Robin Boyd was an invited speaker at the 1967 New Zealand Institute of Architects Conference held in Queenstown, New Zealand. From New Zealand, he travelled on to Montreal, Canada, where he was Exhibits Architect for the Australian Pavilion at Expo ‘67. Colour slide in a mount. Student Union, University of Canterbury, Ilam Campus, New Zealand, 1967. (Architects: Warren & Mahoney.)Made in Australia / 10 / APR 67M7 / Encircled 7 (Handwritten)new zealand, slide

Colour slide in a mount. Street Scene, Chapel Street. Prahran, Vctoria, Australia. Sydney Hall opened Hall's book store at 262 Chapel Street in 1920.Made in Australia / 10 / JUN 67M6 / Encircled 6 (Handwritten)melbourne, slide

Robin Boyd travelled to the USA and Britain for several weeks. He attended the opening of the new Australian Chancery in Washington DC, where he had designed an innovative exhibition with cylindrical display cases and sound recordings.Colour slide in a mount. Ford Foundation (1963-7), New York, New York, USA . (Architects: Kevin Roche and John Dinkeloo.)Made in Australia / 10 / JUL 69M2 / Encircled 19 (Handwritten)new york, slide

Robin Boyd has written 'Australiana' on the slide mount (item S1081) at the same location. Robin Boyd was always on the lookout for signage and blots on the landscape, especially when writing and illustrating his 1960 book, “The Australian Ugliness”.Colour slide in a mount. Flats, AustraliaMade in Australia / 15 / AUG 65M / Encircled 10 (Handwritten)melbourne, slide

In 1964, Robin and Patricia Boyd spent several weeks on a world tour. Robin Boyd took a leading role at the International Design Conference in Aspen. The event was held in tent designed by Eero Saarinen. Aspen Colorado, USA. Robin and Patricia Boyd also visited Chicago, Yale University, and New York’s World Fair, and then travelled on to England, Finland (especially to see Tapiola), Russia and India to see Le Corbusier's Chandigarh, and also Hong Kong and Thailand.Colour slide in a mount. Robin and Patricia Boyd's accomodation at the International Design Conference in Aspen, Colorado, USA, 1964. Made in USA / US PAT No. 3013354 / 10 / JUN 64Wcolorado, slide, robin boyd

In 1964, Robin and Patricia Boyd spent several weeks on a world tour - Boyd took a leading role at the International Design Conference in Aspen and he also visited Chicago, Yale University, and New York’s World Fair. The Boyds then travelled on to England, Finland (especially to see Tapiola), Russia and India to see Le Corbusier's Chandigarh, and also Hong Kong and Thailand.Colour slide in a mount. Peabody Terrace, Cambridge, Massachusetts, USA, 1965. (Architect: Josep Lluis Sert.)Made in Australia / 10 / AUG 64M / Encircled 22 (Handwritten)usa, slide

B&W photograph.Annotated on back with [23 Nov 1980, 10:45 am].

The donor stated that the machine is about 100years old.Metal food cutter with rotary blade and handle. Base has lower shaft with screw to attach to table.Sterling Slicer No.10 NRS&Co Rochester New Yorkdomestic items, food preparation

Cut down brass shell case of a 4.5 inch shell. Inert fuse still in place. Height 5.5 Width 17cm Mo 3. No 17 Mk2 ANMF. Lot 10 MF

Numerous markings on side, B.20 BMY-10-67second world war (ww2), 1939 - 1945, weapons, ballarat rsl, ballarat

Beatrice Myra Louise Wilson (Myra) married Edward John Price in 1930. According to John Lundy-Clarke Myra was the daughter of the man who rebuilt the Mt Dandenong State School in 1920, separating the school building from the school house.Black and white studio portrait of a young girl standing with her hands inside a fur muff. Handwritten inscription on reverse by John Lundy-Clarke Myra Wilson aged 10. Mrs E. John Price.myra wilson, myra price, edward john price, mt dandenong school

Navy WHS student work planner with gold text and WHS logoWANGARATTA HIGH SCHOOL 9-10 WORK PLANNER 2001

35mm slide, square format mounted in a "Kodak " cardboard slide mount with Kodak logos and printing of the SEC Inspector Group and Les Denmead in front of the depot shortly before the closure of the tramway system. Underexposed photo. In back: L. Wellard and Dave Kellett, front from left, Les Denmead, Theo Dunstan and Arthur Maxwell. Standing in front of No. 33. See also Reg Item 1861 for a black and white photo. Taken 23/8/1971 - the last Sunday of full operations? For details of Theo Dunstan, see worksheet file for Reg. Item 3231. Has date of "Sep 71" and "10" stamped onto the slide.tramways, trams, crews, ballarat, sec crews, personnel, staff photo, inspectors

The land, the settlers, and the social institutions which found or altered the character of the small settlement of Colac, Victoria, and its district.Year of hope: 1857 in the Colac district. Dawn Peel. 1st ed. Colac (Vic); Dawn Peel; 2006. x, 212 p.; illus, bibliography. Soft cover. ISBN 0 646 46270 9For Irene - a fellow historian. Dawn Peel. 6/10/06.1857; dawn peel; land; politics; aborigines; religion; history; social institutions;

Twenty eight page black and white pattern book showing graphics and text. Front and back cover show graphics in tones of red and pink. Front cover shows knitted objects and back cover shows knitted children’s toys. front: [printed] Patons / KNITTING BOOK / NO. 252 / 10 ½ d.wool, craft, knitting, patterns, patons and baldwins (australia) ltd, rabbit, bunny

The Keith Wingrove Trust conducts a competition among Australian artists, graphic designers and students for the production of Ex Libris Bookplates. The competition is called The Australian Bookplate Design Award. The purpose of the competition is to increase interest in and to attract publicity to the artistic value of bookplates. Although the competition is referred to as 'Australian' there is a category of award open to International artists. This bookplate was entered in the 2001 Australian Bookplate Design Awards.Graphic Print bookplate for fibre artist, Giselle Penn, who loves textures and brilliant colour. The design was made with the colours and patterns to portray Giselle Penn's art making and to show the theme of textiles or fabrics. Signed below artwork '9/10 Sharon Tompkins 2001'bookplate, sharon tomkins, textiles, australian bookplate design award, keith wingrove memorial trust

An article from the Bulletin including the text an address by Legatee Kem Kemsley at a Legacy event on 27 September 1983. He discusses the beginnings of Legacy. He relates the approach made to Sir John Monash to be the first president. It was via Legatee Frank Meldrum who was playing tennis with Monash's son-in-law. It shows the nature of relations between high ranking ex servicemen. Monash suggested Colonel Harold Cohen. Initially Legacy was founded with 'one person from each profession or business who will represent that profession until such time as the Club has established itself on a wider basis.' For example there were 'two solicitors - Downing and Armstrong, Meldrum as dentist, George Worboys as plumber, Dr Gardener as the eye specialist, Doolan and Goodchild as Surveyors, Fred Wickham of the Premier's department who was regarded as very important, Baker from Myer's Emporium, Joynt from the printing world and Blackett the architect.' He also mentions a Police Strike and General Monash set up a special constabulary force. Cohen, Kemsley and many of the early legatees answered the call to help keep peace. By December 1923 there were 54 members of the new Legacy club. The name was under consideration as the Tasmanian club was called Remembrance Club. Pip Powell nominated the name of Legacy to be submitted for consideration, but it was Frank Selleck who moved the formal resolution. By the end of 1924 initial objectives were met. A picnic with widows and children was held at Heidelberg and then Beaumaris, (limited by the few legatees who had motorcars at the time). Following thoses successes Frank Doolan posed the question 'what does Legacy really mean?' and focus changed toward widows and children. Legatee Savige had a property at Balnarring and the first camps were started. For boys there was a Lacrosse team and football team. Also swimming classes and literary and debating classes, which were hoped to be interesting and develop their minds along the proper form of citizenship. Then classes for the widows and later the girls. The article was part of an album of past presidents from 1965 to 1989. The folder included biographical details and obituaries, eulogies and death notices of prominent Legatees. The items have been catalogued separately.A record of a speech made by Legatee Kem Kemsley a past president of Legacy about events in the early days of Legacy. The information was collected to record the lives of prominent legatees in a folder.Photocopy of 3 pages from Bulletin on an address by Legatee Kem Kemsley in 1983.Bulletin No. VAW 1209. 6.10.1983. Page No 8, 9 and 10.past presidents, speech, kem kemsley, history, police strike

Colour print of a former Melbourne Z class tram No. 80, at the Drayton Railway station of Down Steam. Has the name "Drayton Diner" on the side.On rear in ink "MMTB Z Tram Drayton 6/10"trams, tramways, z class, preserved trams, tram 80

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: ERNEST MARCUSE / YACKANDANDAH / Reverse: Y 10 / 016 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Document. Green book with red binding and white label on the front. Hand written. Wages & supply purchasing ledger from 26/11/1940 to 30/10/49. Pages 1 - 89. Pages 350 - 357 contain inventory for the mine. Pages 90 - 349 unused.McColl, Rankin & Stanistreetorganization, business, nell gwynne reef mine, mccoll, rankin & stanistreet, nell gwynne reef gmc, gold mining, inventory, purchasing ledger