Piers Bateman was a local artist, held in very high esteem by his peers and community. He was born in Perth in 1947, moving to Eltham in 1955 as a young child with his family. In 1966 Bateman moved to London for eighteen months to develop his craft. In 1969 he settled in St Andrews, where he built a studio. The St Andrews locale is said to have been a strong influence on his work. Bateman’s talent was such that he was promoted and mentored by such ilk as Charles Blackman, Clifton Pugh and Arthur Boyd, among others. Bateman’s work is an intimate dialogue with the environment, renowned for his paintings of the outback, wilderness frontiers and the sea. He spent a year in the mid-seventies sailing the Greek Islands and the French canals to Amsterdam. In 1980 Bateman and Marcus Skipper embarked on a trans-Australian venture to the red centre and across northern Australia from Cairns to Broome. In the mid-eighties Bateman returned to the Mediterranean, before returning to the Australian outback in the late-eighties. His international career continued on an upwards trajectory between the Australian outback and European seas, providing a unique contrast throughout the course of his career. Bateman's work questions our relationship with the natural world, and in particular, reconciling our colonial heritage with our indigenous past. This line of questioning and his genuine response to place is the key to Piers Bateman’s work, for which he is lauded and celebrated. On September 4th 2015, Piers Bateman died in a boating accident on the NSW coast line. Piers Bateman was an instinctive painter whose inspiration came from nature. He reworked and scraped off the paint, moving it around until forms and colours of the landscape took shape. Although Bateman lived in Spain and Italy, his time in Europe made him aware of the contrast between the two continents and the bright clear light that defined the Australian landscape. At the time of this work, Bateman was living in St. Andrews, but travelled regularly to New South Wales and South Australia on painting trips. The ‘Grass Tree’ Xanthorrhoea johnsonii (commonly known as ‘blackboy’) is indigenous to these areas. It is a uniquely Australian, slow growing plant with twenty-eight species growing within Australia. Old examples of this tree are survivors of many wild fires, which can cause their blackened trunk, of one to two metres, branch into two or more heads. These heads consist of thick, rough corky bark, surrounded by long, wiry leaves and flowers that produce seed capsules with hard black seeds. The tree’s ability to be one of the first to flower after a wild fire ensures a food source for many insects and birds.Oil on canvas painting. Detail of three grass trees resting on the side of a mountain/hill. Green and gold palette throughout depicting the colours and light of the Australian landscape. Hand written, low right in capitals: 'BATEMAN'bateman, grass trees, xanthorrhoea johnsonii, landscape

Queen Victoria’s appreciation of German artist Franz Xaver Winterhalter (1805-1873) began after she saw portraits by him of other European monarchs. Accordingly, between 1842 and 1861 he made fifteen visits to England and painted over 100 portraits of Her Majesty, the royal family and other friends and dignitaries. In 1843 Winterhalter was commissioned to paint matching portraits of Queen Victoria and Albert, the Prince Consort. These originals hang in the Garter Throne Room at Windsor Castle and are part of the UK Royal Collection. Many legitimate copies of Winterhalter’s portrait were produced and presented to the Parliaments of the British Empire, including the Parliament of Victoria. Such copies are referred to as “After F. X. Winterhalter” and artists responsible include William Corden and John Prescott Knight. When creating copies, artists were not restricted by the size of the original portrait. Walterhalter’s original is 2.7m x 1.7m whereas copies can reach an impressive 4.5 metres in height. The portrait that hangs in Queens Hall at the Parliament of Victoria is not signed. Comparison with other copies of the work suggest that the Parliament’s painting may have been completed by William Corden. The Government Art Collection (United Kingdom), has a Queen Victoria copy in their collection and Parliament’s portrait has similar traits. A copy by John Prescott Knight which hangs in the Legislative Council in the Parliament of Tasmania is quite different, particularly with reference to the shape of the young Queen’s face, which is rounder in the Corden portraits.This portrait of Queen Victoria was presented as a gift by the British Government to the Parliament of Victoria in April 1860. Painted on fine linen supplied under Royal Warrant by the workshop Winsor and Newton, London, the frame has been embellished with elaborate wooden carvings. Framed portrait, oil on linen, of Queen Victoria. Victoria is posed in front of a curtain partially obscuring a building (possibly Buckingham Palace) in the background. Timber frame with a layer of gesso and decorative composition ornaments. There are rose, scotch thistle, clover leaf and Acanthus ornaments. A carved wood and composition element crown, resting on a tassled pillow sits on top of the frame.Canvas unsigned. Verso printed: ‘WINSOR AND NEWTON / Rathbone Place, London’. Embossed stamp into stretcher wood, stamped ‘Winsor and Newton’ in black ink.victoria queen of great britain, 1819-1901, winterhalter, franz xaver, 1805-1873, corden, william, queens hall, parliament of victoria

Location is now 3 Beatty Street, Mont Albert although electoral entries for the Lodewyckx family in the 1930s give the address as 1 Beatty Street. This address is a more contemporary house and part of the original garden was subdivided off at some stage. The property's original address was 1 Victoria Street, renamed in 1917. The house was built c 1891 and from then until 1905 it was home to Leopold A Carter (dentist of Collins Street); followed by James J Hempill (broker) from 1905 -1907. he called it 'Manchling'. There were several other owners or tenants before the Lodewyckx family moved into it in 1920. They named the property 'Huize Eikenbosch' (Dutch meaning House of Oaks). It was set in 1/3 hectare with a formal garden, vegetable garden, orchard and chicken run. Augustin had a life-long interest in growing vegetables and planted many European trees, especially oaks. Augustin Lodewyckx was born and educated in Belgium, was appointed Professor of Modern Languages at Stellenbosch, South Africa and later joined the Belgium Colonial Service. In 1915 he commenced as lecturer in German at Melbourne, becoming Associate Professor in 1923. He had married Anna Sophia Hansen* in South Africa in 1910. They had 2 children Karel Axel, librarian of the University of Melbourne, and daughter Hilma Dymphna, translator, editor and wife of Manning Clark, historian. In 1942 Augustin introduced a university course in Dutch and also undertook research into German immigration to Australia. He retired in 1946 and died in 1964. (*Thought to be nick-named Mina.) A black and white photograph of a corner of a house with a large palm tree in front. There is decorative wooden balustrading on the verandah.beatty street, mont albert, mina lodewyckx (mrs), augustin lodewyckx (mr), karel axel lodewyckx (mr), axel lodewyckx (mr), anna sophia lodewyckx (mrs), hilma dymphna lodewyckx (miss), dymphna lodewyckx (miss), hilma dymphna clark (mrs), dymphna clark (mrs), architectural features

Josh MUIR (1991- ) Yorta Yorta/Gunditjmara Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

Josh MUIR (1991- ) Yorta Yorta/Gunditjmara/Barkinjl Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.A computer generated artwork on stretched canvas.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

Josh MUIR (1991- ) Yorta Yorta/Gunditjmara Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.Digital print on stretched canvas.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

The Wodonga Historical Society collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. The textiles in the Haeusler collection belonged to Ilma Margaret Ernestine Haeusler (née Tasker), born in 1900 in Tallangatta. These textiles were handmade by Ilma between 1919 and 1928 for use in the family home during her marriage to Louis Alfred Haeusler (b.1878). Ilma died in childbirth in 1928, leaving one surviving son, John Alfred Lyell (b.1922). This doily is one of several domestic objects in the Haeusler Collection that represent family and home life in early twentieth century Wodonga. It was made using the broderie anglaise needlework technique that incorporates embroidery, cutwork and needle lace. This technique originated in sixteenth century Europe and became popular in England in the nineteenth century. In the nineteenth and early twentieth century prior to the mass production of clothing and textiles, needlework, alongside motherhood, was the defining work of women. Hand sewing and embroidery was central in the everyday lives and domestic roles of women. The item is handmade and unique, with well documented provenance. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history, and women’s history.A handmade white broderie anglaise doily c.1920sneedlework, textiles, sewing, handiwork, women's history, domestic, craft, family

An album of photos from the ship that brought returned servicemen, including JB McLean, home from World War 1 in 1920. Photos include Suez Canal, Kantara military camp Egypt, onboard life boat drills, onboard baby competition, boxing and a visit to Bombay. The Ceramic departed Tillbury, UK 12th March and docked in Freemantle on 27th April 1920 and then went onto Adelaide, Melbourne and Sydney. The Ceramic was a transport vessel built in Belfast in 1913 for the White Star Line to transport frozen produce and apples from Australia to UK. It was taken over by the Australian Government for troop transport in October 1914 and could carry over 3,000 troops. This trip in 1920 there were 1467 on board, there were women and children as well as 439 soldiers returning home, one of whom was John 'Basil' McLean. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. There was a large collection of postcards so he may have been collecting them as souvenirs. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving Portsea in 1920.A collection of items from John Basil McLean is in the archive. Kept as an indication of what founding legatees experienced in World War One.Black cardboard pages x 5 with photos glued to them, contained in black cardboard cover tied with a black string.Cover is printed with 'Photographs'. Photos have white ink handwritten captions.souvenir, world war one, jb mclean, ship, ceramic

One photo from an album belonging to JB McLean, of his voyage home from World War 1 in 1920 on the Ceramic. The photo shows the Suez Canal at Kantara (now called El-Qantara) in Egypt and a bridge called the Bailwa Bridge. The Ceramic departed Tillbury, UK 12th March and docked in Freemantle on 27th April 1920 and then went onto Adelaide, Melbourne and Sydney. The Ceramic was a transport vessel built in Belfast in 1913 for the White Star Line to transport frozen produce and apples from Australia to UK. It was taken over by the Australian Government for troop transport in October 1914 and could carry over 3,000 troops. This trip in 1920 there were 1467 on board, there were women and children as well as 439 soldiers returning home, one of whom was John 'Basil' McLean. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. There was a large collection of postcards so he may have been collecting them as souvenirs. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving Portsea in 1920.A collection of items from John Basil McLean is in the archive. Kept as an indication of what founding legatees experienced in World War One and what they saw on the way home.Sepia photo of the Suez Canal glued to black cardboard in an album of photos from 1920.Handwritten caption 'View of Suez Canal and Bailwa Bridge Kantara' in white ink.souvenir, world war one, jb mclean, ship, suez, kantara, ceramic

One photo from an album belonging to JB McLean, of his voyage home from World War 1 in 1920 on the Ceramic. The photo shows two men boxing on the deck of the Ceramic being watched by soldiers and passengers. It shows one of the activities on board ship. The Ceramic departed Tillbury, UK 12th March and docked in Freemantle on 27th April 1920 and then went onto Adelaide, Melbourne and Sydney. The Ceramic was a transport vessel built in Belfast in 1913 for the White Star Line to transport frozen produce and apples from Australia to UK. It was taken over by the Australian Government for troop transport in October 1914 and could carry over 3,000 troops. This trip in 1920 there were 1467 on board, there were women and children as well as 439 soldiers returning home, one of whom was John 'Basil' McLean. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. There was a large collection of postcards so he may have been collecting them as souvenirs. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving Portsea in 1920.A collection of items from John Basil McLean is in the archive. Kept as an indication of what founding legatees experienced in World War One and what they saw on the way home.Sepia photo of two men boxing on deck of the Ceramic being watched by soldiers and passengers, glued to black cardboard in an album of photos from 1920.Handwritten caption 'Boxing on deck Ceramic' in white ink.souvenir, world war one, jb mclean, ship, ceramic, suez

One photo from an album belonging to JB McLean, of his voyage home from World War 1 in 1920 on the Ceramic. The photos show passengers on the deck of the Ceramic dressed in life jackets. It shows the type of life preservers and clothing worn at the time. The Ceramic departed Tillbury, UK 12th March and docked in Freemantle on 27th April 1920 and then went onto Adelaide, Melbourne and Sydney. The Ceramic was a transport vessel built in Belfast in 1913 for the White Star Line to transport frozen produce and apples from Australia to UK. It was taken over by the Australian Government for troop transport in October 1914 and could carry over 3,000 troops. This trip in 1920 there were 1467 on board, there were women and children as well as 439 soldiers returning home, one of whom was John 'Basil' McLean. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. There was a large collection of postcards so he may have been collecting them as souvenirs. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving Portsea in 1920.A collection of items from John Basil McLean is in the archive. Kept as an indication of what founding legatees experienced in World War One and what they saw on the way home.Sepia photo of passengers on deck of the Ceramic dressed in life jackets glued to black cardboard in an album of photos from 1920.Handwritten caption 'Life boat drill from children' in white ink.souvenir, world war one, jb mclean, ship, ceramic, passengers

Two photos from an album belonging to JB McLean, of his voyage home from World War 1 in 1920 on the Ceramic. The photos are of the sports on board when the ship crossed the equator. From the caption it was called Neptune sports and there are people dressed in different costumes. The Ceramic departed Tillbury, UK 12th March and docked in Freemantle on 27th April 1920 and then went onto Adelaide, Melbourne and Sydney. The Ceramic was a transport vessel built in Belfast in 1913 for the White Star Line to transport frozen produce and apples from Australia to UK. It was taken over by the Australian Government for troop transport in October 1914 and could carry over 3,000 troops. This trip in 1920 there were 1467 on board, there were women and children as well as 439 soldiers returning home, one of whom was John 'Basil' McLean. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. There was a large collection of postcards so he may have been collecting them as souvenirs. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving Portsea in 1920.A collection of items from John Basil McLean is in the archive. Kept as an indication of what founding legatees experienced in World War One and what they saw on the way home.Sepia photo x 2 of Neptune sports on the Ceramic glued to black cardboard in an album of photos from 1920.Handwritten caption 'Neptune Sports, Crossing the Line' in white ink.souvenir, world war one, jb mclean, ship, ceramic

Two photos from an album belonging to JB McLean, of his voyage home from World War 1 in 1920 on the Ceramic. Two photos of a baby show on board. The babies are sitting on a Union Jack flag. It shows one of the activities on board during the journey. The Ceramic departed Tillbury, UK 12th March and docked in Freemantle on 27th April 1920 and then went onto Adelaide, Melbourne and Sydney. The Ceramic was a transport vessel built in Belfast in 1913 for the White Star Line to transport frozen produce and apples from Australia to UK. It was taken over by the Australian Government for troop transport in October 1914 and could carry over 3,000 troops. This trip in 1920 there were 1467 on board, there were women and children as well as 439 soldiers returning home, one of whom was John 'Basil' McLean. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. There was a large collection of postcards so he may have been collecting them as souvenirs. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving Portsea in 1920.A collection of items from John Basil McLean is in the archive. Kept as an indication of what founding legatees experienced in World War One and what they saw on the way home.Sepia photo x 2 of a baby show onboard the Ceramic glued to black cardboard in an album of photos from 1920.Handwritten caption 'Baby Show Ceramic' in white ink.souvenir, world war one, jb mclean, ship, ceramic, babies

One photo from an album belonging to JB McLean, of his voyage home from World War 1 in 1920 on the Ceramic. The photo is of some officers on board, including the Padre Jefferies, the CO was Major Dunningham and also Major Blake.The style of life boats is also visible. The Ceramic departed Tillbury, UK 12th March and docked in Freemantle on 27th April 1920 and then went onto Adelaide, Melbourne and Sydney. The Ceramic was a transport vessel built in Belfast in 1913 for the White Star Line to transport frozen produce and apples from Australia to UK. It was taken over by the Australian Government for troop transport in October 1914 and could carry over 3,000 troops. This trip in 1920 there were 1467 on board, there were women and children as well as 439 soldiers returning home, one of whom was John 'Basil' McLean. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. There was a large collection of postcards so he may have been collecting them as souvenirs. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving Portsea in 1920.A collection of items from John Basil McLean is in the archive. Kept as an indication of what founding legatees experienced in World War One and what they saw on the way home.Sepia photo of officers onboard the Ceramic glued to black cardboard in an album of photos from 1920.Handwritten caption 'Baby Show Ceramic' in white ink.souvenir, world war one, jb mclean, ship, ceramic, soliders

One photo from an album belonging to JB McLean, of his voyage home from World War 1 in 1920 on the Ceramic. The photo is of the Commanding Officer Major Dunningham and also Padre Jefferies and the Commander of the ship Com. Metcalf. The style of life boats is also visible. The Ceramic departed Tillbury, UK 12th March and docked in Freemantle on 27th April 1920 and then went onto Adelaide, Melbourne and Sydney. The Ceramic was a transport vessel built in Belfast in 1913 for the White Star Line to transport frozen produce and apples from Australia to UK. It was taken over by the Australian Government for troop transport in October 1914 and could carry over 3,000 troops. This trip in 1920 there were 1467 on board, there were women and children as well as 439 soldiers returning home, one of whom was John 'Basil' McLean. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. There was a large collection of postcards so he may have been collecting them as souvenirs. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving Portsea in 1920.A collection of items from John Basil McLean is in the archive. Kept as an indication of what founding legatees experienced in World War One and what they saw on the way home.Sepia photo of officers onboard the Ceramic glued to black cardboard in an album of photos from 1920.Handwritten caption 'Baby Show Ceramic' in white ink.souvenir, world war one, jb mclean, ship, ceramic, soliders

Three photos from an album belonging to JB McLean, of his voyage home from World War 1 in 1920 on the Ceramic. The photos are of small boats providing coal to the Ceramic in Bombay, India and the type of manual labour it required with the men lifting it up the side of the ship. The visit to Bombay was a stop over point for the Ceramic on its way to Australia. The Ceramic departed Tillbury, UK 12th March and docked in Freemantle on 27th April 1920 and then went onto Adelaide, Melbourne and Sydney. The Ceramic was a transport vessel built in Belfast in 1913 for the White Star Line to transport frozen produce and apples from Australia to UK. It was taken over by the Australian Government for troop transport in October 1914 and could carry over 3,000 troops. This trip in 1920 there were 1467 on board, there were women and children as well as 439 soldiers returning home, one of whom was John 'Basil' McLean. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. There was a large collection of postcards so he may have been collecting them as souvenirs. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving Portsea in 1920.A collection of items from John Basil McLean is in the archive. Kept as an indication of what founding legatees experienced in World War One and what they saw on the way home.Sepia photo x 2 of Indians providing coal to the Ceramic in Bombay glued to black cardboard in an album of photos from 1920.Handwritten caption 'Coaling Bombay' in white ink.souvenir, world war one, jb mclean, ceramic, bombay

One photo from an album belonging to JB McLean, of his voyage home from World War 1 in 1920 on the Ceramic. The photo is of a group of four returning soldiers. Presumably JB McLean is one of them. It is the only photo in the album that is likely to contain an image of him. The Ceramic departed Tillbury, UK 12th March and docked in Freemantle on 27th April 1920 and then went onto Adelaide, Melbourne and Sydney. The Ceramic was a transport vessel built in Belfast in 1913 for the White Star Line to transport frozen produce and apples from Australia to UK. It was taken over by the Australian Government for troop transport in October 1914 and could carry over 3,000 troops. This trip in 1920 there were 1467 on board, there were women and children as well as 439 soldiers returning home, one of whom was John 'Basil' McLean. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. There was a large collection of postcards so he may have been collecting them as souvenirs. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving Portsea in 1920.A collection of items from John Basil McLean is in the archive. Kept as an indication of what founding legatees experienced in World War One and what they saw on the way home.Sepia photo of officers onboard the Ceramic glued to black cardboard in an album of photos from 1920.Handwritten caption 'On board the Ceramic' in white ink.souvenir, world war one, jb mclean, ship, ceramic, soliders

One photo from an album belonging to JB McLean, of his voyage home from World War 1 in 1920 on the Ceramic. The photo is of the Taj Mahal Palace Hotel, which opened in 1903. There are many photos of Bombay in the album when the Ceramic had a stopover on its way back to the Australia. The Ceramic departed Tillbury, UK 12th March and docked in Freemantle on 27th April 1920 and then went onto Adelaide, Melbourne and Sydney. The Ceramic was a transport vessel built in Belfast in 1913 for the White Star Line to transport frozen produce and apples from Australia to UK. It was taken over by the Australian Government for troop transport in October 1914 and could carry over 3,000 troops. This trip in 1920 there were 1467 on board, there were women and children as well as 439 soldiers returning home, one of whom was John 'Basil' McLean. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. There was a large collection of postcards so he may have been collecting them as souvenirs. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving Portsea in 1920.A collection of items from John Basil McLean is in the archive. Kept as an indication of what founding legatees experienced in World War One and what they saw on the way home.Sepia photo of the Taj Mahal Palace Hotel in Bombay glued to black cardboard in an album of photos from 1920.souvenir, world war one, jb mclean, ship, ceramic, bombay

Four photos from an album belonging to JB McLean, of his voyage home from World War 1 in 1920 on the Ceramic. The photos show buildings around Bombay. There are many photos of Bombay in the album when the Ceramic had a stopover on its way back to the Australia. The Ceramic departed Tillbury, UK 12th March and docked in Freemantle on 27th April 1920 and then went onto Adelaide, Melbourne and Sydney. The Ceramic was a transport vessel built in Belfast in 1913 for the White Star Line to transport frozen produce and apples from Australia to UK. It was taken over by the Australian Government for troop transport in October 1914 and could carry over 3,000 troops. This trip in 1920 there were 1467 on board, there were women and children as well as 439 soldiers returning home, one of whom was John 'Basil' McLean. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. There was a large collection of postcards so he may have been collecting them as souvenirs. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving Portsea in 1920.A collection of items from John Basil McLean is in the archive. Kept as an indication of what founding legatees experienced in World War One and what they saw on the way home.Sepia photo of the Taj Mahal Palace Hotel in Bombay glued to black cardboard in an album of photos from 1920.souvenir, world war one, jb mclean, ship, ceramic, bombay

One photo from an album belonging to JB McLean, of his voyage home from World War 1 in 1920 on the Ceramic. The photo show three policemen from Bombay in their uniform. There are many photos of Bombay in the album when the Ceramic had a stopover on its way back to the Australia. The Ceramic departed Tillbury, UK 12th March and docked in Freemantle on 27th April 1920 and then went onto Adelaide, Melbourne and Sydney. The Ceramic was a transport vessel built in Belfast in 1913 for the White Star Line to transport frozen produce and apples from Australia to UK. It was taken over by the Australian Government for troop transport in October 1914 and could carry over 3,000 troops. This trip in 1920 there were 1467 on board, there were women and children as well as 439 soldiers returning home, one of whom was John 'Basil' McLean. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. There was a large collection of postcards so he may have been collecting them as souvenirs. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving Portsea in 1920.A collection of items from John Basil McLean is in the archive. Kept as an indication of what founding legatees experienced in World War One and what they saw on the way home.Sepia photo of the Taj Mahal Palace Hotel in Bombay glued to black cardboard in an album of photos from 1920.Handwritten 'Native Police Bombay' in white ink.souvenir, world war one, jb mclean, ship, ceramic, bombay

Josh MUIR (1991- 2022) Yorta Yorta/Gunditjmara/Barkinjl Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice. Computer generated image on canvas.josh muir, aboriginal, artwork, artist, hutchinson indigenous fellowship

Devy Erlih, Town Hall, Bendigo, The Australian Broadcasting Commission presents Final Concert in the International Celebrity Concert Series. Devy Erlih-Violinist, Raymond Lambert-Piano. Thursday, 22nd October 1959, 8pm. Article with photograph about Devy Erlih. Erlih is 30, born in Paris and studied at Paris national Conservatory of Music. Established an international status at a young age.1956 engaged in international concerts. 1955 won first prize in the international Margurite Long-Jacques Thibaud competition. Concerts in Japan.1956 won the French Record Academy prize. Concert in Vienna. Bartok Concert with the Berlin Philharmonic Orchestra at Strasbourg International Festival of a concerto dedicated to him by Pierre Max Dubois. . . Article with photograph on Raymond Lambert. Lambert has made the full Commonwealth tour with some of the A.B.C.'s. most outstanding visiting artists, including Australian signers as well as several from overseas. Inherited voice of chamber music from his father, the late Edouard Lambert. He first toured Australia with his father. Australian tour 1952. Tour Europe and America in 1953 and 1955. Australia 1956.Accompaist for Mattiwilda Dobbs . . . Programme. Analytical Notes. News; of Music and Musicians. Advertisements: Philips, The Ace of Clubs, Barossa Pearl. The Australian Broadcasting Commission, Sir Richard Boyer, K.B.E., M.A., Chairman. E R Dawes, SEQ., C.M.G., - Vice Chairman. Sir John Medley, KT., D.C.L., LL.D., M.A. The Hon. Dame Enid Lyons, G.B.E. Mrs. G.L. Blyth, O.B.E., B.A. A G Lowndes, M.SC. HB Halvorsen, F.C.A., F.C.I.S. Charles Moses, C.B.E. General Manager. Ewart Chapple, Manager for Victoria. Ray Humphrey, Concert Manager for Victoria.entertainment, music, classical

OPENING OF THE VIEWING PLATFORM AT KANGAROO GROUND Nillumbik Council has advised that the viewing platform at Kangaroo Ground 27km NE of Melbourne is to be opened to the public on Wednesday, March 26th 2008 (Melway 271 , G10). The function of the platform is to provide shelter adjacent to the War Memorial Tower whilst allowing all people to enjoy the stunning panoramic views. From the platform you. can see the Dandenongs, the city of Melbourne, the You Yangs, Mount Macedon, the Kinglake Ranges and the Mt Baw-Baw Ranges where the Yarra River starts. This landscape covers all the ancestral lands of the Wurundjeri and some of the wider Kulin nation land. The platform has been given the name Moor-rut, a name which described the fertile soils of the Kangaroo Ground area in contrast to the poorer (Silurian) country of its surrounds, which the Wurundjeri knew as 'Nillumbik' or less rich country. The full 360 degree view can be seen from the adjacent Tower of Remembrance which has 53 stairs. The viewing platform however can be accessed by wheelchair. Inside the viewing platform there are eight double sided interpretive panels giving the history and information regarding this special area. The viewing platform's interpretive panels set out the Aboriginal and European history of the area and also the geology and the local flora and fauna, so that the casual visitor comes away understanding more about this significant part of Victoria. The concept of the viewing platform is part of the refurbishment project for the Kangaroo Ground War Memorial Park which has taken place since 1997 with the active approval and financial assistance of the Nillumbik Shire Council. This project has been guided by an Advisory Committee with volunteer community representatives from the local Historical Societies, the Country Fire Authority, the Returned Services League and the Wurundjeri people. Other allied groups such as the Nillumbik Reconciliation Group have been called upon for their expertise. The initial idea for the viewing platform came from Dean Stewart when he was the caretaker while living at the park. He discussed this idea with local author Mick Woiwod and Harry Gilham of Eltham District Historical Society when they were planning the refurbishment of the War Memorial Park in 1996. When the committee was formalised by the Nillumbik Council in 1997, Nicholas Pelling, representing the CFA and RSL, joined the group. Dennis Ward, local architect, then volunteered to develop the concept plan for the refurbishment of the park and later drew up the plans for the viewing platform. The Kangaroo Ground War Memorial Park and its Tower of Remembrance is located on one of the highest locations in the Yarra Valley. The Tower of Remembrance is a unique war memorial constructed from local stone standing 14 metres high. It was built in the style of a Scottish watchtower reflecting the strong Scottish influence of the first European settlers of the district from the 1840s onward. The park was opened in 1921 and the Tower of Remembrance was dedicated in 1926 recognising the local people who served in the First World War. Those who served in the Second World War were recognised by plaques dedicated in 1951 and more recently those who served in Korea, Borneo, Malaya and Vietnam by plaques unveiled in 2001. Harry Gilham, Advisory Committee Convenor - Eltham District Historical Society Newsletter N0 179 March 2008fay bridge collection, garden hill, kangaroo ground, memorial park, moor-rul viewing platform

Early stages - no display panels installed. OPENING OF THE VIEWING PLATFORM AT KANGAROO GROUND Nillumbik Council has advised that the viewing platform at Kangaroo Ground 27km NE of Melbourne is to be opened to the public on Wednesday, March 26th 2008 (Melway 271 , G10). The function of the platform is to provide shelter adjacent to the War Memorial Tower whilst allowing all people to enjoy the stunning panoramic views. From the platform you. can see the Dandenongs, the city of Melbourne, the You Yangs, Mount Macedon, the Kinglake Ranges and the Mt Baw-Baw Ranges where the Yarra River starts. This landscape covers all the ancestral lands of the Wurundjeri and some of the wider Kulin nation land. The platform has been given the name Moor-rut, a name which described the fertile soils of the Kangaroo Ground area in contrast to the poorer (Silurian) country of its surrounds, which the Wurundjeri knew as 'Nillumbik' or less rich country. The full 360 degree view can be seen from the adjacent Tower of Remembrance which has 53 stairs. The viewing platform however can be accessed by wheelchair. Inside the viewing platform there are eight double sided interpretive panels giving the history and information regarding this special area. The viewing platform's interpretive panels set out the Aboriginal and European history of the area and also the geology and the local flora and fauna, so that the casual visitor comes away understanding more about this significant part of Victoria. The concept of the viewing platform is part of the refurbishment project for the Kangaroo Ground War Memorial Park which has taken place since 1997 with the active approval and financial assistance of the Nillumbik Shire Council. This project has been guided by an Advisory Committee with volunteer community representatives from the local Historical Societies, the Country Fire Authority, the Returned Services League and the Wurundjeri people. Other allied groups such as the Nillumbik Reconciliation Group have been called upon for their expertise. The initial idea for the viewing platform came from Dean Stewart when he was the caretaker while living at the park. He discussed this idea with local author Mick Woiwod and Harry Gilham of Eltham District Historical Society when they were planning the refurbishment of the War Memorial Park in 1996. When the committee was formalised by the Nillumbik Council in 1997, Nicholas Pelling, representing the CFA and RSL, joined the group. Dennis Ward, local architect, then volunteered to develop the concept plan for the refurbishment of the park and later drew up the plans for the viewing platform. The Kangaroo Ground War Memorial Park and its Tower of Remembrance is located on one of the highest locations in the Yarra Valley. The Tower of Remembrance is a unique war memorial constructed from local stone standing 14 metres high. It was built in the style of a Scottish watchtower reflecting the strong Scottish influence of the first European settlers of the district from the 1840s onward. The park was opened in 1921 and the Tower of Remembrance was dedicated in 1926 recognising the local people who served in the First World War. Those who served in the Second World War were recognised by plaques dedicated in 1951 and more recently those who served in Korea, Borneo, Malaya and Vietnam by plaques unveiled in 2001. Harry Gilham, Advisory Committee Convenor - Eltham District Historical Society Newsletter N0 179 March 2008 Black and white inkjet print on paper 14 x 21 cmmoor-rul viewing platform, garden hill, kangaroo ground, memorial park

The Barking Owl is a nocturnal, medium sized (390-440 mm) bird of prey native to Australia, parts of Papua New Guinea, and the Moluccas. Males are generally slightly larger by weight than females and they are only one of small number of owl species that do not exhibit marked sexual dimorphism. Barking Owls have characteristic vocalisations, ranging from 'a 'woof woof' barking dog sounds to shrill, human-like scream sounds, which reportedly alarmed early European settlers. The Barking Owl's shrill and explosive vocalisation is sometimes associated with Bunyip mythology or referred to as 'the screaming woman call'. The male call is slightly lower in pitch than the female, and males and females often duet, contrasting low and high pitches. The owls are brown-grey in colour with white spots on the wings and vertically streaked chest. Their eyes are large and yellow. Barking Owls may be vulnerable in some parts of Australia due to woodland habitat loss. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. This male Barking Owl is average sized with brown, grey and white spots and vertical chest streaks. The face and breast are lighter in colour than the wings and dorsal plumage. The eyes are large and dark and the legs and feet are yellowish. The eyes are large and yellow irises and the legs and feet are yellowish. The specimen stands on a wooden perch pedestal with identification tags attached to its leg. 17. / Bookook Owl / See catalogue page, 4 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, owls, barking owls, screaming woman call, yowing, woodland birds, birds of prey, australian owls, endangered, loss of habitat, woodland habitat, bunyip, australian early settler mythology

This is a photograph of the four daughters of Mrs George Thomas. L -R : Elleen Parsons, Julia Eaton, Eva Murray and Violet Gay. George Thomas and Gtranny Thomas lived at Newmerella on Grand View Road until the 1950's. In the Newmerella Koorie Community, there were about 15 families. The family was a very well-respected local Aboriginal family. . George was a stockman for Jas Stirling. From Colin Thomas "I learned that George Thomas was Kitty Johnson’s oldest son. As a young boy George had been found by the Reverend John Bulmer, in addition to other young Aboriginal children in the bush around the Lake Tyers area. He had gathered them all together and took them onto the reserve at the Mission. After quite a number of years had passed George had met and fallen in love with a young half-caste girl, known as Agnes Patterson. Agnes was of Monaro descent and came from New South Wales. George and Agnes got married at Lake Tyers. Because of the half-caste act George and Agnes had to leave the reserve along with their nine girls. They moved to Newmerella, situated outside the township of Orbost. This was the place that George and his wife and children came to call home. Soon after, George and Agnes would add to their family bringing the total of children to fourteen, the last five of whom were boys. At the time of the First World War George’s boy’s volunteered their services and joined the army. When in Europe one of the boys sustained an injury which caused the loss of an arm. Following the end of the war the boys came home, as men." The Thomas family was a well-respected family in Newmerell in the late 19th and first half of the 20th century. The daughter were well known for their needlework and craft skills.A black / white photograph of four women wearing log skirts / dresses and elaborate hats, two sitting on a log and two standing on either side.thomas-family newmerella koori-family

Sharped Edged instrument used for cleaning hair from the skin. http://en.wikipedia.org/wiki/Straight_razor A straight razor is a razor with a blade that can fold into its handle.[1] They are also called open razors and cut-throat razors. HISTORY The first modern straight razor complete with decorated handles and hollow ground blades was constructed in Sheffield, England, by Benjamin Huntsman in 1740. Huntsman's process was adopted by the French sometime later. The English manufacturers were even more reluctant than the French to adopt the process and only did so after they saw its success in France.[5] Straight razors were the most common form of shaving before the 20th century and remained that common in many countries until the 1950s. TODAY Straight razors are still manufactured. DOVO, of Solingen, Germany, and Thiers Issard of France are two of the most well-known European manufacturers. Feather Safety Razor Co. Ltd. of Osaka, Japan makes a razor with the same form as a traditional straight, but featuring a disposable blade that can be installed through an injector-type system. Modern straight razor users are known to favor them for a variety of reasons. Some are attracted to the nostalgia of using old and traditional methods of shaving. It is a masculine ritual comparable to pipe smoking. Others profess an interest in reducing the waste of disposable blades.[11][22] Still others agree that straight razors provide a superior shave through a larger blade and greater control of the blade including the blade angle. Straight razors cover a much greater area per shaving stroke because their cutting edge is much longer than any of the multiblade razors. Ivory cut throat razor, with cream case 00121.3.Known as a straight razor.Razor with square point, full hollow ground 5/8” blade and double transverse stabiliser. The centre pin adds stability and rigidity to the handle---I think this is it ROM Parts The narrow end of the blade pivots on a pin, between 2 pieces of ivory forms the handle. LONG EXTRACT FROM WIKI _ SHORTEN to describe 00121 The parts of a straight razor and their function are described as follows: The narrow end of the blade rotates on a pin called the pivot, between two protective pieces called the scales or handle. The upward curved metal end of the narrow part of the blade beyond the pivot is called the tang and acts as a lever to help raise the blade from the handle. One or two fingers resting on the tang also help stabilize the blade while shaving. The narrow support piece between the tang and the main blade is called the shank, but this reference is often avoided because it can be confusing. The shank sometimes features decorations and the stamp of the country of origin. The top side and the underside of the shank can sometimes exhibit indentations known as fluting, or jimps for a more secure grip.[8] The curved lower part of the main blade from the shank to the cutting edge is called the shoulder.[9] The point where the shoulder joins the cutting edge is called the heel. A thick strip of metal running transversely at the junction where the main blade attaches to the shank is called the stabiliser. The stabiliser can be double,[10] single or can be absent in some razor models. The first stabiliser is usually very narrow and thicker and runs at the shank to blade junction, covering the shank and just spilling over to the shoulder. The second stabiliser can be distinguished since it is considerably wider and narrower, appearing after the first stabiliser and running lower into the shoulder. The non-cutting top of the blade is called the back or the spine while the cutting part of the blade opposite the back is called the cutting edge.[11] Finally the other free end of the blade, at the opposite end of the tang, is called the point and, sometimes, the head or the nose.[9][12] There are two to three pins in any handle. The middle pin, if present, is plastic coated and is called the plug.[13] Its function is to stabilise the sides of the handle so that they cannot be squeezed in the middle. When folded into the scales, the blade is protected from accidental damage, and the user is protected from accidental injury. During folding, the back of the blade, being thick and normally with a curved cross-section, acts as a natural stopper and prevents further rotation of the blade out of the handle from the other side shaving, lever, handle, blade, pivot, razor, tang

This mug was made by Reinhold Merkelbach. Reinhold Merkelbach was founded in 1845 by Wilhelm Merkelbach, a descendent of a long line of German potters, and the company eventually took the name of his son Wilhelm Reinhold Merkelbach, who left school early to get involved with the family business. The company became a major name in German ceramics, especially in the Jugendstil style. The company produced a large number of collectable beer steins in the late 18th and early 19th centuries, including a number of so-called “character steins.” In 1882, the firm began producing art pottery, which at that time was enjoying a revival and new appreciation in Europe in general and in Germany in particular. Reinhold Merkelbach produced ceramic objects both with and without pewter hardware but rarely altered its manufacturing techniques. Many of its products were destined for use at pubs, bars, or breweries as well as in the homes of Germany’s beer-drinking populace. It had a retail location in Munich and also sold products through its factory warehouse. In 1971, half of the company’s ownership was sold to W. Goebel KG and the firm’s name changed officially to Merkelbach Manufaktur GmbH & Co. KG. Goebel ultimately purchased the other half of the business before members of the Merkelbach family, along with a handful of collectors and former staff members, repurchased the factory in 1988. In 2007, Judith Merkelbach Engelmann decided to close the firm; demand for ceramics had been decreasing and the next generation of the family had no interest in maintaining the business. Luckily, Reinhold Merkelbach transferred its moulds to Töpferei Girmscheid Höhr-Grenzhausen to ensure that its best-known pieces of Jugendstil art pottery and steins would continue to be available to interested consumers and collectors.This beer stein was made around the mid-20th century by a popular German maker. It fits in with the context of maritime village life. At this current time, there is no particular connection with people, places and events. The German beer stein is made from ceramic ironstone. It has a bell-shaped hinged pewter lid with a leaf-shaped thumb lever. The lid has a pattern stamped on it. The design on the mug includes a woman in bright colours, a man holding a musket, and buildings in mountain settings. There are inscriptions on the mug. Marked "Made in Germany" "RM" "4070" (underside of mug) "05" to the side of mug flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, beer stein, ceramic beer stein, reinhold merkelbach, drinking vessel

Frank Wright became well known in Brass Band circles. Born in Smeaton, he competed at Ballarat's South Street, conducted the Ballarat Brass Band, and the Ballarat Soldiers' Memorial band before leaving Australia for England as Bandmaster for St Hilda's Brass Band. Frank Wright was a renown resident of Smeaton, where he was born in 1901. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.Brown leather pouch with silver coloured metal clasp. The item belonged to Frank Wright of Smeaton."Bro. F.J. Wright, Yarrowee Lodge, No 10. V.C.frank wright, yarrowee lodge

Alex Wright travelled to England in 1930 and was known as the Prince of Mimic although his stage name was Navarre. He died in an air raid in the Hippodrome Birmingham in 1940. Alex was the brother of Frank Wright who was a renown resident of Smeaton, where he was born. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.Black and white photograph of a man in shirt, trousers and braces hugging a woman in a dark frock. They are standing in front of a fence with trees and a paddock in the background. They are Sarah Wright and her son Alex?.Printed on back - Printed at Scott's, Veloxsarah wright, alex wright, frank wright, navarre, smeaton, ballarat