Photo shows, (L-R): Luke Bayley; Ray Henderson; Chris Robinson; Ann Henderson; Lesley Finedon, assessing successful stream side rehabilitation at Bev DeJong and Bob Dunnett's place during a paddock demonstration and tree planting field day, called 'Really Successful Tree Planting!' run by Wooragee Landcare on Sunday 20th June 2004. Maintaining and reforesting native trees, shrubs and grasses are really important for a variety of reasons, including creating native habitat and food for birds and other animals, shade, biodiversity, visual appeal, cooling, shade for urban areas, sequestering carbon and conservation among other considerations. The planting must be consistent with the particular needs of the environment, such as trees or shrubs which would naturally occur and are native to the area. Tree planting demonstrations such as this one run by the Landcare Group ensures that the projects are being managed consistently with an overarching commitment to land protection and management and the best methods for best outcomes are employed.This photograph is significant as it provides evidence of a project undertaken by the Wooragee Landcare Group to educate themselves and members of the public on successful techniques needed to plant and maintain trees for replanting in the Wooragee area. The Wooragee Landcare Group has been instrumental in the co-ordination of programs relating to biodiversity protection in the local area, providing great assistance to landholders.Landscape coloured photograph printed on gloss paper.Reverse: WAN NA 0ANA2N0 NNN-1 1636/ [PRINTED] (No.23)/936/wooragee landcare, wooragee landcare group, beechworth, landcare group, wooragee, tree planting, successful tree planting, demonstration, paddock demonstration, tree planting field day, really successful tree planting, land protection and management, land management, native trees, conservation

This photograph was taken on the 20th June 2004 as part of an event called "Successful Tree Planting!", organised by the Wooragee Landcare Group. It was addressed to all local residents and landholders in the area and involved practical demonstration of techniques suitable for successful planting of native trees and shrubs, as well as information about weed control. In the photograph are illustrated from left to right the following people: Chris Robinson; Tony Prowse; unknown child; Lesley Finedon; Ann Henderson, unknown. Revegetation can improve the condition of remnant vegetation in the area and provide habitat for local animals. Correct species selection, including all layers of vegetation, along with proper weather conditions and adequate site preparation, can maximise the successful outcome. Weed-free conditions and protection from rabbits and kangaroos are two more factors contributing to a quick plant growth. Wooragee Landcare, since its establishment in 1998, has organised a series of events and activities in order to promote weed and pest control, provide assistance and knowledge to landholders and ensure sustainability and protection of natural vegetation.The photograph is an example of the type of events and activities organised by Wooragee Landcare to educate and inform local residents and landholders on the most suitable techniques for successful planting of native trees and shrubs. Wooragee Landcare, abiding by its mission statement, promotes best land management strategies and ensures sustainability through collaboration with local community and council agencies.Landscape coloured photograph printed on gloss paper. Reverse: WAN NA 0ANA0N0 BN1+ 1 1636/ [PRINTED] (No.21)/935/successful tree planting, wooragee landcare group, 20th june 2004, successful planting, native trees and shrubs, weed control, revegetation, remnant vegetation, habitat, local animals, species selection, weather conditions, site preparation, weed-free, rabbits, kangaroos, plant growth, 1998, sustainability, natural vegetation

This photograph was taken on Friday the 27th of August 2004 as part of an event called 'Direct Seeding Expo'. This event was one of many held by the Wooragee Landcare Group in the early 2000s which aimed to educate the local community on certain agricultural and biodiversity conservative techniques. This particular event took place across three different locations - Wooragee Hall, and direct seeded sites at the properties of Marcus and Lisa O'Connor, and Neil and Anne Nankervis - and, therefore, the exact location where this photograph was taken is unknown. Three different direct seeding techniques were demonstrated during the day by several experts in the field. Direct seeding involves the sowing of seeds directly into the soil to achieve germination and establishment. It is an alternative to planting seedlings in a contained nursery plot. This direct method is intended to mimic a more natural process of growth, revegetating larger areas in a more efficient manner. This photograph is significant as it provides evidence of a project undertaken by the Wooragee Landcare Group in the early 2000s to educate members of the public on alternative and potentially more efficient methods of planting seedlings. The Wooragee Landcare Group has been instrumental in the co-ordination of programs relating to biodiversity protection in the local area, providing great assistance to landholders.Landscape coloured photograph printed on gloss paperReverse: WAN NA EOWA2N2 ANN- 1 4240 / neil and anne nankervis, marcus and lisa o'connor, wooragee hall, wooragee landcare, wooragee landcare group, direct seeding expo, direct seeding, seeds, revegetation, alternative planting

This photograph was taken on Friday the 27th of August 2004 as part of an event called 'Direct Seeding Expo'. This event was one of many held by the Wooragee Landcare Group in the early 2000s which aimed to educate the local community on certain agricultural and biodiversity conservative techniques. This particular event took place at the property of Lisa and Marcus O'Connor in Wooragee. This photograph shows farmer and Greening Australia Project Officer James Scholfield giving a demonstration on the Hamilton Tree Seeder (a soil ripper). This machine is used to loosen tough, compact soil in order to prepare it for the planting of seedlings. This photograph is significant as it provides evidence of a project undertaken by the Wooragee Landcare Group in the early 2000s to educate members of the public on alternative and potentially more efficient methods of planting seedlings. The Wooragee Landcare Group has been instrumental in the co-ordination of programs relating to biodiversity protection in the local area, providing great assistance to landholders.Landscape coloured photograph printed on gloss paperReverse: WAN NA EONA2N2. NNN 0 4240 / lisa and marcus o'connor, direct seeding expo, direct seeding, seedlings, seeding methods, wooragee landcare group, wooragee, james scholfield, greening australia project, hamilton tree seeder, soil ripper, ripper

This photograph was taken on Friday the 27th of August 2004 as part of an event called 'Direct Seeding Expo'. This event was one of many held by the Wooragee Landcare Group in the early 2000s which aimed to educate the local community on certain agricultural and biodiversity conservative techniques. This particular photograph shows attendees at the property of Neil and Anne Nankervis, inspecting sites where direct seeding had been used ten months earlier. Three different direct seeding techniques were demonstrated during the day by several experts in the field. Direct seeding involves the sowing of seeds directly into the soil to achieve germination and establishment. It is an alternative to planting seedlings in a contained nursery plot. This direct method is intended to mimic a more natural process of growth, revegetating larger areas in a more efficient manner.This photograph is significant as it provides evidence of a project undertaken by the Wooragee Landcare Group in the early 2000s to educate members of the public on alternative and potentially more efficient methods of planting seedlings. The Wooragee Landcare Group has been instrumental in the co-ordination of programs relating to biodiversity protection in the local area, providing great assistance to landholders.Landscape coloured photograph printed on gloss paperReverse: WAN NA EONA2N2. ANN+ 1 4240 / neil and anne nankervis, wooragee, wooragee landcare group, wooragee landcare, direct seeding expo, direct seeding, seeding, seedlings, direct seeding sites, alternative seeding, alternative seeding method

This photograph was taken on the 27th of August 2004 as a part of the Direct Seeding Expo held at Wooragee Hall. The event aimed to educate attendees about the methods and benefits of direct seeding. Direct seeding is a technique used to sow seeds into the ground to achieve germination and establishment so that crops can grow. The photo shows attendees of the event gathered around James Scholfield (who is not pictured) as he discusses and demonstrates methods of direct seeding like mouldboard ploughing and hand broadcasting a mixture of seed and river sand. James Scholfield has been a farmer and Greening Australia Project Officer for over 8 years and has significant experience with direct seeding, which is why he was chosen to attend this event in Wooragee. Two people have been identified in this photograph. Marcus O'Connor (left) is the property owner the workshop was held on and Robin Warner (third from the left) was the then president of Wooragee Landcare Group.This photograph exemplifies the educational events Wooragee Landcare Group hosted in order to inform the public about new methods or techniques about seed sowing that they did not already know. The photo holds significance to the people of Wooragee and the surrounding localities due to the informative nature of these events which may have aided them when working in their own farms or properties.Landscape coloured photograph printed on gloss paperReverse: WAN NA E0NA2N2 NNN+ 3 4240 / [PRINTED] (No.12) / 365wooragee, wooragee hall, wooragee landcare, wooragee landcare group, direct seeding, germination, seeds, james scholfield, crops, ploughing, mouldboard ploughing, hand broadcasting, greening australia project

This photograph was taken at Tatong Tavern, Victoria on Sunday the 5th of September as part of a day trip by the Wooragee Landcare Group. The event was about looking at land use on small farms and as a social get-together for the Group. Wooragee was also researching how small landholders could run some enterprises around the time of the trip. This photograph includes Jo Luisi, Bob Bennet, Christine Stewart, and Julius Holt. Tatong Tavern was built in the 1880's as Tatong Hotel or 'Pub' hotel for Mr. William Worrall. The original hotel was destroyed in 1923 by a fire, but was rebuilt for Mr. M. C. Clarke. The building is a representation of the changing society, as it changes as its uses and visitors change. The photograph shows the beer garden, which has been added more recently. The Tavern has a bar, restaurant, and accommodation area. Wooragee Landcare Group was created in 1988. Its core mission is to work towards eradicating animals and pests from the land to protect the natural vegetation and promote revegetation projects.This photograph is a great example of the type of events that Wooragee Landcare Group has organized, while educating the public about the importance of land use management. It showcases the social aspect of the Group, as well as the historic Tatong Tavern. Landscape colored photograph printed on gloss paper. Reverse: WAN NA E0NA2N2. NNN+ 1 4240/ [PRINTED] (No. 22) / 375wooragee, wooragee landcare group, wooragee landcare's collection, land use, social, tatong tavern, tatong hotel, tatong pub

This photograph was taken at Tatong Tavern, Victoria on Sunday the 5th of September as part of a day trip by the Wooragee Landcare Group. The event was about looking at land use on small farms and as a social get-together for the Group. Wooragee was also researching how small landholders could run some enterprises around the time of the trip. This photograph includes Christine Stewart, Julius Holt, Graeme Missen, Peter Finedon, and Sue Brunskill. Tatong Tavern was built in the 1880's as Tatong Hotel or 'Pub' hotel for Mr. William Worrall. The original hotel was destroyed in 1923 by a fire, but was rebuilt for Mr. M. C. Clarke. The building is a representation of the changing society, as it changes as its uses and visitors change. The photograph shows the beer garden, which has been added more recently. The Tavern has a bar, restaurant, and accommodation area. Wooragee Landcare Group was created in 1988. Its core mission is to work towards eradicating animals and pests from the land to protect the natural vegetation and promote revegetation projects.This photograph is a great example of the type of events that Wooragee Landcare Group has organized, while educating the public about the importance of land use management. It showcases the social aspect of the Group, as well as the historic Tatong Tavern.Landscape colored photograph printed on gloss paper. Reverse: WAN NA E0NA2N2. NNN+ 2 4240 / [PRINTED] (No. 23) / 376wooragee, wooragee landcare group, wooragee landcare's collection, land use, social, tatong tavern, tatong hotel, tatong pub

Wooragee Landcare was formed in 1989 to promote sustainable conservation and land-use practices in the North-East region of Victoria. The organisation's work has included public awareness and education campaigns to control invasive, introduced species and protect native wildlife, such as campaigns to replant native plant species to improve soil integrity and restore habitat for flora and fauna. The organisation has drawn on the work of a variety of Government and academic experts to ensure best practice approaches are utilised. This photograph was taken at Riverview Farm, Victoria on Sunday the 5th of September as part of a day trip by the Wooragee Landcare Group. The event was about looking at land use on small farms and as a social get-together for the Group. Wooragee was also researching how small landholders could run some enterprises around the time of the trip. This photograph is a great example of the type of events that Wooragee Landcare Group has organized, while educating the public about the importance of land use management.Landscape colour photograph printed on gloss paper. Reverse: WAN NA E0NA2N2. NNN+ 4 4240/ [PRINTED] (No. 24) / 377wooragee, wooragee landcare group, wooragee landcare's collection, land use, social, riverview farm, animals, pests, indigo shire, tatong, samaria, north-east victoria

Since 1964, the Animal Nursery has been a popular attraction at the Melbourne Royal Show, allowing visitors to get up close to farm animals.Colour photograph, landscape, printed on glossy paper.pigs, animal nursery, piglet, pig

Animal NurseryColour photograph, landscape, printed on glossy paper.children, kids at show, animal nursery

After a quiet period, interest in bookplates in Australia began to increase in the early 1970s, Entrepreneurial art and book collectors such as Edwin Jewell and others commissioned multiple Bookplate designs from a range of well known fine artists. At a 1997 meeting in Melbourne of the Ephemera Society of Australia Edwin Jewell and others announced the formation of the Australian Bookplate Society. The society was instrumental in promoting the art of the bookplate through establishment of the Australian Bookplate Design competition. Silhouette of man sitting beneath tree in a landscape.Signed D Fraser in pencil lower right beneath image.landscape, woodengraving, ex libris, bookplate, austra, australian bookplate design awards 2020

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: BEECHWORTH / VIC. / MARCUSE Reverse: BEECHWORTH NOSTALGIA / BW – 03 (on masking tape) 003 (pencil) ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: Opposite Crown Hotel / Tanswell Hotel / BEECHWORTH / (on tape) Reverse: BEECHWORTH NOSTALGIA / BW – 05 (on masking tape) 004 (pencil) ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: Marcuse / Beechworth Old Courthouse / Reverse: B4 / BEECHWORTH OLD COURTHOUSE / BW - 09 (on masking tape) COURTHOUSE / BEECHWORTH / VICTORIA / NATIONAL TRUST / CLASS (A) ERNEST MARCUSE / 17 CADDOCK AVE / CAUFIELD / VIC / 53-7374 001 (pencil) ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: Marcuse 74 / Courthouse / Visitor Ned Kelly . B'worth Reverse: BEECHWORTH / COURTHOUSE / B5 / 06 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: MARCUSE / B.worth (in pen) Reverse: BEECHWORTH NOSTALGIA / BW – 01 (crossed out) / B2 / CORNER CAMP + FORD STREET / (on masking tape) 001 (pencil) ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

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

This photograph shows the Champion Poll Hereford Bull at the 1969 Royal Melbourne Show. The animal is exhibit 536, Springfield Hiawatha, exhibited by S, K & C Hawkins. The people in the photograph are Thea Manson and Terry Ryan, who was stud-groom at Springfield Poll Herefords in Finley NSW.This item is a part of a larger collection of 4,500 Frank Johnson photographs and negatives donated to Melbourne Royal by Frank Johnson’s daughter, Francis Beatty Wallace in 2016. This collection spanning from the 1930s to the 1980s holds important social and historical significance in preserving and sharing Victoria’s agricultural history and community. The photographs capture the local, regional, and state’s shared relationships developed through agriculture and the importance of farming and husbandry to the population and development of Australia. A large proportion of these photographs depict events from the Royal Melbourne Show, including livestock competitions, exhibitions and awards ceremonies. Dating back to 1848 when the society first began, the Royal Melbourne Show has held a special place in the hearts and minds of Victorians, allowing for extensive showcasing and celebration of agricultural excellence, bridging the divide between metropolitan and rural Victoria.A black and white, landscape photograph printed on card.royal melbourne show, manson, thea manson, ryan, terry ryan, springfield poll hereford, poll hereford, hereford, cattle, beef cattle, bull, livestock, blue ribbon competition, beef cattle competition, agricultural show, champion, grand champion, grand champion bull, winners, 1969 royal melbourne show

The photo depicts men dressed in formal suits and in bowler hats walking out the front of the Beechworth Court House. Beechworth became known as the legal headquarters of north-east Victoria after the establishment of the Circuit Court in 1857. This was later known as the Court of Assize and dealt with cases surpassing the reach of the General Sessions and County Courts. The Court House was built a year after for these proceedings and was extended in 1865. As the image is undated the year is not known, however it can be assumed it was taken after 1857 as the Court House is pictured.The photograph holds historic significance as it contributes to an understanding of the legal systems in Beechworth at that time. Specifically, the popularity of the Court House as a large number of people are pictured in the photo, which may represent the frequent use or interest in a signifiant trial that may have occurred at the place.Black and white landscape photograph printed on paper.beechworth courthouse, court house, beechworth, bowler hats, trial, legal, law, court, proceedings, circuit court, court of assize, assize, county courts, general sessions

Black and white photo: landscape view of Biesmes.person, robert denis kelly, world war 1, france, biesmes

This photograph depicts fox behaviour specialist Camille Veselsky demonstrating the use of a fox bait trap at an event conducted as part of an awareness campaign highlighting damage done to farm and domestic animals and native wildlife in April 2004. Camille Veselsky is a specialist in fox behaviour who worked for the Hume Rural lands Protection Board on pest animal control for 27 years. This date is suggested by the photograph's position in the 2004-2005 Wooragee Landcare Group Coordinator's Report folder. A note accompanying the item suggests an alternative date of February 2004, however. This event raised awareness about the impacts of foxes in rural areas and provided practical training in techniques to control their populations. Flyers contained in the parent folder suggest that baiting may have been agreed as a method of fox control as the event depicted was followed by a two week baiting campaign a fortnight later. Pictured in the photograph are Helmut Wiemann, Ursula Wiemann, Camille Veselsky and two other people (unknown). A note accompanying the items suggests the photograph may have been entered by Karen Bowley or Maree Missen. In the folder, an printed label accompanying the photograph states: 'A marker to identify the bait station will not deter the fox.' Regional areas like Wooragee are susceptible to fox attacks due to the availability of food such as rubbish, scraps, native wildlife and livestock. Foxes can have a huge impact on native wildlife and domestic life as they are known to chew through irrigation systems, dig-up and defecate in gardens, raid rubbish bins and harass other domestic animals. Ground-dwelling native species are particularly susceptible to predation by foxes, which when combined with loss of habitat can endanger these species. Affected species include Speckled Warblers, Plovers, Diamond Firetails, Spotted Quail-Thrushes, Turquoise Parrots, Dunnarts, Bandicoots, Phascogales, skinks, geckos and legless lizards. This photograph is significant as an example of awareness raising and threat control programs undertaken by Wooragee Landcare Group in the 2000s in Indigo Shire.Landscape coloured photograph printed on gloss paper. Reverse: 26 / [HANDWRITTEN] WAN NA 0ANA2N0 0 8743 / [PRINTED] (No. 14) / 260 / wooragee, wooragee landcare, indigo shire, north-east victoria, conservation, pest control, fox, foxes, vermin, baiting, trapping, camille veselsky, hume rural lands protection board, 2004, speckled warbler, plovers, diamond firetails, turquoise parrots, dunnarts, bandicoots, phascogales, skinks, geckos, legless lizards, chickens, ducks, guinea-pigs

This photograph was taken at Wooragee Hall on Wednesday the 28th of April 2004 called 'Queries about Quolls' and shows a Quoll Presentation by Andrew Murray at Mt Pilot, Chiltern Mt Pilot National Park. The photograph shows (L - R) Jerry Alexander, Unknown, Unknown, Mary Prowse, Tony Prowse. The event was hosted by the Wooragee Landcare Group and was led by Andrew Murray (of Parks Victoria), President of the South-East Forest Spotted-tailed Quoll Working Group and one of Victoria's leading authorities in quolls. As the name of the event would suggest, this session provided attendees with insight and general information on quolls, including the characteristics of quolls, the habitat of quolls and the techniques that can be used when searching for quolls which was part of a wider project aimed at protecting the endangered species of the tiger quoll, also known as the spotted-tailed quoll, an animal that once inhabited Mount Pilot-Chiltern National Park. This particular photo shows a group of attendees looking at a typical quoll nesting site in a rock crevice. According to an article included in the Wooragee Landcare group coordinators annual report 2004 and 2005 album (record 00001), Andrew Murray had been tasked to train a team of Department of Sustainability and Environment staff and volunteers from the local area (Beechworth and Wooragee) in the detection skills needed to establish whether the tiger quoll still inhabited the Mount Pilot-Chiltern National Park and had survived after a bush fire in 2003 had burned through the area where they would normally have been found. The Tiger Quoll is the largest of the quoll species. Largely resembling a cross between a possum and a cat, the quoll is distinctive due to the white spots that are often found all over its brown fur.This photograph is significant as it provides evidence of a project undertaken by the Wooragee Landcare Group to educate themselves and members of the public on the tiger quoll in the early 2000s in an attempt to better understand and protect the species. The Wooragee Landcare Group has been instrumental in the co-ordination of programs relating to biodiversity protection in the local area, providing great assistance to landholders.Landscape coloured photograph printed on gloss paperReverse: WAN NA 0ANA2N0 AN2 0 1636 / [PRINTED] (No.4) / 918wooragee, wooragee hall, wooragee landcare, wooragee landcare group, quoll, spotted-tailed quoll, tiger quoll, queries about quolls, south east forest spotted-tailed quoll working group, andrew murray quolls, mount pilot chiltern national park, quoll species, endangered quoll, andrew murray, beechworth, landcare group, mount pilot

This photograph was taken at Samaria Farm on Sunday the 5th of September as part of a day trip by the Wooragee Landcare Group. The event was about looking at land use on small farms and as a social get-together for the Group. Wooragee Landcare was also researching how small landholders could run some enterprises around the time of this trip. Samaria Farm is located in northeast Victoria, near Mount Samaria, which is located 130 km northeast of Melbourne. Samaria Farm was owned by Sue and Due Matheson at the time of the trip and had a renowned rose garden, pigs, poultry, alpacas, and goats on their nine-hectare farm. The rose garden consists of 3000 damask roses. Samaria Farm distils the oil from these roses and is the only farm in Australia to do this. Rose oil has historically been used for religious and medical use. 20 kg of rose buds are picked by hand every day, which is then distilled and produced 5 to 8 ml of oil. The entire four-week season produces 80 to 100 ml of oil. Rose water is also created during this process and produces about 300 litres per season. Along with the oil, the Farm also harvests lemons, lime, olives, and oranges. The Farm is currently owned by Utako and Anthony since 2022, with Vicki and Allan Wight being the previous owners. Wooragee Landcare Group was created in 1988. Its core mission is to work towards eradicating animals and pests from the land to protect the natural vegetation and promote revegetation projects. This photograph is a great example of the type of events that Wooragee Landcare Group has organized, while educating the public about the importance of land use management. The group is important to the community and for the environment.Landscape coloured photograph printed on gloss paperReverse: WAN NA E0NA2N2. NNN+ 2 4240/ [PRINTED] (No. 18) / 371samaria farm, wooragee, wooragee landcare group, wooragee landcare's collection, samaria, small farm, land use, social, rose oil, damask roses, pests

This photograph was taken at Samaria Farm on Sunday the 5th of September as part of a day trip by the Wooragee Landcare Group. The event was about looking at land use on small farms and as a social get-together for the Group. Wooragee Landcare was also researching how small landholders could run some enterprises around the time of this trip. Samaria Farm is located in northeast Victoria, near Mount Samaria, which is located 130 km northeast of Melbourne. Samaria Farm was owned by Sue and Due Matheson at the time of the trip and had a renowned rose garden, pigs, poultry, alpacas, and goats on their nine-hectare farm. The rose garden consists of 3000 damask roses. Samaria Farm distils the oil from these roses and is the only farm in Australia to do this. Rose oil has historically been used for religious and medical use. 20 kg of rose buds are picked by hand every day, which is then distilled and produced 5 to 8 ml of oil. The entire four-week season produces 80 to 100 ml of oil. Rose water is also created during this process and produces about 300 litres per season. Along with the oil, the Farm also harvests lemons, lime, olives, and oranges. The Farm is currently owned by Utako and Anthony since 2022, with Vicki and Allan Wight being the previous owners. Wooragee Landcare Group was created in 1988. Its core mission is to work towards eradicating animals and pests from the land to protect the natural vegetation and promote revegetation projects. This photograph is a great example of the type of events that Wooragee Landcare Group has organized, while educating the public about the importance of land use management. The group is important to the community and for the environment. Landscape colored photograph printed on gloss paperReverse: WAN NA E0NA2N2. ANN+ 1 4240/ [PRINTED] (No. 19) / 372samaria farm, wooragee landcare group, wooragee, victoria, mount samaria, farming, roses, rose oil, damask roses, agriculture, pests, vegetation

Photo shows (L-R) Bob Dunnett; Tony Prowse; Mary Prowse; Ray Henderson; unknown; Lesley Finedon; unknown; unknown assessing successful stream side rehabilitation at Bev DeJong and Bob Dunnett's place during a paddock demonstration and tree planting field day, called 'Really Successful Tree Planting!' run by Wooragee Landcare on Sunday 20th June 2004. Maintaining and reforesting native trees, shrubs and grasses are really important for a variety of reasons, including creating native habitat and food for birds and other animals, shade, biodiversity, visual appeal, cooling, shade for urban areas, sequestering carbon and conservation among other considerations. The planting must be consistent with the particular needs of the environment, such as trees or shrubs which would naturally occur and are native to the area. Tree planting demonstrations such as this one run by the Landcare Group ensures that the projects are being managed consistently with an overarching commitment to land protection and management and the best methods for best outcomes are employed. This photograph is significant as it provides evidence of a project undertaken by the Wooragee Landcare Group to educate themselves and members of the public on successful techniques needed to plant and maintain trees for replanting in the Wooragee area. The Wooragee Landcare Group has been instrumental in the co-ordination of programs relating to biodiversity protection in the local area, providing great assistance to landholders.Landscape coloured photograph printed on gloss paperReverse: WAN NA 0ANA2N0 NNN+ 1 1636 / [PRINTED] (No.19) / 933wooragee landcare, wooragee landcare group, beechworth, landcare group, wooragee, tree planting, successful tree planting, demonstration, paddock demonstration, tree planting field day, really successful tree planting, land protection and management, land management, native trees, conservation

Photo of streamside planting and rehabilitation at Bev DeJong and Bob Dunnett's place during a paddock demonstration and tree planting field day, called 'Really Successful Tree Planting!' run by Wooragee Landcare on Sunday 20th June 2004. Maintaining and reforesting native trees, shrubs and grasses are really important for a variety of reasons, including creating native habitat and food for birds and other animals, shade, biodiversity, visual appeal, cooling, shade for urban areas, sequestering carbon and conservation among other considerations. The planting must be consistent with the particular needs of the environment, such as trees or shrubs which would naturally occur and are native to the area. Tree planting demonstrations such as this one run by the Landcare Group ensures that the projects are being managed consistently with an overarching commitment to land protection and management and the best methods for best outcomes are employed.This photograph is significant as it provides evidence of a project undertaken by the Wooragee Landcare Group to educate themselves and members of the public on successful techniques needed to plant and maintain trees for replanting in the Wooragee area. The Wooragee Landcare Group has been instrumental in the co-ordination of programs relating to biodiversity protection in the local area, providing great assistance to landholders.Landscape coloured photograph printed on gloss paperReverse: WAN NA 0ANA2N0 AN1 0 1636 / [PRINTED] (No.25) / 938wooragee landcare, wooragee landcare group, beechworth, landcare group, wooragee, tree planting, successful tree planting, demonstration, paddock demonstration, tree planting field day, really successful tree planting, land protection and management, land management, native trees, conservation, streamside, streamside planting

This photograph was taken at Wooragee Hall on the Friday 27th February, 2004 as part of an event called Foxy Night Out. This event was about sharing awareness about the impacts of foxes in rural areas and discussing methods to control their populations. There were two mains speakers at this event, the first; Camille Veselsky, a specialist in fox behaviour who worked for the Hume Rural lands Protection Board on pest animal control, and the second; Leanne Wheaton, a nature conservationist. Pictured in this photograph (left -right): Mary Prowse, Leanne Wheaton, Tony Prowse, Ray Henderson. Leanne Wheaton holds a portable electric fence, that is useful in preventing fox attacks on wildlife, including Bush Stone-Curlew nests Regional areas like Wooragee are susceptible to fox attacks due to the availability of food such as rubbish, scraps, native wildlife and livestock. Foxes can have a huge impact on native wildlife and domestic life as they are known to chew through irrigation systems, dig-up and defecate in gardens, raid rubbish bins and harass other domestic animals.This photo is a record of the events that Wooragee Landcare organises in order to raise awareness and educate about environmental conservation issues in the area. It shows practical solutions that have been considered in fox controlLandscape coloured photograph printed on gloss paperReverse: WAN NA 0A2A0N0 NNN+ 1 6329 / [PRINTED] (No.6A) / 497 wooragee, wooragee hall, wooragee landcare, wooragee landcare group, fox, foxy, foxy night out, leanne wheaton, mary prowse, tony prowse, ray henderson, wheaton, prowse, henderson, electric fence, portable electric fence, landcare workshop, fox control project

This photograph was taken at Wooragee Hall on the Friday 27th February, 2004 as part of an event called Foxy Night Out. This event was about sharing awareness about the impacts of foxes in rural areas and discussing methods to control their populations. There were two mains speakers at this event, the first; Camille Veselsky, a specialist in fox behaviour who worked for the Hume Rural lands Protection Board on pest animal control, and the second; Leanne Wheaton, a nature conservationist. Pictured in this photograph is Camille Veselsky giving his presentation. Regional areas like Wooragee are susceptible to fox attacks due to the availability of food such as rubbish, scraps, native wildlife and livestock. Foxes can have a huge impact on native wildlife and domestic life as they are known to chew through irrigation systems, dig-up and defecate in gardens, raid rubbish bins and harass other domestic animals.This photo is a record of the events that Wooragee Landcare organises in order to raise awareness and educate about environmental conservation issues in the area. It shows practical solutions that have been considered in fox controlLandscape coloured photograph printed on gloss paperReverse: WAN NA 0A2A0N0 NNN+ 1 6329 / [PRINTED] (No.6A) / 495 Camille Veselsky / Foxy Night out / 27/2/04foxy night out, wooragee hall, wooragee landcare group, wooragee landcare's collection, camille veselsky

This photograph was taken at an event called Spotlight on Fox on 3rd April 2004. This event was a practical demonstration of methods landowners could use to help control the fox population. Camille Veselsky, a specialist in fox behaviour who worked for the Hume Rural lands Protection Board on pest animal control, was the presenter and demonstrator. He is pictured here kneeling Regional areas like Wooragee are susceptible to fox attacks due to the availability of food such as rubbish, scraps, native wildlife and livestock. Foxes can have a huge impact on native wildlife and domestic life as they are known to chew through irrigation systems, dig-up and defecate in gardens, raid rubbish bins and harass other domestic animals.This photo is a record of the events that Wooragee Landcare organises in order to educate and provide practical demonstrations to mitigate environmental conservation issues in the area. It shows practical solutions that have been considered in fox controlLandscape coloured photograph printed on gloss paperReverse: WAN NA 0A2A0N0 NNN+ 1 8743 / [PRINTED] (No.7) / 253spotlight on fox, camille veselsky, wooragee, wooragee landcare, wooragee landcare group, fox