting to swim from the Fiji to the shore. Two or three times both men almost reached the shore but were washed back to the wreck. A line was thrown to them and they were both hauled aboard. It was thought that Wilkinson struck his head on the anchor before s they were brought up. He remained unconscious. The carpenter survived this ordeal but Wilkinson later died and his body was washed up the next day. It was 26 year old Bill Robe who hauled out the last man, the captain, who had become tangled in the kelp. The wreck of the Fiji was smashed apart within 20 minutes of the captain being brought ashore, and it settled in about 6m of water. Of the 26 men on the Fiji, 11 in total lost their lives. The remains of 7 bodies were washed onto the beach and their coffins were made from timbers from the wrecked Fiji. They were buried on the cliff top above the wreck. The survivors were warmed by fires on the beach then taken to Rivernook and cared for over the next few days. Funds were raised by local communities soon after the wreck in aid of the sufferers of the Fiji disaster. Captain Vickers was severely reprimanded for his mishandling of the ship. His Masters Certificate was suspended for 12 months. At the time there was also a great deal of public criticism at the slow and disorganised rescue attempt to save those on board. The important canvas ‘breech buoy’ or ‘bucket chair’ and the heavy line from the Rocket Rescue was in the half of the rocket outfit that didn’t make it in time for the rescue: they had been delayed at the Gellibrand River ferry. Communications to Warrnambool were down so the call for help didn’t get through on time and the two or three boats that had been notified of the wreck failed to reach it in time. Much looting occurred of the cargo that washed up on the shore, with nearly every visitor leaving the beach with bulky pockets. One looter was caught with a small load of red and white rubber balls, which were duly confiscated and he was ‘detained’ for 14 days. Essence of peppermint mysteriously turned up in many settlers homes. Sailcloth was salvaged and used for horse rugs and tent flies. Soon after the wreck “Fiji tobacco” was being advertised around Victoria. A Customs officer, trying to prevent some of the looting, was assaulted by looters and thrown over a steep cliff. He managed to cling to a bush lower down until rescued. In 1894 some coiled fencing wire was salvaged from the wreck. Hundreds of coils are still strewn over the site of the wreck, encrusted and solidified. The hull is broken but the vessel’s iron ribs can be seen along with some of the cargo of concrete and pig iron. Captain Vickers presented Bill Robe with his silver-cased pocket watch, the only possession that he still had, as a token for having saved his life and the lives of some of the crew. (The pocket watch came with 2 winding keys, one to wind it and one to change the hands.) Years later Bill passed the watch to his brother-in-law Gib (Gilbert) Hulands as payment of a debt and it has been passed down the family to Gilbert Hulands’ grandson, John Hulands. Seaman Julius Gebauhr later gave his knife, in its hand crafted leather sheath, to F. J. Stansmore for caring for him when he came ashore. The knife handle had a personal inscription on it. A marble headstone on the 200m high cliffs overlooking Wreck Beach, west of Moonlight Head, paying tribute to the men who lost their lives when Fiji ran aground. The scene of the wreck is marked by the anchor from the Fiji, erected by Warrnambool skin divers in 1967. Amongst the artefacts salvaged from the Fiji are bisque (or china) toys, (including miniature animals, limbs from small bisque dolls), rubber balls, a slate pencil, a glass bottle, sample of rope from the distress rocket and a candlestick holder. These items are now part of the Fiji collection at Flagstaff Hill Maritime Museum, along with Captain Vickers’ pocket watch and Julius Gebauhr’s sheath knife This toy gorilla is classified as Fiji 7 on the SWR Flagstaff Hill’s Fiji collection is of historical significance at a State level because of its association with the wreck Fiji, which is on the Victorian Heritage Register VHR S259. The Fiji is archaeologically significant as the wreck of a typical 19th century international sailing ship with cargo. It is educationally and recreationally significant as one of Victoria's most spectacular historic shipwreck dive sites with structural features and remains of the cargo evident. It also represents aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The Fiji collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. China toy gorilla salvaged from the wreck of the Fiji. The gorilla is in a standing pose. This solid, moulded toy is made of bisque (sometimes described as bisque or porcelain) and the material is pale creamy colour with a slightly pitted surface.1891, china, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwrecked artefact, flagstaff hill maritime village, shipwreck coast, warrnambool, porcelain, moonlight head, wreck bay, cargo, bisque, toys, miniature animals, gorilla

This toy cat was part of the cargo from the Fiji and amongst the articles salvaged from the wreck. The three-masted iron barque Fiji had been built in Belfast, Ireland, in 1875 by Harland and Wolfe for a Liverpool based shipping company. The ship departed Hamburg on 22nd May 1891 bound for Melbourne, under the command of Captain William Vickers with a crew of 25. The ship’s manifest shows that she was loaded with a cargo of 260 cases of dynamite, pig iron, steel goods, spirits (whisky, schnapps, gin, brandy), sailcloth, tobacco, coiled fencing wire, concrete, 400 German pianos (Sweet Hapsburg), concertinas and other musical instruments, artists supplies including brushes, porcelain, furniture, china, and general cargo including candles. There were also toys in anticipation for Christmas, including wooden rocking horses, miniature ships, dolls with china limbs and rubber balls. On September 5th, one hundred days out from Hamburg in squally and boisterous south west winds the Cape Otway light was sighted on a bearing differing from Captain Vickers’ calculation of his position. At about 2:30am, Sunday 6th September 1891 land was reported 4-5 miles off the port bow. The captain tried to put the ship on the other tack, but she would not respond. He then tried to turn her the other way but just as the manoeuvre was being completed the Fiji struck rock only 300 yards (274 metres) from shore. The place is known as Wreck Bay, Moonlight Head. Blue lights were burned and rockets fired whilst an effort was made to lower boats but all capsized or swamped and smashed to pieces. Two of the younger crewmen volunteered to swim for the shore, taking a line. One, a Russian named Daniel Carkland, drowned after he was swept away when the line broke. The other, 17 year old able seaman Julius Gebauhr, a German, reached shore safely on his second attempt but without the line, which he had cut lose with his sheath-knife when it become tangled in kelp. He rested on the beach a while then climbed the steep cliffs in search of help. At about 10am on the Sunday morning a party of land selectors - including F. J. Stansmore, Leslie Dickson (or Dixon) and Mott - found Gebauhr. They were near Ryans Den, on their travels on horseback from Princetown towards Moonlight Head, and about 5km from the wreck. Gebauhr was lying in the scrub in a poor state, bleeding and dressed only in singlet, socks and a belt with his sheath-knife, ready for all emergencies. At first they were concerned about his wild and shaggy looking state and what seemed to be gibberish speech, taking him to be an escaped lunatic. They were reassured after he threw his knife away and realised that he was speaking half-English, half-German. They gave him food and brandy and some clothing and were then able to gain information about the wreck. Some of the men took him to Rivernook, a nearby guest house owned by John Evans, where he was cared for. Stansmore and Dickson rode off to try and summon help. Others went down to the site of the wreck. Messages for rescuing the rest of the crew were sent both to Port Campbell for the rocket rescue crew and to Warrnambool for the lifeboat. The S.S. Casino sailed from Portland towards the scene. After travelling the 25 miles to the scene, half of the Port Campbell rocket crew and equipment arrived and set up the rocket tripod on the beach below the cliffs. By this time the crew of the Fiji had been clinging to the jib-boom for almost 15 hours, calling frantically for help. Mr Tregear from the Rocket Crew fired the line. The light line broke and the rocket was carried away. A second line was successfully fired across the ship and made fast. The anxious sailors then attempted to come ashore along the line but, with as many as five at a time, the line sagged considerably and some were washed off. Others, nearly exhausted, had to then make their way through masses of seaweed and were often smothered by waves. Only 14 of the 24 who had remained on the ship made it to shore. Many onlookers on the beach took it in turns to go into the surf and drag half-drowned seamen to safety. These rescuers included Bill (William James) Robe, Edwin Vinge, Hugh Cameron, Fenelon Mott, Arthur Wilkinson and Peter Carmody. (Peter Carmody was also involved in the rescue of men from the Newfield.) Arthur Wilkinson, a 29 year old land selector, swam out to the aid of one of the ship’s crewmen, a carpenter named John Plunken. Plunken was attempting to swim from the Fiji to the shore. Two or three times both men almost reached the shore but were washed back to the wreck. A line was thrown to them and they were both hauled aboard. It was thought that Wilkinson struck his head on the anchor before s they were brought up. He remained unconscious. The carpenter survived this ordeal but Wilkinson later died and his body was washed up the next day. It was 26 year old Bill Robe who hauled out the last man, the captain, who had become tangled in the kelp. The wreck of the Fiji was smashed apart within 20 minutes of the captain being brought ashore, and it settled in about 6m of water. Of the 26 men on the Fiji, 11 in total lost their lives. The remains of 7 bodies were washed onto the beach and their coffins were made from timbers from the wrecked Fiji. They were buried on the cliff top above the wreck. The survivors were warmed by fires on the beach then taken to Rivernook and cared for over the next few days. Funds were raised by local communities soon after the wreck in aid of the sufferers of the Fiji disaster. Captain Vickers was severely reprimanded for his mishandling of the ship. His Masters Certificate was suspended for 12 months. At the time there was also a great deal of public criticism at the slow and disorganised rescue attempt to save those on board. The important canvas ‘breech buoy’ or ‘bucket chair’ and the heavy line from the Rocket Rescue was in the half of the rocket outfit that didn’t make it in time for the rescue: they had been delayed at the Gellibrand River ferry. Communications to Warrnambool were down so the call for help didn’t get through on time and the two or three boats that had been notified of the wreck failed to reach it in time. Much looting occurred of the cargo that washed up on the shore, with nearly every visitor leaving the beach with bulky pockets. One looter was caught with a small load of red and white rubber balls, which were duly confiscated and he was ‘detained’ for 14 days. Essence of peppermint mysteriously turned up in many settlers homes. Sailcloth was salvaged and used for horse rugs and tent flies. Soon after the wreck “Fiji tobacco” was being advertised around Victoria. A Customs officer, trying to prevent some of the looting, was assaulted by looters and thrown over a steep cliff. He managed to cling to a bush lower down until rescued. In 1894 some coiled fencing wire was salvaged from the wreck. Hundreds of coils are still strewn over the site of the wreck, encrusted and solidified. The hull is broken but the vessel’s iron ribs can be seen along with some of the cargo of concrete and pig iron. Captain Vickers presented Bill Robe with his silver-cased pocket watch, the only possession that he still had, as a token for having saved his life and the lives of some of the crew. (The pocket watch came with 2 winding keys, one to wind it and one to change the hands.) Years later Bill passed the watch to his brother-in-law Gib (Gilbert) Hulands as payment of a debt and it has been passed down the family to Gilbert Hulands’ grandson, John Hulands. Seaman Julius Gebauhr later gave his knife, in its hand crafted leather sheath, to F. J. Stansmore for caring for him when he came ashore. The knife handle had a personal inscription on it. A marble headstone on the 200m high cliffs overlooking Wreck Beach, west of Moonlight Head, paying tribute to the men who lost their lives when Fiji ran aground. The scene of the wreck is marked by the anchor from the Fiji, erected by Warrnambool skin divers in 1967. Amongst the artefacts salvaged from the Fiji are bisque (or china) toys, (including miniature animals, limbs from small bisque dolls), rubber balls, a slate pencil, a glass bottle, sample of rope from the distress rocket and a candlestick holder. These items are now part of the Fiji collection at Flagstaff Hill Maritime Museum, along with Captain Vickers’ pocket watch and Julius Gebauhr’s sheath knife.This toy cat is classified as Fiji 10 on the SWR Flagstaff Hill’s Fiji collection is of historical significance at a State level because of its association with the wreck Fiji, which is on the Victorian Heritage Register VHR S259. The Fiji is archaeologically significant as the wreck of a typical 19th century international sailing ship with cargo. It is educationally and recreationally significant as one of Victoria's most spectacular historic shipwreck dive sites with structural features and remains of the cargo evident. It also represents aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The Fiji collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. China toy cat salvaged from the wreck of the Fiji. The cat is in a resting pose. This solid, moulded toy is made of bisque (sometimes described as bisque or porcelain) and the material is tan in colour with a slightly pitted surface.1891, china, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwrecked artefact, flagstaff hill maritime village, shipwreck coast, warrnambool, porcelain, moonlight head, wreck bay, cargo, bisque, toys, miniature animals, cat