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

(number in album 03377.2)Black and white photograph of Variety Club Bash participants,Ian and Cathy Clifford, Jason Kitto and cancer patient Brett Finneran, sitting at table enjoying drinks, prior to taking part in the Canteen Australia Trek for two days raising funds for teenagers with cancer. Lakes Entrance Victoriacharities, clubs

fashions from Riviera Sports, Shop 21, Mr Trendi, Fashion NetworkBlack and white photograph Anthony Wolfski modelling young mens fashions, Fashion Show supporting Miss Australia Entrant Colleen Harrington. Lakes Entrance Victoria volunteering, fundraising, fashion

Black and white photograph Kim Williamson modelling fashions, Fashion Show in support of Miss Australia entrant Colleen Harrington. Lakes Entrance Victoriabeauty competition, fashion

Colour photograph Miss Victoria entrant Narelle Carr, with Leonie Butcher Miss Australia entrant. Lakes Entrance Victoriabeauty competition, people

Black and white photograph Nola Mills and Alana Guillot at Miss Australia fundraising event supporting Leonie Butcher. Lakes Entrance Victoriabeauty competition, fashion, fundraising

This photograph was taken at the Triennial Congress, Melbourne. Frank Leslie Oliver served as chaplain at the Mission to Seafarers Melbourne for 30 years from 1930 - 1960. He is in this photograph, second from right, with a cigarette in his hand. Also in this photograph, at the far right, is the Most Reverend F. Head, Archbishop of Melbourne. The photograph is a record of a historic conference of MTS representatives from Australia and New Zealand. , September 1-3 , 1936: Revd Wm Hoog (Brisbane) Revd W.H. Terry (Port Pirie) Revd H.C Cuthbertson (Adelaide) Revd W.R. Tyler (Melbourne) Mr J.W. Neill (Melbourne) Revd. F. J. Evans (Sydney) Revd Frank L. Oliver ( Melbourne MTS) F W Melbourne (Archbishop F W Head 1929- 1942) Mr J.C. Grahame (Hobart) Rev B.J. Williams ((Wellington NZ) Rev J.C. Clift (Fremantle)Frank Leslie Oliver served as chaplain at the Mission to Seafarers Melbourne for 30 years from 1930 - 1960, including time served as chaplain with the Royal Australia Navy aboard HMAS Australia. He was a live-in chaplain and was supported by his entire family, including wife Moira, for whom a memorial window exists in the chapel. The Chaplains' Conference was held in 1936.Black and white photograph of a group of chaplains outside the Mission to Seafarers building in Flinders Street, Melbourne. Frank Oliver is second from right holding a cigarette in his right hand.Top left in blue ink (written by Padre Oliver): Australian MTS, Chaplains gathered in Triennal Congress, with most Rev.J Head, Abp of Melbourne. Top right corner in black ink: prior to 1939 In black and blue ink some names: Archbishop Head, Dad, Bill Tyler Port Melbourne, Padre Williams Wellington, Pat Neil Layreader Faded stamp in pink ink: Herald Feature Service, Melbourne A sticker with: Ret to B Kentroyal australian navy, mission to seafarers, anglican, frank leslie oliver, archbishop head, triennial conference, chaplains, herald newspaper, cigarette, robin kent, beverley kent nee oliver, chaplains conference, padre oliver, new zealand, pat neil, lay reader, bill tyler, port melbourne, reverend william wellington, chaplains group

These 15 photographs were taken in 1995 during a CO’s Parade at the Army Survey Regiment, Fortuna, Bendigo in 1995. On this occasion outgoing RSM WO1 Phil Meagher handed over to incoming RSM WO1 Ken Johnston OAM MM. WO1 Phillip Nicholas Meagher served in the Australian Regular Army (ARA) from Jan 1971 to Jun 1997. He was RSM of the Army Survey Regiment from 1992 to 1995. He was succeeded by WO1 Ken Johnston OAM MM from the Royal Australian Infantry Corps, who was RSM for the remainder of 1995. WO1 Johnston served in the Citizens’ Military Force and the ARA from Feb 1966 to Mar 2002. A tribute in the Army Newspaper on the 14 May 2014 and discoverable on the Trove website, stated he passed away on 12 May 2014. In this tribute it stated he was a Vietnam War Military Medal recipient, known as a “Digger’s Digger” and for his direct no-nonsense approach. As RSM of the Army Survey Regiment, WO1 Johnston was instrumental in shaping and sharpening the military skills and behaviours of personnel who chose to continue in their reallocation to other corps in the ARA or the 1st Topographic Support Squadron in Enoggera, QLD. His tenure is covered in more detail on page 164 of Valerie Lovejoy’s book 'Mapmakers of Fortuna – A history of the Army Survey Regiment’ ISBN: 0-646-42120-4. On this occasion CO LTCOL Duncan Burns presented MAJ Mick Banham the Defence Force Service Medal for 15 years of efficient remunerated service in the Australian Army. This is a set of 15 photographs taken of a RSM Handover at a CO’s Parade at the Army Survey Regiment, Fortuna, Bendigo, 1995. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, black & white, 1995. Outgoing RSM WO1 Phil Meagher. .2) - Photo, black & white, 1995. L to R: MAJ Mick Banham, outgoing RSM WO1 Phil Meagher. .3) - Photo, black & white, 1995. L to R: CO LTCOL Duncan Burns, MAJ Mick Banham. .4) - Photo, black & white, 1995. L to R: ADJT CAPT Brenton McDonald, RP SGT Peter Coles, CO LTCOL Duncan Burns, MAJ Mick Banham receiving Defence Force Service Medal. .5) - Photo, black & white, 1995. L to R: ADJT CAPT Brenton McDonald, CO LTCOL Duncan Burns, MAJ Mick Banham (background), outgoing RSM WO1 Phil Meagher, incoming RSM WO1 Ken Johnston OAM MM, CAPT Bin Fashar Sutiman (Indonesian Army). .6) - Photo, black & white, 1995. L to R: SGT Perry Langberg, MAJ Dave Stephenson, SPR Trevor King, SPR Craig Smith, CAPT Colin Davidson, LCPL Mark Fedden, SPR Donna Grayland. .7) - Photo, black & white, 1995. L to R: unidentified (x3), RSM WO1 Phil Meagher, SGT Darren Wilkinson, SSGT Steve Drummond, unidentified, SPR Donna Grayland, SPR Allison Ottaway, unidentified, back of ADJT CAPT Brenton McDonald, unidentified (x4), CPL Darren Maher, SGT Laurie Justin. .8) - Photo, black & white, 1995. Outgoing RSM WO1 Phil Meagher, remainder unidentified. .9) - Photo, black & white, 1995. L to R: WO2 Peter Imeson, CPL Darren Maher, unidentified, SSGT Steve Winner. .10) - Photo, black & white, 1995. L to R: MAJ Mick Banham, ADJT CAPT Brenton McDonald, CAPT Doug Arman, WO1 Phil Meagher, CAPT Bin Fashar Sutiman (Indonesian Army), WO1 Ken Johnston OAM MM, CAPT Bill Griggs, unidentified. .11) - Photo, black & white, 1995. L to R: WO1 Ken Johnston OAM MM, ADJT CAPT Brenton McDonald. .12) - Photo, black & white, 1995. Outgoing RSM WO1 Phil Meagher. .13) - Photo, black & white, 1995. L to R: Outgoing WO1 Phil Meagher, incoming RSM WO1 Ken Johnston OAM MM. .14) - Photo, black & white, 1995. L to R: Incoming RSM WO1 Ken Johnston OAM MM, outgoing WO1 Phil Meagher. .15) - Photo, black & white, 1995. L to R: MAJ Mick Banham, RP SGT Peter Coles, outgoing RSM WO1 Phil Meagher..1P to.15P – There are no annotations.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

Newspaper report of the death of Edgar Edwards Walker, aged 74, at his home in Mitcham, Victoria. (Newspaper name/date unknown).Mr Walker was governing director of the Australian Tesselated Tile Co. Pty. Ltd., Mitcham ... a company he founded 49 years ago. He was a member of the Nunawading Shire Council for 25 years, and was several times president. He took a keen interest in local affairs and was a trustee of the Mitcham Methodist Church and Memorial Hall. His funeral took place at Box Hill cemetery (December 1936).

non-fictionA typescript with some pages handwritten of the life of Nathan Spielvogel founder of the Ballarat Historical Society, teacher and community leader. Tied at top corner with ribbon.memoir, spielvogel, ballarat, dimboola, jewish

non-fictionmt pleasant school, ballarat, bicentenary, michael taffe, francis ellis, tree planting

non-fictionMarion Taffe was Features Editor for Melbourne's MX commuter newspaper and wrote this feature following the loss of her cousin and family at Kinglake in Victoria's Black Saturday bushfires of 2009. Her article was published in newspapers worldwide.bushfire, black saturday bushfires, victorian bushfires, kinglake, warnambool, marion taffe, mx, newspaper, davey family

Newspaper style journal of twenty pages given over to articles, opinion pieces and coverage of the events at the Eureka Stockade in 1854.non-fictioneureka stockade, ballarat, labour history, bi-centenary

Black and white small portrait size photograph Susan Gibson, Miss Australia Quest entrant Lakes Entrance Victoriacommunity services, people, contestants

(number in album 03370.2)Black and white photograph, Nicole Ellis entrant Miss Australia Quest receiving donation $500 from Lakes Entrance Fishermens Co-op from Tom Davies. Lakes Entrance Victoriacommunity services, charities, clubs

The Queen: The Ladies Newspaper and Court Chronicle or simply The Queen was a magazine created in 1864 in London. The title became "Queen in the 1950s, then "Harpers and Queen" in the UK and then part of the British Harper's Bazaar. In 1861 Samuel Orchart Beeton ("Mrs Beeton"'s husband) had founded a paper named "The Queen" about fashion and culture for upper class women of society. Edward William Cox bought the title the following year and at the same time he bought the Queen's rival that was named "The Ladies' Paper". He merged the two publications into "The Queen: The Ladies Newspaper and Court Chronicle" in 1864. The Queen, The Lady's newspaper was delivered to Australia from UK during colonial times. The fashion page shows designs of dresses that were worn in late 19th century.A rectangular hardboard with a page from a newspaper atatched to one side of it, and a very small one line cut out from a newspaper glued to the other side. There are marks from sticky tape and old paper around the page. The page is of 3 fashion design drawings, titled Smart Autumn Gowns, sketched by our artist at Messrs Redmayne's, 19 , new bond street, w. flagstaff hill maritime museum and village, great ocean road, shipwreck coast, the queen, the lady's newspaper, fashion drawing, messrs redmayne, 1891

Sculture in bronze of Alan Marshall by Marcus Skipper, 1995 Alan Marshall, AM., 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 1940's 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". Covered under National Trust of Australia (Victoria), State significance. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p159 Outside the Eltham Library a bronze figure of a short one-legged man with a crutch invites people to the world of literature. The bronze statue, by Marcus Skipper, is of author Alan Marshall, who is famed for his autobiography I Can Jump Puddles, about growing up and overcoming the effects of polio. That plucky little boy later lived in the Nillumbik district for more than 50 years, and on his death in 1984, was buried in the Nillumbik Cemetery at Diamond Creek. Although a hugely successful author, his grave is modest with only a tiny boulder and simple bronze plaque on a grassed plot. From 1955 to 1972 Marshall lived in a tiny fibro-cement bungalow at the rear of a house at Park West Road, Eltham, owned by his older sister, Elsie McConnell. It was there that he wrote most of his autobiographical trilogy and his history of the former Eltham Shire, Pioneers and Painters. His long association with Eltham Shire began in 1918 when his family moved to Diamond Creek. Then in 1920 he began work as a junior clerk at the Eltham Shire Offices on Main Road, Kangaroo Ground near the Yarra Glen Road, while boarding at the hotel next door. Marshall later bought a block of land in Research, which had three bark huts. In one of these he wrote his first book These Are My People. He later sold the land but lived in a caravan there and in 1955 wrote I Can Jump Puddles.1 Proud of its citizen, the Eltham Shire named a park after Marshall at the corner of Main Road and Leanne Drive, Eltham. In 1985 the Shire initiated the Alan Marshall Short Story Award. It was Marshall’s early life in the country that taught him to live courageously in spite of his crippling polio, and he inspired many. This informed his writing – full of courage, championing the battler and love of the bush. Alan Marshall was born in 1902 at Noorat in Western Victoria, as the only son of Billy a drover, horse breaker, hawker and then general store owner. At the age of six, Marshall contracted infantile paralysis and was later hospitalised in Colac for 18 months. With his father’s encouragement, Marshall learnt to swim, wrestle and box, ride a bicycle (downhill), ride a horse and drive a car. Marshall won a scholarship to Stott’s Correspondence College to study accountancy. To help him continue his studies and find employment, his family bought 12 acres (4.8ha), in Ryans Road, Diamond Creek, opposite Windmill Court. There they ran cows, some poultry and an orchard. But life with a disability and during the Depression was hard for Marshall, who for 20 years, endured long periods of unemployment and loneliness and was often exploited at work.2 However, life improved in the 1930s, when he published short stories and articles in newspapers and magazines, including a column of advice to the lovelorn, which he wrote for nearly 20 years. At age 42 Marshall published his first book and in the next 30 years he published more than 20. His most successful book was I Can Jump Puddles, which sold more than three million copies internationally. It was made into a film, released in 1971, by Czechoslovakian director Karel Kachyna. Marshall was one of the first Australians to write about Aborigines who called him Gurrawilla - teller of tales - when he lived with them in Arnhem Land for eight months.3 In 1941 Marshall married Olive Dixon, with whom he had two daughters, Catherine and Jennifer. Marshall and Olive divorced in 1957. In 1972 Marshall was awarded an OBE for his work with the handicapped. He was also awarded an Honorary Doctor of Laws by Melbourne University, an Order of Australia for services to literature and the Soviet Order of Friendship of Peoples.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, alan marshall, art in public places, eltham, eltham library, marcus skipper, panther place, public art, sculpture

Irishman John McDonagh and his wife Martha, nee Mathews, arrived at Port Phillip on the ship 'Oliver Lang' in August 1855. They brought with them their first three children: Martha, Jane and Robert, and also two of John McDonagh's nieces: Jane and Isabella McDonagh, whose parents had died in Ireland. The McDonaghs had five more children in Australia. They lived at Linton from the mid-1860s. In the Ballarat Star [newspaper] in 1867, John McDonagh was described as a "sheep and cattle dealer". He was a member of the Woady Yaloak Roads Board, and later a member of the Council of the Shire of Grenville. John McDonagh died at Linton in 1871. An inquest into his sudden and unexpected death (copy in McDonagh file) concluded he died of apoplexy (= stroke). Part of Old Lintonian Collection ; No. 13.Sepia photograph."John McDonagh"john mcdonagh, old lintonian collection

BHS CollectionBendigo Advertiser ''The way we were'' from 2003. All aboard: the Mennen family arrived in Australia by ship from Holland in August 50 years ago with seven children. The youngest, Leonie was born in Bendigo and two more generations now call Australia home. The clip is in Australia.newspaper, bendigo advertiser, the way we were

Folder Contents 1. Pam Thoonan (nee Ingram) 1.1. Family tree of Pamela Thoonan; Descendant of Teagle and Ingram 1.2. Descendants of George Ingram 1747 1.3. Descendants of William Ingram 1836 1.4. Family of William George Grove Ingram 1861 1.5. Family of Evan Thomas Ingram 1867 1.6. Ancestors of Kenneth Douglas Ingram 1.7. Family/descendants of Henry Teagle 1838 1.8. Family of John Thomas Teagle 1.9. Notes on Esau Key 1.10. Descendants of John Key 1687 1.11. Descendants/family of Robert Fielding 1817 1.12. Descendants of Margaret Crenny, died 1946 1.13. My grandpa John Ingram (Written by Grace Burrows) 1.14. Ten in the bed; story of William Ingram family of Birmingham, England 1.15. Copies of newspaper articles about Harry Ingram, Baker of Kidderminster, England 1.16. Copy (2000) In Memory of Lester Neil Ingram, Commonwealth War Graves Commission 1.17. Recollections by Pam Thoonen regarding her stepfather Eddy Fielding and father Kenneth Douglas Ingram including information about the 39th Australian Infantry Battalion (1941-1943) and the Kokoda Track 1.18. Copy of letter to Jack and Ada Ingram from mother P Ingram of Kidderminster – transcript sent to Pam Thoonen by Grace Burrows, 2006 1.19. Letter from Val (Waller nee Feldbauer) to Tom Fielding 30 June 2016 1.20. Notes handwritten believed to be about guests attending Rose Fieldings 62nd birthday at Bentleigh Public Hall, Centre Road, East Bentleigh in 1973 – see photo EDHS_05850 1.21. Copy of photo of Wedding Party of Margaret Rose to Kenneth Douglas Ingram 1935 and newspaper report “Romantic Circle; Ingram – Teagle” The Advertiser 26 July 1935, p2 1.22. Five pages of photocopied photos and recollections by Pam Thoonen of attending a concert at Festival Hall 1.23. Three photos of headstones for John Thomas Teagle and Margaret Teagle, Violet Feldbauer, Edna May and Charles Louis Layfield 1.24. Two pages typed of trivia concerning old expressions and their origins from the 1500s 2. Grace Burrows (nee Ingram – now deceased) contact details at Dunolly with notes that Ingrams arrived at Research around 1900 Item 1 held in digital format onlyFolder of information on Ingram family of Research in mix of digital and hard copy formatgrace ingram, grace burrows, ingram family, pam thoonen (nee ingram), ingram's bakery, research (vic.), john ingram, ingrams road, keith ingram, kenneth ingram, teagle family, crenny, key family, feldbauer family

A newspaper advertisement regarding The Marysville Chalet which lists the various amenities available to guests.A newspaper advertisement regarding The Marysville Chalet which lists the various amenities available to guests.marysville, victoria, australia, the marysville chalet, guest house, poontawan, steavenson hotel, albert harrison, margaret harrison, elise ackerman, ralph ackerman, john van ranglerooy, joe keithard, kathy keithard, louisa goding, accommodation, newspaper advertisement

WWII Historical significance with some information of the Dandenong area.Black and white framed photo of 408537 Sgt R.R.E. Swords 23 Sep 1912 - 21 Jan 1943. This photograph is a tribute to the late Robert Richard Falkiner Swords. 'Bob' as he was known to his friends and most townsfolk of Dandenong and it's people. His older brother James, served in the First World War and later was a founding member of the Dandenong RSL Sub-Branch, formed in 1919, was its second President and also served a term as Honorary Secretary and Treasurer. James was the Editor of Dandenong's first newspaper, the Dandenong Advertiser. 'Bob' Swords was also a member of the Dandenong Advertiser newspaper and was a driving force in Dandenong getting it's own Hospital. For many years his photo hung over the entrance to the old building, which was demolished some years back. Regrettably this photo was lost. Bob enlisted into the Royal Australian Air Force to train as a pilot on 26 April 1941 and after initial training embarked to Southern Rhodesia. After completion of initial flight training he then moved to England for advanced training, prior to postings onto an OTU. He was tragically killed during this phase of training on 21 January 1943. The gentleman with in this photo is believed to be his South African Flying Instructor 'Panda' Watkins. His grave in England has a lovely headstone and the inscription: 'Service Above Self'. (As advised by Robert Richard Kudyba OAM).Brass plaque stating 4085537 Sgt R.R.F. Swords 23 Sept 1912 - 21 Jan 1943.

Fifty four page magazine featuring black and cream printed graphics and text. The colour cover shows a woman and child both dressed in matching knitted jumpers.front: [printed] MAY 12, 1965 / 1'. / New Idea / The USELESS SEX / The year's most / talked about book / 8 / ADORABLE / COLLARS / TO CROCHET / MOTHER-DAUGHTER / COVER GIRL / SWEATERS TO KNIT / Instructions inside / Registered in Australia for trans- / mission by post as a newspaper. front: [handwritten] Abbsknitting, pattern, fashion, knitwear, children, women, new idea

Original drawing was Indian ink on paper by Alfred George Reynolds (1906-1996) who was Vicar of St Lukes Vermont from 1947-1952. Alfred George Reynolds was a noted Australian artist in the mediums of oil painting, etching and pen and ink drawing.Black and white cutting from a newspaper of St. Lukes Anglican Church, VermontA G Reynoldsst. lukes anglican church, vermont

This ledger was used between 1883 and 1892 to record returns and activities on a farming property including numbers of sheep shorn, chaff cut, fencing contracted and people employed. One envelope within the ledger is addressed to Mrs J Edwards, Morven via Branxholme. The Edwards family, lived on the MORVEN property situated about 11 kilometres west of Branxholme in the Western District of Victoria. This property was sub divided in 1911 into 25 farms. The not fully used ledger has later been repurposed as a recipe book with a collection of newspaper cuttings (1924-1929) inserted and recipes handwritten on 16 pages at the rear. The pages also include some household hints including instructions on how "To prepare sheep skins for mats"This ledger is typical of farming records kept in the period 1883 to 1892. The repurposing of the ledger as a recipe book was a common practice. This ledger has cardboard patterned covers. The paper pages are bound with cotton. Some pages are handwritten in ink. There are loose newspaper cuttings within the ledger as well as two addressed envelopes and a small red recipe booklet.ledger, farming records, recipes, morven, edwards family morven, canvassing department of the australian dried fruits association