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

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

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

TBATBATwo boxes, paper. 1. Anti-Hanging Committee - regarding hanging. 1962. 2. Ballarat Banking Co. Ltd. Chairman's address and 145th report. August 1954. 3. Country Municipal Association circular regarding conference on centralisation, Ballarat. 22 November 1916. 4. Geelong Town Band's weekly performance programme. n.d. 5. Ironmasters' Association of Victoria rules and regulations agreed upon at the General Iron Trades' Conference, Melbourne. 1891. 6. Melbourne Eight Hours Anniversary programme. 1901. 7. Museum of Applied Science of Victoria, on gas from our brown coal. n.d. 8. New Australian Trade Unionist Committee regarding rally to protect shooting of Polish workers. 195-? 9. Circular from Ballarat Trades and Labour Council to Ironmoulders' Society regarding the Congress. 1891. 10. List of subjects to be discussed at Congress. 11. Circular from Melbourne Trades Hall Council regarding financial help for Congress. 1891. 12. Reports of Standing Orders Committee appointed by the Congress, 23-29 April 1891. 13. Trade Mark Committee report. 14. Committee on Federation report. 15. Draft scheme of Federation (Australasian Federation of Labor). 16. Draft scheme of Federation (Australasian Federation of Labor) to the Labour Councils and Unions of Australasia. (2 copies.) 17. Asian and Pacific Regions Peace Conference, Peking, October 1962. Report on Peking, Melbourne. 1962. (2 copies). 18. Australian Bureau of Census and Statistics. Labour and Industrial Statistics, Melbourne. 1911. 19. Australia. Laws, Statutes, etc Trade Marks Bill, 1905. Workers' Trade Marks. Melbourne, 1905. 20. Australian Council of Trade Unions. Agenda paper for ... Congress, 1953. Melbourne, 1953. 21. Australian Labor Party. Work of the Labor government. Melbourne, 1928. 22. Australian Textile Union, Victorian Branch. Wages Sheet. Melbourne, 1953? 23. Baker, W.A. The Commonwealth Basic Wage. 1907-1953. Sydney, 1953? 24. Building Workers' Industrial Union. Building Workers support your convention. n.p. 1954? 25. Carters' and Drivers' Union. Committee of Management. Important to members of Carters and Drivers' Union. Melbourne, 1936. 26. Dougherty, Tom. Santamaria unmasked. Melbourne, 1954? 27. Eight Hours' Anniversary Sports Programme, 1893. Ballarat 1893. 28. Eight Hours' Anniversary Programme, 1894. Ballarat, 1894. 29. Fadden, Arthur W. The menace of political banking. Sydney, 1945. 30. Federated Clerks' Union, Victoria Branch. The Fennessy Story. The Braun Story. n.p., 1954. 31. Federated Clerks' Union, Victoria Branch. Manifesto, n.p., 1955. 32. Greater Ballarat Association. Seventeenth annual report. Ballarat, 1954. 33. Langridge, H.E. Employers in the Labor Party. Melbourne, 1914. 34. Metal Trades Federation. National Conference of Federal Council and delegates from State branches. Sydney, 1960. 35. Municipal Association of Victoria. Arbitration aware regarding employment of members of the Municipal Officers Association of Australia. Melbourne, 1950. 36. Municipality of the Town of Ballarat East. Annual report, 1919. Ballarat, 1919. 37. Plumbers and Gasfitters Employees' Association of Australia. Melbourne Branch. Why did Menzies abdicate when he had a working majority and 18 months to go? Melbourne, 1955? 38. Plumbers and Gasfitters Employees Union of Australia, Melbourne Branch. Who are the wreckers in the Australian Labor Party? Melbourne, 1955. 39. Spence, W.G. The ethics of New Unionism. Sydney, 1892. (42 copies) 40. Trades Hall Council, Melbourne. Statement of accounts, 1959. Melbourne, 1959. 41. Universal Business Directories (Australia) Pty. Ltd. Home edition for Ballarat. Melbourne, 1954. 42. Victoria, Apprenticeship Commission. Twenty-seventh annual report. Melbourne, 1956. 43. Victorian Labor College. Labor Colleges. Melbourne 191? (3 copies) 44. W.F. Williams. An appeal to the workers of Victoria. n.p., 19?? 45. Workers' Industrial Union of Australia. Preamble, classification and rules. Melbourne 1919? 46. ACTU Bulletin, 1955, Vol 2, No. 2 47. Amalgamated Engineering Union monthly journal, 1954, No. 3. March 48. American Economist, (New York), 1893, Vol 12, No 12, September 49. Australian Worker, (Sydney), 1955, Vol 64, No. 10, May; No. 15, September (held by ANU and at Trove online) 50. Building Workers' Organiser, official organ of the Building Trades Federation, 1954, June 51. Bulletin issued by the Economic Information Service, Melbourne. No. 2 1954, Nos. 10, September; 13 August; 1956, No 14, January 52. Ballarat Courier, 1890, Vol 46, No. 7096, April 53. Ballarat Star, 1888, Vol 33, No. 95, April 54. The Clerk, official journal of Federated Clerks' Union, Victorian Branch, 1955, Vol 10, No. 2, February/March 55. Common Cause, official journal of the Miners' Federation of Australia 1954 Vol 19, No. 10, March; No. 12, April 1955 Vol 20, No. 12, April; No. 19, May 1955 Vol 20, No. 23, June; No 28 July 1955 Vol 20, No. 29, August 1956 Vol 21, No. 17, May 56. Evening Echo, Ballarat, 1915, No. 6673, September 57. Evening Post, Ballarat, 1889, Vol 38, No. 6326, March 58. Industrial Herald, published by Labor Press, Geelong 1952 Vol 34, No. 35, June 1954 Vol 36, No. 20, March; No. 23, April 1954 No. 36, July; No. 39 July 1958 Vol 40, No. 19, March 59. Labor Call, published by Industrial Printing and Publicity Co., Melbourne. 1953, Vol 46, No. 2417, September 60. Labor Supplement. 1952, November 1954, February; March 61. Light, Ballarat diocesan journal. 1955, September. 62. Locomotive journal, published by the Australian Federated Union of Locomotive Enginemen. 1954, Vol. 16, No. 4, January. 63. People's Tribune Supplement, ed. by E.E. Jones, Melbourne. 1886, Vol 5, No. 20, April. 64. Railways' Union Gazette, published by J.D. Michie, Melbourne. 1919, June, Frank Byett in memoriam edition. 65. Rehab News issued by Central Ex-Servicemen's Office, Melbourne. 1946, Vol 2, No. 30, May. 66. Sheet Metal Workers, official organ of the Sheet Metal Working, Agricultural Implement and Stovemaking Union of Australia, Sydney. 1954, No. 107, February. 67. Socialist Comment, Socialist Party of Australia, Melbourne. 1937, No. 2, February. 68. Tocsin, A.L.P. Victorian Branch. 1955?, No. 2, October; No. 4, December. 1956, No. 5, February. 69. Tribune, CPA Sydney. 1965, No. 958, August. 70. UN World, published by Egbert White, New York. 1948, Vol 2, No. 11, December. 71. Miscellaneous newspaper cuttings. Posters 72. Eight Hours' Anniversary, Ballarat, 22 April 1892. 73. Eight Hours' Anniversary, Ballarat, 21 April 1894. 74. Eight Hours' Anniversary, Ballarat, 21 April 1913. 75A. Eight Hours' Anniversary, Ballarat, 3 April 1922. 75B. Electoral Rolls, persons entitled to be enrolled and to vote, 1922. 76. Progress, prospectus of debentures to publish a daily Labour paper to be called "Progress". 1904, Vol 1, No. 1, December. Cards 87. Smoke night social 88. Bi-election 89. How to vote card Roneoed material 77. Circular letter regarding new morning newspaper. n.d. 78. Circular letter from Trades Hall Council, Melbourne. 21 March 1955. 79. Article, History of the recent ALP dispute. n.d. 80. Article: What is freemasonry (from Ballarat St. Patrick's Gazette, October 1854). (2 copies) 81. Information summary of HRH Duke of Edinburgh's study conference on the human problems of industrial communities. ALP Broadcasts from Station 3KZ 82. Incentive payments by Norman A. Gibbs. 17 August 1953. 83. Escalating wages by F.J. Riley. 25 February 1954. 84. Margins by F.J. Riley. 4 March 1954. 85. Freezing margins by F.J. Riley. 17 March 1954. 86. The struggle across the Ages (No. 2) by F.J. Riley. 7 May 1954. ballarat trades and labour council, ballarat trades hall, unions, anti-hanging committee, hanging, ballarat banking co. ltd., country municipal association, geelong town band, ironmasters' association of victoria, general iron trades' conference, museum of applied science of victoria, new australian trade unionist committee, ironmoulders' society, melbourne trades hall council, btlc, intercolonial trades and labor union congress, 7th., trade mark committee report, committee on federation report, australasian federation of labor, asian and pacific regions peace conference, australian bureau of census and statistics, abs, australian bureau of statistics, trade marks bill, actu, australian council of trade unions, australian labor party, alp, australian textile union, w.a. baker, building workers' industrial union, carters and drivers' union, tom dougherty, eight hours' anniversary sports programme, labour and industrial statistics, workers' trade marks, building workers, santamaria, arthur w. fadden, federated clerks' union, fennessy, braun, greater ballarat association, h.e. langridge, metal trades federation, municipal association of victoria, ballarat east, plumbers and gasfitters employees' union of australia, menzies, w.g. spence, new unionism, universal business directories, victoria apprenticeship commission, victorian labor college, w.f. williams, workers' industrial union of australia. preamble, classification and rules. melbourne, 1919?, amalgamated engineering union, american economist, australian worker, building workers' organiser, building trades federation, economic information service, the courier, ballarat star, the clerk, common cause, miners' federation of australia, evening echo, evening post, industrial herald, labor call, labor supplement, light journal, locomotive journal, australian federated union of locomotive enginemen, people's tribune supplement, railways union gazette, frank hyett, rehab news, central ex-servicemen's office, sheet metal worker, sheet metal working, agricultural implement and stovemaking union of australia, socialist comment, tocsin, tribune, un world, eight hour anniversary, electoral rolls, progress, freemasonry, st patrick's gazette, hrh duke of edinburgh, incentive payments, wages, f.j. riley

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

This photograph was captured at an undisclosed location and at an unidentified time but likely dates to approximately 1870. The photographer's details are not recorded and the identities of the men in the image are also not known. This image depicts a group of 10 men in typical miners fashion. Four of them are sat on a large log with one holding a small dog. Six miners stand behind those sitting. All these men are wearing a white button-up shirt and tan coloured work trousers. They wear heavy boots and seven have included a dark vest over their shirt. The man holding the dog has a pipe in his mouth. Two of these men are clean shaven with the remainder sporting a moustache and two with a beard. The ages of these men vary from late 20s to middle age. This group of men are located in a mining location with what appears to be an open cut mine in the background of the image. The ground is muddy and has elements which can help identify it as a mining location based on the condition of the landscape. The bottom of the men's trousers are muddy which provides the assurance that these men were working in this location when their photograph was captured. In the background there is one structure, possibly a dwelling, and bush which identifies the location as Australia. Open cut sluicing is a method used to extract gold and other precious metals from beneath the surface of the earth. This technique involved the use of high-powered hoses which broke down the soil enabling miners to come along and search this soil for gold. After the gold rush of the early 1850s, diggers had to enlist the assistance of heavy machinery and techniques like hydraulic sluicing in order to reach gold because the surface alluvial gold had already been discovered and removed. This heavy machinery was not used until after 1853. The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray an open cut sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about sluicing and the methods used to find gold in the late 1800s and early 1900s. It also shows a location where sluicing was undertook which provides insight into the impact of sluicing on the environment at a time when it was done. Images, like this one, of Australian gold rush history can reveal important information about the social and environmental impact of this period. This image depicts diggers standing in a mining location and therefore, this image has the capacity to reveal or support significant information for researchers studying the fashion and social status of diggers in Australia in approximately 1870. It can also provide information on the landscape of Australia in this period and the impact of mining for gold on both society and the Australian landscape. The Burke Museum is home to a substantial collection of Australian mining photographs which can be used to gain a deeper understanding into life on the gold fields, technology used in mining, the miners themselves and the impact of the gold digging on the environment.Sepia toned rectangular photograph printed on matte photographic paper mounted on board.Reverse: 1997.2518mining, goldfields, beechworth, 1870, australia, australian goldfields, diggers, victoria, sluicing, gold mining, miners, diggers victoria

This photograph was taken in approximately 1870 and depicts four male miners standing in mining sluice at the Three Mile Goldfields. These men are wearing typical attire for 1870s gold miners. They wear white shirts, tan coloured pants with water proof shoes and most of the men are wearing an apron to prevent their clothing from becoming too dirty from the mud. Each man is wearing a wide brim hat and hold large wooden tools used for sorting through the sluice. Three of the four men have full beards. The photograph was donated to the Burke Museum by R. Ziegenbein before 2001 but the photographer and the individuals captured in the photo are unknown. The image depicts the landscape of the Three Mile Goldfields during a period when open cut sluicing was undertaken to reach gold. Open cut sluicing is a method used to extract gold and other precious metals from beneath the surface of the earth. This technique involved the use of high-powered hoses which broke down the soil enabling miners to come along and search this soil for gold. After the gold rush of the early 1850s, diggers had to enlist the assistance of heavy machinery and techniques like hydraulic sluicing in order to reach gold because the surface alluvial gold had already been discovered and removed. This heavy machinery was not used until after 1853. The Three Mile Goldfields was a site of rich alluvial gold deposits located about 5 km south of Beechworth in Victoria. Today, the location of this gold deposit is called Baarmutha. It was a popular area for gold mining in the 1850s but became largely abandoned by the following decade. In 1865, a man named John Pund recognized that the area could be potentially rich if a better water supply could be obtained. He secured a 15 year license with three other miners. Within the next five years, these men had constructed 19 km of water race going from Upper Nine Mile Creek to Three Mile Creek. By 1881, these four men had delivered 950,000 gallons to the Three Mile Sluicing area which is depicted in this photograph. Pund was later go into partnership with John Alston Wallace who would become owner of the Star Hotel in Beechworth. The Three Mile sluicing location continued to be operational until 1950. Sluice box workers were a vital part of gold mining regardless of how inefficient they were in the recovery of gold. After using hydraulic sluicing to cut away the earth, miners would use the big wooden boxes depicted in the image to catch the earth which would then be sifted for gold. However, accidents would occur often which would result in the gold washing away and unable to be recovered. It was not a very efficient system because the gold, which was alluvial and thus very fine, would often pass through the sluice box undetected.The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray an open cut sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about sluicing and the methods used to find gold in the late 1800s and early 1900s. It also shows a location where sluicing was undertook which provides insight into the impact of sluicing on the environment at a time when it was done. Images, like this one, of Australian gold rush history can reveal important information about the social and environmental impact of this period. This image depicts diggers standing in a mining location and therefore, this image has the capacity to reveal or support significant information for researchers studying the fashion and social status of diggers in Australia in approximately 1870. It can also provide information on the landscape of Australia in this period and the impact of mining for gold on both society and the Australian landscape. The Burke Museum is home to a substantial collection of Australian mining photographs which can be used to gain a deeper understanding into life on the gold fields, technology used in mining, the miners themselves and the impact of the gold digging on the environment.Sepia toned rectangular photograph printed on matte photographic paper and mounted on board.[illegible] about 1870 / 97 2514.1 / 2594 30three mile goldfields, goldfields, 1870, 1870 gold, australia, australian landscape, miners, gold miners, diggers, gold diggers, beechworth, victoria, sluice box workers, sluicing, sluice, mining

This photograph was taken in 1911 at Three Mile Creek, about five kilometers south of Beechworth town. Significant digging took place at this location from late 1855, which led to a flood of workers and stores to follow, though daily earnings were slim compared to the nearby Woolshed site. This remained the case even after workers at Three Mile Creek attempted to protest around Beechworth during an election in November 1855. Three Mile Creek was one of seven significant divisions of the Beechworth Mining District formalised by the Governor-in-Council in 1858, though by the time this photograph was taken, the boundaries of the original seven districts had shifted to create seventeen divisions. The Three Mile Goldfields was a site of rich alluvial gold deposits located about 5km south of Beechworth in Victoria. Today, the location of this gold deposit is called Baarmutha. It was a popular area for gold mining in the 1850s but became largely abandoned by the following decade. In 1865, a man named John Pund (a man second from the left in the back row of this photograph shares this surname) recognized that the area could be potentially rich if a better water supply could be obtained. He secured a 15 year license with three other miners. Within the next five years, these men had constructed 19 km of water race going from Upper Nine Mile Creek to Three Mile Creek. By 1881, these four men had delivered 950,000 gallons to the Three Mile Sluicing area which is depicted in this photograph. Pund would later go into partnership with John Alston Wallace who would become owner of the Star Hotel in Beechworth. The Three Mile sluicing location continued to be operational until 1950. The eleven miners in this photograph are: Back row: Led Guthrie, P. Pund, F. Beel, [Unknown] Miller Front row: Paddy McNamara, J. King, W. Beel, [Unknown] Garland, J. Clarke, J. Ryan, H. Bartsh In the background of the photograph is a huge dirt wall that appears to suffer damage caused by hydraulic sluicing. Hydraulic sluicing is a specialised mining technique that involves directing high pressure water flows at dirt to uncover gold. The technique played a significant role in shaping Beechworth's landscape during the gold rush to create the topography seen today.The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray an open cut sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about sluicing and the methods used to find gold in the late 1800s and early 1900s. It also shows a location where sluicing was undertook which provides insight into the impact of sluicing on the environment at a time when it was done. Images, like this one, of Australian gold rush history can reveal important information about the social and environmental impact of this period. This image depicts diggers standing in a mining location and therefore, this image has the capacity to reveal or support significant information for researchers studying the fashion and social status of diggers in Australia in approximately 1911. It can also provide information on the landscape of Australia in this period and the impact of mining for gold on both society and the Australian landscape. The Burke Museum is home to a substantial collection of Australian mining photographs which can be used to gain a deeper understanding into life on the gold fields, technology used in mining, the miners themselves and the impact of the gold digging on the environment.Black and white / sepia rectangular reproduced photograph printed on glossy photographic paper mounted on board.beechworth, beechworth museum, mining, mining team, three mile creek, sluicing, hydraulic sluicing, photography, gold sluicing, gold mining, pund mining

The photograph appears to depict the of the entrance to the Rocky Mountain Tunnel. The Rocky Mountain Tunnel runs from opening of the tunnel, underneath the Beechworth town, to the Gorge. This tunnel drained the excess water from the upper Spring Creek Goldfield to allow for mining access in the area. The Rocky Mountain Co. blasted through the granite rock to create the original 400ft-long tunnel in 1859, but between 1867 and 1871, the Rocky Mountain Gold Sluicing Co. widened and extended it. At its completion, it measured 14ft deep, 6ft wide, and almost half a mile long. The mining surveyor at Beechworth called it 'without doubt, the greatest undertaking of the kind in the colony'. When the company became the Rocky Mountain Extended Gold Sluicing Co. in the mid-1870s, they continued the tunnelling work. The work was reportedly vital to mining being able to continue at Beechworth and may have established world records in tunnelling through hard rock. The entrance at the Gorge side of the tunnel can be seen from the Beechworth Gorge Walk. The tunnel continues to be an outfall drain for the lake and the town.The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray an open cut sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about sluicing and the methods used to find gold in the late 1800s and early 1900s. It also shows a location where sluicing was undertook which provides insight into the impact of sluicing on the environment at a time when it was done. The Burke Museum is home to a substantial collection of Australian mining photographs which can be used to gain a deeper understanding into life on the gold fields, technology used in mining, the miners themselves and the impact of the gold digging on the environment.A black and white rectangular reproduced photograph printed on matte photographic paper.7814beechworth, beechworth museum, burke museum, australian museum, mining, rocky mountain mining co., rocky mountain mining company, mine, mining company, rocky mountain mine, mine entrance, rocky mountain, gold, gold mining

The Dusky Woodswallow is often found in flocks which can be located in two separate populations. The Eastern population if located in Atherton Tableland in Queensland south to Tasmania and west to Eyre Peninsula in South Australia. The other population is found in south-west Western Australia. They reside in open forests and woodlands. This species is surprisingly aggressive and may fight with other Woodswallows for territory and nest sights. They will even chase raptors away from their homes. This species flies in flocks of around 10 to 30 birds which cluster together. In terms of diet, these birds eat insects and nectar from flowers. 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.The Dusky Woodswallow has largely deep brown colouring with some areas of grey on the head, neck and chest. There is a deeper brown colouring between the wings on the back of the specimen and the wings are black. This bird has a small curved bill which is grey and white. The legs are dark grey and the bird has long talons with an extra long toe in the centre. The eyes are made of brown glass with a back pupil. The bird is styalised standing on a wooden mount and has a paper identification tag attached to its right leg.[torn] / 9 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, swallow, woodswallow, dusky woodswallow

The Powerful owl is native to south-eastern and eastern Australia and is the largest owl on the continent. It is found in coastal areas and in the Great Dividing Range rarely more than 200 km (120 mi) inland. An apex predator in its narrow distribution, the Powerful owl is often an opportunist like most predators, but generally hunts arboreal mammals, in particular small to medium-sized marsupials. It is a typically territorial raptorial bird that maintains a large home range and has long intervals between egg-laying and hatching of clutches. Unlike most raptorial birds, male Powerful owls are larger and stronger than females and so the male takes the dominant position in the mating pair, which extends to food distribution. This example of a Powerful Owl show lighter brown coloured feathers and slight discolouration. The Powerful Owl has darker colourings and whiter feathers in real life. This example also show discolouration in the feet and they are brighter yellow in colour in real life. 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 centuryThis Powerful Owl has medium brown to dark grey-brown above, with white barring, and off-white front. The glass eyes are yellow, set in a dark grey/brown facial mask. The legs are feathered with yellow feet and talons. The specimen stands upon a wooden platform and has no identification tags attached. Swing-tag: n/a Metal tag: n/a Mount: no markings taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, owl, powerful owl

The Powerful owl is native to south-eastern and eastern Australia and is the largest owl on the continent. It is found in coastal areas and in the Great Dividing Range rarely more than 200 km (120 mi) inland. An apex predator in its narrow distribution, the Powerful owl is often an opportunist like most predators, but generally hunts arboreal mammals, in particular small to medium-sized marsupials. It is a typically territorial raptorial bird that maintains a large home range and has long intervals between egg-laying and hatching of clutches. Unlike most raptorial birds, male Powerful owls are larger and stronger than females and so the male takes the dominant position in the mating pair, which extends to food distribution. This example of a Powerful Owl show lighter brown coloured feathers and slight discolouration. The Powerful Owl has darker colourings and whiter feathers in real life. This example also show discolouration in the feet and they are brighter yellow in colour in real life. 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 Powerful Owl has medium brown to dark grey-brown on its wings and back, lighter patterning on its chest lightening with white barring, and off-white front. The eyes are yellow, set in a dark grey/brown facial mask. The legs are feathered with yellow/browning feet and talons. The specimen stands upon a wooden platform and has no identification tags attached. Swing-tag: n/a Metal tag: n/a Mount: wooden with no markings.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, owl, powerful owl

This photograph is recorded as having been taken in the North East Victoria Regional Tourist Authority, Wangaratta and depicts an exhibition display of items and interpretative labels associated with the Kelly Gang. The display was reportedly laid out as part of a Vic Tour Stamp, with items from the Burke Museum Collection.This photograph is of social significance due to its connection with the Burke Museum as well as the Kelly Gang. The Kelly Gang story is integral to the formation of the Australian identity and highlights the Irish oppression during the 1880s. Ned Kelly is an Australian icon, mythologised in Australian literature, art, folklore and history, and the Kelly Gang permeates Australia's national consciousness. The significance of the Burke Museum is also highlighted here, as the photograph shows the importance of the Kelly story to the Beechworth area and local identity, as well as its significance within the museum collection. The photograph is of strong research potential due to its depiction of the Kelly Gang history in Australia and its presentation of a historical museum exhibition which toured from Beechworth to other Victorian locations. With a depiction of the exhibition and associated label, the photograph provides insight into how the language and historical interpretation of Kelly Gang has developed, and how cultural and social opinions which are often shaped by exhibition displays, have shifted. Black and white rectangular photograph printed on matte photographic paper.Obverse: Gold Cradle / History / Claim 1835 / The north east is rich in history. It was the home of Ned Kelly, the 'Man from Snowy River' and (???) dog Mogan. Century old buildings are common and (???)nders of the gold rush days are everywhere / V. R. / £8000 Reward / Robbery and Murder / (indeterminate) Reverse: The historical display laid out in VICTOUR / 1997 3135 / North East Victoria/ Regional Tourist Authority/ P.O. Box 250/ Wangaratta. 3577 /BMMA03324burke museum, ned kelly, kelly gang, museum collection, exhibition, display, gallery, museum, exhibit

This particular specimen was recovered from two hundred feet down in the Golden Mile in Kalgoorlie, Western Australia. The Golden Mile, named after the estimated sixty million ounces of gold worth around one hundred billion dollars, was the birthplace of the largest gold rush in Australia almost one hundred and thirty years ago when William Brookman and Samuel Pearce leased the Great Boulder mine. The Golden Mile is also the home of the Super Pit, Australia's most well-known mine.The majority of gold deposits will form as a native metal, however, on occasion, it can form a compound with another element, in this case, sulphur. Therefore, this specimen is a rare example of gold naturally forming into a compound mineral with sulphur. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A small gold-sulphide ore mineral specimen in shades of silver and grey with flecks of gold. Precious metals are often found in Sulphide Ores, as sulphides usually bind to these metals. They are also extremely symmetrical in crystaline form. Gold-Sulphide Ore occurs when gold forms a natural compound with other elements. In this form, gold can be present in one of two ways. It can be fully immersed in the sulphide, or a portion may be partially free. This specimen has minimal gold visible, with only a few flecks being partially visible.burke museum, beechworth, indigo shire, beechworth museum, geological, geological specimen, mineralogy, gold-sulphide ore

Coorongite is a dark, rubber-like, highly resilient structureless algal deposit. In the Coorong district of South Australia it occurs in moderate quantities associated with the coastal swamps and sand dunes which extend for a considerable distance east of the mouth of the Murray. This particular specimen was recovered from the south of the Coorong River, South Australia. A type of sediment rich in organic matter, Coorongite is the unlithified end-member of the sapropelic coal series. The members of the sapropelic coal series can be ranked in order as sapropel (the unlithified form), sapropelic-lignite, and sapropelic-coal (the lithified forms) based on increasing carbon content and decreasing volatile content. Sapropel (Coorongite) is an unlithified dark, pulpy, fine organic mud containing concentrations of algae and miospores that are more or less identifiable. Coorongite is typically found as an algae like substance, that can be found in irregular size pieces. Coorongite was believed to be dried up oil due to its rubber-like texture. The Coorongite is also soft to the point where it can be cut into with a knife or it can be broken and torn by hand. Otherwise known as 'Kurangk', the Coorong River is home to the Ngarrindjeri people, which acts as both a place for gathering food and a spiritual place. In 1852 the first sight of Coorongite was found along the Coorong River. The finders mistook the Coorongite for dried up oil, which lead to the belief that there were oil reserves under the Coorong River. Between the 1860s and the 1930s the Coorong River became a place where mining oil and Coorongite became precedent. Nowadays, the local council and the South Australian Government are working together with the Ngarrindjeri people to sustain and preserve the Coorong River and the culture that is with it. Soon after gold was discovered in 1851, Victoria’s Governor La Trobe wrote to the Colonial Office in London, urging ‘the propriety of selecting and appointing as Mineral Surveyor for this Colony a gentleman possessed of the requisite qualifications and acquaintance with geological science and phenomena’. Alfred Selwyn was appointed geological surveyor in Australia in 1852 which began the Geological Survey of Victoria. Selwyn went on to collect geological samples and catalogue thousands of specimens around Australia. In 1853-69 the Geological Survey issued under Selwyn's direction sixty-one geological maps and numerous reports; they were of such high standard that a writer in the Quarterly Journal of the Geological Society of London bracketed the survey with that of the United States of America as the best in the world. During his years spent in Australia, Selwyn collected numerous significant geological specimens, examples of which are held in collections such as the Burke Museum.Coorongite is considered to be a mineral with a unique texture, where it can be both hard and soft. Coorongite can also be considered to be a rare mineral, as it is only located along the Coorong River and due to the mining of it, has left very few sources. It was believed at one point that Coorongite could be used to replace oil. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.Three solid varyingly hand-sized pieces of wooden appearing organic matter derived from the river in the Coorong District in South Australia. A rubber-like, highly resilient structureless algal deposit.Specimen 245 page 69 / in Descriptive Register / "Elcestic Bitumen, / Coorangite" South of / Coorung River, South Australia . / C. WIllman / 15/4/21burke museum, beechwoth, indigo shire, beechworth museum, geological, geological specimen, mineraology, coorong, coorong river, kurangk, ngarrindjeri, south australia, coorongite, coorongite specimen

Mr Maxwell Pemberton was born in Goulburn, NSW in 1923 and moved to Beechworth as a child just before the Great Depression. Mr Pemberton's father was a baker who opened a grocery store in Beechworth to support his seven children. The store, which competed with eight other grocery traders in Beechworth for finite local business, delivered goods by horse and cart to customers all over the district, including the hamlet of Stanley. Mr Pemberton's oral history testifies to the sorts of economic struggles faced by the majority of Beechworth's residents during the depression years. Mr Pemberton worked in many different industries in and around Beechworth, including in his father's grocery store, which he later took over with his brother; the Zwar Tannery, where he served as a union representative; and at the Ovens and Murray Hospital for the Aged, formally the Ovens Benovolent Asylum, established in 1862 for care of the district's destitute, disabled and aged people from Euroa to the Murray, among them, homeless people Mr Pemberton referred to as 'river-bankers'. The hospital's founding in the 1860s was driven by a committee headed by the notable figure, G.B Kerford. Beechworth's institutions were a major source of local employment in the twentieth century. Mr Pemberton joined the Australian Navy during WWII and served at Port Moresby in Papua New Guinea. During his period of service, he received an honorary award from the Royal Humane Society of Australia for aiding and saving a drowning civilian at risk to his own life. Mr Pemberton's oral history also touches on the complex relationship between Australian forces and local Papuan people during the war. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.Mr Maxwell Pemberton's oral history recalls many aspects of life in Beechworth and the Oven's district during the twentieth century and enriches our understanding of the effects of the periods of socio-economic decline and renewal that unfolded as the century progressed. His singular account of his various jobs and colourful memories of life as a youth and young man in Beechworth, and abroad as a serviceman, contributes to our understanding of society's attitudes and expectations regarding ideals of masculinity and Australian national identity. This oral history account is socially and historically significant as it is a part of a broader collection of interviews conducted by Jennifer Williams which were published in the book 'Listen to what they say: voices of twentieth-century Beechworth.' While the township of Beechworth is known for its history as a gold rush town, these accounts provide a unique insight into the day-to-day life of the town's residents during the 20th century, many of which would have been lost if they had not been preserved.This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.Mr Max Pemberton /twentieth century beechworth, benevolent asylums, wwii, beechworth's institutions, local employment, government institutions, listen to what they say, oral history, burke museum, maxwell pemberton, ovens and murray hospital for the aged, zwar tannery, beechworth grocers, australian navy, port morseby, papua new guinea, trade unions, welfare services, homelessness, 'river bankers', aged care, g.b kerford, ovens benevolent asylum, ovens benevolent home

This photograph was taken during the late 1800s at the Chinese camp at Beechworth, Victoria. It was in camps such as these that many would-be gold miners made their home after arriving in Australia from across Asia. After arriving in South Australia where there was no poll-tax required of migrants as was the norm in Victoria and New South Wales, those looking to settle on the gold fields walked en mass overland for hundreds of kilometres before arriving in destinations such as Beechworth. Due to widespread prejudice against Chinese gold diggers they were forced to live separate from the town and developed enclaves much like the one depicted in the photograph. As the years progressed the Chinese camp began to construct more permanent structures and included temples of worship, shops and separate burial grounds. This photograph demonstrates the early multi-cultural aspects of Australia and Victoria during the late 1800s. It also showcases pressures and prejudices specific to the Chinese migrant community and the measures taken to separate them from the rest of the predominantly white community. It also reflects the gold-rush period and one of the first draws to Australia due to its mineral wealth. Black and white rectangular photograph developed on paperObverse: None Reverse: From the/Chinese Camp/84-80-1/1997-3221chinese camp, beechworth, houses, immigrants, gold mining, gold rush, late 1800s, chinese, asia

Beechworth Town Hall was designed by architects J.J. Coe and Thomas Dalziel and is dated to 1859. The building was made of granite and constructed to local builders Donald and William Fiddes. The original front to the building was replaced by a two story facade in 1889 designed by George Jobbins and built by Thomas Sandham according to a plaque on the front. The Town Hall is remarkable for its vaulted ceilings and columns. Originally the building was used as the Shire Offices but also doubled as a fire station and a courthouse, with still surviving cells underneath. Among the inmates was notorious bushranger Harry Power who was originally transported to Van Dieman’s Land for stealing a pair of shoes. He gained his freedom six years later but spent time in and out of gaol for the rest of his life for a variety of offences including a number of armed robberies. The Town Hall is now home to the Visitor Information Centre which helps visitors with amongst other things, accommodation, tours, event enquiries, and is the commencement point for Precinct walking tours. The Beechworth Town Hall is one of five distinctive granite buildings on Ford Street that comprise the Justice Precinct. It is of considerable historical significance as activity on the site dates from Australia’s gold rush period and was the administrative centre for north-eastern Victoria. The building has seen continual use from 1858 as an important public building and displays many aspects of the history of law enforcement in Victoria. The building is also of substantial architectural significance for its construction from local honey coloured granite, which also showcases early stone masonry techniques and craftsmanship. The Precinct is listed on the Victorian Heritage register and is protected by Heritage Victoria under the Victorian Heritage Act 2017. The buildings are also registered by the National Estate, the National Trust and protected by Indigo Shire Council’s Planning Scheme. Black and White rectangular postcard printed on cardReverse: 1906-1910?beechworth, beechworth town hall, town hall, jj coe, thomas dalziel, granite, beechworth historic building, courthouse, cells, geoge jobbins, thomas sandham, 1859, 1889, walking tours, beechworth historic precinct, historic precinct, harry power, bushranger, australian bushrangers, van dieman's land, transportation, armed robberies

The old Bank of New South Wales building is located on the corner of Camp and Ford streets in Beechworth, Victoria. It was constructed between 1856 and 1857 from local honey coloured granite. It was designed by architects Robertson & Hale and is a two-storey rendered brick building and the original coat of arms is still visible. The coat of arms is distinctive and consists of a kangaroo, emu, lion, and rising sun. The rear of the building was surrounded by high granite walls for security as it was the original home for the local gold office. Beechworth Honey currently offers tourist accommodation in the Hive Apartment located in the former Bank of New South Wales Managers residence.The Bank of New South Wales building in Beechworth is significant for its location in one of Australia's most prominent goldfield towns. Of particular interest is the use of distinctive local Beechworth honey coloured granite in its construction. The building’s architecture is a simple, conservative classical style known as Renaissance Revival. It is one of the few known surviving works of the architects Robertson and Hale. The decorative composition above the main entrance and the counter in the banking chamber are of special interest.Black and white rectangular photograph printed on cardAHold bank of new south wales, bank of new south wales building, beechworth bank of new south wales, bank of nsw, beechworth 1850s, robertson and hale, architects robertson and hale, rendered brick, coat of arms, granite walls, local honey coloured granite, gold office, 1856, 1857, beechworth, beechworth honey, hive apartment, manager's residence, renaissance revival

This glass slide presents an image of the Old Beechworth Post Office and was taken in the year 1900. The building displayed within the image is not that of the post office in its original form; the post office originally consisted of only a simple wooden building. With the establishment and growth of new towns across Victoria, as well as an increased need for more consistent communications with the City of Melbourne, this modest building was soon deemed inadequate. In 1858 it was brought into the style of the changing times, with the tall clock tower added in 1865. This transition aligned with a pattern of refurbishment and conversion of many Beechworth buildings (which could be seen during the 1860s-70s), aiding in the growth and prosperity of the town. Early makeshift homes were turned into more substantial dwellings, featuring elements such as weatherboard, brick, and granites materials, and gabled or hipped roofs with iron lacework fringing the verandah. These refurbishments were temporarily halted in March of 1867 when a fire swept through the town, damaging many buildings including the post office. This led to further reconstructions on the building, including heightening of the clock tower, and in 1870 the two-storey Italianate style building was completed. The Old Beechworth Post Office itself also holds significance due to its connection with one of Australia's most infamous families. It reportedly played an important role in communicating the news of the 1880 murders of police at Stringybark Creek by the Kelly Gang. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques. This glass slide captures social and historical significance as it displays the Old Beechworth Post Office in 1900, a building that demonstrates the prosperity and growth of Beechworth as a town during this time period. This slide also holds a level of aesthetic significance due to the Italianate style building that is featured in its image; a style that became very popular during the nineteenth-century. Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metal strips to secure the edges of the slide.Obverse: x / burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, beechworth post office, beechworth post office kelly gang, 1900, 1900 beechworth, growth of beechworth, 1867 beechworth fire, old beechworth post office, beechworth post office reconstructions, italianate style, italianate style buildings, italianate style beechworth post office

Specific historical and contextual information pertaining to this object is unknown. There are no hallmarks or documentation to indicate provenance or historical significance. This coin purse appears to have a covering made of mother of pearl. Evidence of interest from over 20,000 years ago mark Aboriginal groups in Australia as some of the first people to value the power and beauty of pearlshell, while evidence of Australian pearlshell being taken across the sea to other countries dates back as early as the 1500s. The 1850s-60s saw the beginnings of the Australian pearling industry. Following the popularisation of plastic for items such as buttons the pearlshell market waned in the mid-twentieth century but was soon after began to re-forge in Australia with a new industry of cultured pearl farms. Most of Australian's pearling industry was initially located in Western Australia and off the Torres Strait Islands. The Australian War Memorial notes on their website that many tokens made from mother of pearl were sent home to loved ones throughout World Wars One and Two from the Middle East, England, the South West Pacific, Australia and elsewhere, but that unfortunately provenance such as the manufacture and sale of many of these items is not recorded.The social history objects held in the Burke Museum's collection help to tell the stories of Beechworth's past by showing the social, cultural, and economic aspects of the town's history.A small rectangular purse with silver edging and half clasp, covered in white and cream coloured shell (mother of pearl?)A01154burke museum, social history, accessories, mother of pearl, nacre, australian industry

James Dawson (1806-1900), pastoralist, friend to First Nations people, environmentalist, patron of the Arts and author of "Australian Aborigines" (1881). Dawson came from Bonnytoun, near Linlithgow, Scotland and arrived in Melbourne with his wife, Joan Alexander Park, on 2 May 1840. They made their first home in the colony farming in Port Phillip, near Anderson's Creek on the Yarra River, where their daughter, Isabella was born in 1842, then from 1844, moved to 'Kangatong' station on the Moyne River, east of Macarthur. In 1866 the Dawsons left the Port Fairy district and lived in various residences in Melbourne. By 1868 the family had settled in Camperdown at 'Wuurong', on the banks of Lake Bullen Merri. Unlike most people at the time, Dawson and his daughter shared a deep interest in, and respect for First Nations people. In 1876 James Dawson was appointed local Guardian of the Aborigines in the Camperdown district. He was a prolific letter writer and an early advocate for indigenous rights and was dedicated to exposing injustice and the maltreatment of First Nations people. He had befriended Wombeetch Puyuun (Camperdown George) who was the last of the local Djargurd Wurrung living on Country when he died in February 1883. In 1885 James Dawson erected the Wombeetch Puyuun Monument at Camperdown Cemetery in his memory. His friend's remains were reburied at the foot of the obelisk and the two dates, 1840-1883, mark the 43 years it took for European settlement to displace the Djargurd Wurrung from the Camperdown District.Sepia photograph of an elderly James Dawson taken in Scotland. Front: T. Rodger St. ANDREWS N.B. Back: THOMAS RODGER Photographer ST. ANDREWS ETABLISHED 1849cdhs, isabella dawson, camperdown cemetery, djargurdwurrung, cdhsfirstnations

James Dawson (1806-1900), pastoralist, friend to First Nations people, environmentalist, patron of the Arts and author of "Australian Aborigines" (1881). Dawson came from Bonnytoun, near Linlithgow, Scotland and arrived in Melbourne with his wife, Joan Alexander Park, on 2 May 1840. They made their first home in the colony farming in Port Phillip, near Anderson's Creek on the Yarra River, where their daughter, Isabella was born in 1842, then from 1844, moved to 'Kangatong' station on the Moyne River, east of Macarthur. In 1866 the Dawsons left the Port Fairy district and lived in various residences in Melbourne. By 1868 the family had settled in Camperdown at 'Wuurong', on the banks of Lake Bullen Merri. Unlike most people at the time, Dawson and his daughter shared a deep interest in, and respect for First Nations people. In 1876 James Dawson was appointed local Guardian of the Aborigines in the Camperdown district. He was a prolific letter writer and an early advocate for indigenous rights and was dedicated to exposing injustice and the maltreatment of First Nations people. He had befriended Wombeetch Puyuun (Camperdown George) who was the last of the local Djargurd Wurrung living on Country when he died in February 1883. In 1885 James Dawson erected the Wombeetch Puyuun Monument at Camperdown Cemetery in his memory. His friend's remains were reburied at the foot of the obelisk and the two dates, 1840-1883, mark the 43 years it took for European settlement to displace the Djargurd Wurrung from the Camperdown District.The James Dawson Scrapbookcdhs, isabella dawson, camperdown cemetery, djargurdwurrung, cdhsfirstnations

James Dawson (1806-1900), pastoralist, friend to First Nations people, environmentalist, patron of the Arts and author of "Australian Aborigines" (1881). He married Joan Alexander Park in 1877. Joan was the niece of the famous African explorer, Mungo Park. James Dawson came from Bonnytoun, near Linlithgow, Scotland and arrived in Melbourne with his wife on 2 May 1840. They made their first home in the colony farming in Port Phillip, near Anderson's Creek on the Yarra River, where their daughter, Isabella was born in 1842, then from 1844, moved to 'Kangatong' station on the Moyne River, east of Macarthur. In 1866 the Dawsons left the Port Fairy district and lived in various residences in Melbourne. By 1868 the family had settled in Camperdown at 'Wuurong', on the banks of Lake Bullen Merri. Unlike most people at the time, the Dawson's shared a deep interest in, and respect for First Nations people. In 1876 James Dawson was appointed local Guardian of the Aborigines in the Camperdown district. He was a prolific letter writer and an early advocate for indigenous rights and was dedicated to exposing injustice and the maltreatment of First Nations people. He had befriended Wombeetch Puyuun (Camperdown George) who was the last of the local Djargurd Wurrung living on Country when he died in February 1883. In 1885 James Dawson erected the Wombeetch Puyuun Monument at Camperdown Cemetery in his memory. His friend's remains were reburied at the foot of the obelisk and the two dates, 1840-1883, mark the 43 years it took for European settlement to displace the Djargurd Wurrung from the Camperdown District.Studio portrait of James and Joan Dawson taken in Australia. cdhs, isabella dawson, camperdown cemetery, djargurdwurrung, cdhsfirstnations

James Dawson (1806-1900), pastoralist, friend to First Nations people, environmentalist, patron of the Arts and author of "Australian Aborigines" (1881). Dawson came from Bonnytoun, near Linlithgow, Scotland and arrived in Melbourne with his wife, Joan Alexander Park, on 2 May 1840. They made their first home in the colony farming in Port Phillip, near Anderson's Creek on the Yarra River, where their daughter, Isabella was born in 1842, then from 1844, moved to 'Kangatong' station on the Moyne River, east of Macarthur. In 1866 the Dawsons left the Port Fairy district and lived in various residences in Melbourne. By 1868 the family had settled in Camperdown at 'Wuurong', on the banks of Lake Bullen Merri. Unlike most people at the time, Dawson and his daughter shared a deep interest in, and respect for First Nations people. In 1876 James Dawson was appointed local Guardian of the Aborigines in the Camperdown district. He was a prolific letter writer and an early advocate for indigenous rights and was dedicated to exposing injustice and the maltreatment of First Nations people. He had befriended Wombeetch Puyuun (Camperdown George) who was the last of the local Djargurd Wurrung living on Country when he died in February 1883. In 1885 James Dawson erected the Wombeetch Puyuun Monument at Camperdown Cemetery in his memory. His friend's remains were reburied at the foot of the obelisk and the two dates, 1840-1883, mark the 43 years it took for European settlement to displace the Djargurd Wurrung from the Camperdown District.Side portrait of an elderly James Dawson. cdhs, isabella dawson, camperdown cemetery, djargurdwurrung, cdhsfirstnations

This flag was used by St Joseph's School, Orbost at assemblies. St Joseph's Catholic School in Orbost was planned from 1913 when the town's population was increasing rapidly. It wasn't until 1923 that the school was built in Raymond Street next to St Colman's Church. Fifty-five students were initially enrolled and taught in two rooms. When the numbers increased to 170 work began on extensions which were completed in 1959. St Joseph's school had classes to Form 4 at one stage. Later on Form 2 was the highest level. However, after Nagle College at Bairnsdale built a new school on the Lindenow Road site, a Nagle College school bus ran from Orbost and the school was reduced to Grade 6. It was also about this time that the last of the St Joseph teaching nuns left Orbost. From 1969 to the early 1980s the secondary St Joseph students attended Orbost High School for the practical subjects of Woodwork and Home Economics. Today enrolments reflect the declining population of the district. This item is an example of an item used in an Orbost school in the second half of 20th century.A cloth Australian National Flag which has a blue background. The Union Jack is in the upper left corner. Below the Union Jack is a white Commonwealth Star. The Southern Cross is shown on the right hand side of the flag in white. There is a white rope and two metal clips inserted into the left hand pocket/seam.Inside a diamond is N.V. BRAND. Geo. PICKERS Co. P/L CANVASflag-australian st-joseph's-school-orbost heraldry

The folder has been made especially for this collection of articles .The label is from a box of limited edition signed watercolour drawings by ROSSER, Celia. THE BANKSIAS OF VICTORIA. Six Watercolour Drawings. Born Celia Elizabeth Prince in 1930, Celia Rosser began painting Australian wildflowers early in her artistic career. She first began painting Banksias after seeing a Banksia serrata near her home in Orbost, Victoria. She lived in Orbost in the 1960's( her husband had been posted to Orbost High School) where she painted and drew native flowers , in particular, banksias. Her first exhibition was at Leveson Gallery in Melbourne in 1965, and included three watercolours of Banksia species. Two years later she published Wildflowers of Victoria.Celia Elizabeth Rosser (born 1930) is a renowned Australian botanical illustrator, best known for having published The Banksias, a three-volume series of monographs containing watercolour paintings of every Banksia species. She began painting Australian wildflowers early in her artistic career. She first began painting Banksias after seeing a Banksia serrata near her home in Orbost, Victoria.A collection of newspaper and magazines articles pertaining to Celia Rosser. There are six newspaper and magazine articles inside a a folder labelled "The Banksias of Victoria Six Watercolour Drawings by Celia Rosser". The articles are from The Australian Women's Weekly, The Sun, The Sunday Herald and The Herald Sun.

This is an example of a container commonly used in homes in the early to mid 20th century. A large brown glass vinegar bottle. It has a long neck and is textured glass with a smooth rectangle on the front for labelling. It possibly had a cork top seal.on front - in rectangle "VINEGAR" on base - AGM and logo F317 M/container bottle-vinegar agm

Many Australian children went to school with ETA Peanut Butter on their sandwiches. These bottles are distinctively patterned and embossed with the ETA BRAND.This container was a common food container found in Australian homes in the mid 20th century.A small, cylindrical moulded bottle with a screw thread top.ETA inside a peanut shape. on base - This jar always remains the property of NUT FOODS LIMITED 936bottle-glass food-container