The Springthorpe Memorial is the most important monument in the Boroondara General cemetery. It commemorates Annie Constance Springthorpe (nee Inglis), the wife of Dr. John Springthorpe (1867-1897). Following his wife’s death, Dr john Springthorpe worked with John Longstaff to produce a book, entitled ‘In Memoriam’ for his personal collection, for his children and for immediate family members. Designed by Longstaff, it contained poems, photographs, drawings and idealised memories of Annie and their life together. This is one of two copies of In Memoriam in the collection of the Kew Historical Society. It is believed to be one of eight copies held in public collections. Copies catalogued on Trove include one at the State Library of Victoria and another at the University of Melbourne. As such these two copies are historically, aesthetically, and spiritually significant with the added factor of their rarity. ‘In Memoriam: Annie Constance Springthorpe’ (Verses in memory of Annie Constance Springthorpe), compiled by John William Springthorpe and illustrated by J. Longstaff : 28 p. : ill., ports. ; 26 x 32 cm. non-fictionInscribed on frontispiece to the Misses Moore.john longstaff, annie springthorpe, springthorpe memorial, boriondara general cemetery, john springthorpe

The Springthorpe Memorial is the most important monument in the Boroondara General cemetery. It commemorates Annie Constance Springthorpe (nee Inglis), the wife of Dr. John Springthorpe (1867-1897). Following his wife’s death, Dr john Springthorpe worked with John Longstaff to produce a book, entitled ‘In Memoriam’ for his personal collection, for his children and for immediate family members. Designed by Longstaff, it contained poems, photographs, drawings and idealised memories of Annie and their life together.This is one of two copies of In Memoriam in the collection of the Kew Historical Society. It is believed to be one of eight copies held in public collections.‘In Memoriam: Annie Constance Springthorpe’ (Verses in memory of Annie Constance Springthorpe), compiled by John William Springthorpe and illustrated by J. Longstaff : 14 p. : ill., ports. ; 26 x 32 cm.Presentation copy: Name scratched outdr. john springthorpe, springthorpe memorial, john longstaff, annie springthorpe, boroondara cemetery, kew cemetary, crypt

Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Sydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.Preliminary ink sketch on paper of architectural features by the artist Joy Stewart. Unsigned. c.1978architectural features, joy stewart 1925-2018, drawings

Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Sydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.Two preliminary sketches of the terrace houses at 7 and 9 Doona Avenue, Kew. See 1980.0024 for a more complete monochrome drawing. Signed: "JStewart".joy stewart, doona avenue (kew)

Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Sydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.Preliminary sketch of 'Roberts House' [Trinity Grammar School] by the artist Joy Stewart. Inscription: "Roberts House". Another ink drawing by the artist of Roberts House is 1980.0037. A finished watercolour is 1980.0018. Signed by the artist: "JStewart".roberts house (trinity grammar school), joy stewart

Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Sydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.Pencil, pen and ink drawing of Victorian buildings that comprise Trinity Grammar School - Merritt House, Roberts House and Roxeth House by the artist Joy Stewart. c.1978Inscription: Trinity Grammar School". Unsigned.joy stewart, roxeth house, roberts house, merritt house, trinity grammar school

Norma Bull in a window of 'Medlow', 1920s Her brother (Ronald) Richard was a keen photographer and is believed to have taken the photographs of the family and in the grounds of 'Medlow'. Norma Catherine Bull (7 September 1906 – September 1980) was an Australian painter, printmaker and etcher best known for the paintings and sketches she made in Britain during World War II. Norma was the daughter of Richard Joseph Bull (1874-1927) and Catherine Grace Perrier (1884-1972). Her father was the Director of Bacteriology at Melbourne University. Richard and Catherine had 2 children. Norma was born in Hawthorn in 1906 and her brother Ronald Richard was born in Surrey Hills in 1912, where in 1911 Richard bought a property at 42 Warrigal Road, Surrey Hills developed by Colonel William Cairncross, known as ‘Willcyrus’ and renamed ‘Medlow’ by the Bulls. As a child, Norma was a high achiever both intellectually and artistically. She was educated at Fintona, where she matriculated as Dux of the School and winner of an exhibition in French. She won a scholarship to attend the University of Melbourne where she studied French, Zoology, Philosophy, English and History, leading to a Bachelor of Arts in 1929. Following this she studied painting and drawing at the National Gallery Art School for seven years. Whilst most of the students of the 1930s were inspired by Modernism, Norma followed more traditional styles and became known for her etchings and realistic depiction of urban scenes. Her work was strongly influenced by the conservative nature of the National Gallery Art School under Bernard Hall, and she remained a traditionalist all her life. In 1938, she was awarded the Sir John Longstaff Scholarship in Fine Art. This enabled her to travel to England to study at the Royal Academy in London. She arrived in April 1939 and after the outbreak of war, she worked as a volunteer at a First Aid Clearing Station and applied to become a war artist. In 1941, she was given a sketching permit by the War Artists Advisory Committee to record bomb damage in the Bristol area. In 1947, an exhibition of her 205 wartime works entitled “Two Hemispheres”, opened at Australia House in London. Many were acquired for major collections in England including the Victoria and Albert Museum, the Imperial War Museum and the Royal Collection. The “Two Hemispheres” exhibition toured Australia in 1948 and for over twelve months she followed Wirth’s Circus around the country, painting aspects of circus life. From then on she lived at Medlow’, From 1960 she was secretary of the Fellowship of Australian Artists. She was a finalist in the Archibald Prize on 2 occasions and is remembered through a biennial Art Prize, ‘The Norma Bull Portraiture Scholarship’ which is administered by The Victorian Artist’s Society. She continued to paint landscapes and seascapes in her traditionalist style. She had holiday homes at Anglesea and Bright. After she died in September 1980, 31 of her works were bequeathed to Bright Art Gallery. A black and white photograph of a lady holding a sun umbrella and sitting in a window frame.miss norma bull, medlow, house names, warrigal road, surrey hills, mr ronald richard bull

Christian Den Besten was Born 1972. Through art Christian interprets his community - the current affairs, infrastructure, and people that affect his everyday life. He is a prolific artist and often works with an accumulation of small components in creating his artworks. Christian is an artist living with an intellectual disability. He takes pleasure in drawing the beautiful buildings that dot Geelong’s cityscape. He exhibits and sells his work regularly.Denny’s Lascelles building Geelong by Christian Den Besten, 2019.

xxi, 283 p. : ill., facsims., map, ports. ; 23 cm. Includes index and bibliographical references: p. 264-273.non-fiction'I'm your half-brother and I'm here to stay. This is my home.' With these words Wilmot Abraham sought refuge with his white relations. 'Did you ever read your history?': Mrs. Mary Clarke remembers p. 1 'An old hand': Jim Cain p. 12 'I'm your half-brother, and I'm here to stay': Wilmot Abraham p. 36 The Three Pompeys The Written Record p. 48 Banjo Clarke's Stories p. 62 'Why did they take them away?': Lizzie and Henry McCrae p. 74 In Defence of Framlingham: Collin Hood p. 79 Double Dispossession: King David p. 107 James Dawson's Informants p. 137 'Why are we kept prisoners here?': Ernest and Maggie Mobourne p. 148 'The old ones, they wouldn't tell us nothing': Mrs. Connie Hart's memories p. 181 'Breaking the cycle is the hard thing to do': Geoff Rose, a stolen child p. 200 Epilogue: James Dawson, Camperdown George and the Obelisk p. 220 The Hood Family p. 238 The Mobourne Letters p. 241 Abbreviations p. 252 Notes p. 252 Bibliography p. 264 Index p. 274 western district (vic.) -- colonization., aboriginal australians -- victoria -- western district -- history., aboriginal australians -- victoria -- western district -- interviews, race relations - racial discrimination., child welfare - child / parent separation - stolen generations., history - biographies - indigenous., book

Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sansom who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is a regular finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize, and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An academic portrait of Federation University Australia Vice Chancellor Helen Bartlett.academic portrait, helen bartlett, graeme drendel, portrait, vice chancellor, academic regalia

Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sansom who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. As a prolific user of sketchbooks Graeme Drendel records close observations, which often inform his paintings. Graeme Drendel is a regular finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize, and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. This work is one of a substantial body of limited edition prints donated by the artist to Federation University in 2022 covering work from Graeme Drendel's earliest years as a student, through to more recent etchings. A etching of a woman with hair braids.graeme drendel, printmaking

Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sanson who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. As a prolific user of sketchbooks Graeme Drendel records close observations, which often inform his paintings. Graeme Drendel is a regular finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize, and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. This work is one of a substantial body of limited edition prints donated by the artist to Federation University in 2022 covering work from Graeme Drendel's earliest years as a student, through to more recent etchings. A etching of two men carrying a mattress.graeme drendel, printmaking, mattress

Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sanson who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. As a prolific user of sketchbooks Graeme Drendel records close observations, which often inform his paintings. Graeme Drendel is a regular finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize, and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. This work is one of a substantial body of limited edition prints donated by the artist to Federation University in 2022 covering work from Graeme Drendel's earliest years as a student, through to more recent etchings. An etching of a pool and surrounding objects such as chairs and towels. This work was completed during Graeme Drendel's final year at Melbourne State College where he was studying Secondary Art and Craft Teaching and majoring in Printmaking.graeme drendel, printmaking

Primarily a promotional publication to attract new residents and encourage tourism to the district. This publication espouses the many attractions and benefits of life in Bendigo while not relying heavily on its gold rush past. 'In the restful atmosphere of a provincial city Bendigo's 40,000 inhabitants are contented and friendly, ever ready to make a newcomer at home'. Booklet promoting the climate, character and industries of the City of Bendigo and surrounding districts. Includes black and white and colour photographs, drawings, and text describing various facets of life in regional Victoria. Publication art work and design are particularly striking. councillor alec craig, city of greater bendigo tourism, mayor w cambridge, cambridge press, making a nation exhibition

Ill, p.526.fictionMarian and her sister Laura live a quiet life under their uncle's guardianship until Laura's marriage to Sir Percival Glyde. Sir Percival is a man of many secrets. Hence, Marian and the girls' drawing master, Walter, have to turn detective in order to work out what is going on, and to protect Laura from a fatal plotengland - fiction, detective fiction

The Marion Boothby Ward in the 'MDNS After Care Home' opened in 1930 and was named in honour of Mrs Noel (Marion) Boothby, Life Governor and generous supporter of the Melbourne District Nursing Society who passed away in 1929. The photograph portrays a Trained nurse (Sister) holding a young child viewing the newly completed mural by Miss Jessie Traill. Two young children in a cane wicker trolley look on.Miss Jessie Traill 29/7/1881 - 15/5/1967 is today considered one of Australia's most remarkable printmakers. She studied painting and drawing at the National Gallery of Victoria. She spent over 3 years as a VAD nurse based in Rouen, France during World War 1. https://nga.gov.au/Traill/Chronology2.cfm The Melbourne District Nursing The Society (MDNS) were pioneers in recognizing the need for premises where patients too ill to be in their own home, but not ill enough to go to hospital, was needed. The MDNS had purchased its first premises, 'Floriston' at 39 Victoria Parade, Collingwood in 1914 and were able to purchase land next to No. 39, where the Society built the After-Care Home, it became No. 45 Victoria Parade, for these patients, and for patients from Hospitals. It was opened in July 1926 and the name of the Society then became ‘Melbourne District Nursing Society and After-Care Home’ (‘Hospital’ from 1934), Many children were nursed there, some long term during the Polio epidemic and two School Teachers were employed. The Society now ran two divisions, the After-Care with its own Sisters and nurses, and the District division which only employed Sisters. Black and white digital image of a Trained nurse (Sister) and 3 children in the Marion Boothby Ward in the Melbourne District Nursing Society After Care Home. The photograph portrays a Sister in her white uniform and white veil over her short curled hair. She is holding a young boy who has short dark hair, in her arms. He has a blanket around him. They are viewing the newly completed mural on the wall by Miss Jessie Traill. Two young girls, one with dark straight hair and the other with lighter coloured curled hair are sitting up together in a cane wicker trolley look up at the mural. The mural depicts flowers and children.melbourne district nursing society, after-care home, mdns, mrs noel (marion) boothby, miss jessie traill

A grey children's book with the title Ben Froggatt; or Little Lonesome printed in gold lettering on the front cover surrounded by black illustrations of plants, a highly patterned wide diagonal stripe with a circle at the bottom right showing inside it a boy looking at another boy lying on the ground. The back cover has a large black drawing of a plant. The spine has the title in gold at the top. There are some full page black and white illustrations and a list at the back of suggested books to read and give for Presentations. Some damage to pages and tanning. 151p.fictionA story about two young orphaned boys who have to make their way in the world. They have strong religious teachings from their grandmother and after she dies they struggle to survive. Through various hardships the main character Ben manages to make something of his simple life, marries a girl he adores and eventually is reunited with his long lost brother who has mended his ways.children's fiction, religious fiction

Green Hills School was the first school in the Wodonga area. Before the school could open and a teacher commence duties, the Government had to be assured that a minimum of 20 children would be attending. The school was built of round timber, slab walls, bark roof, dirt floor and shuttered windows. The school opened in 1850 and closed in 1870. This sketch, completed by Jim Parker, a Life Member of Wodonga & District Historical Society, was included on a commemorative plaque as part of the Wodonga Heritage Drive established by the Society to recognise the story of key historic locations in the Wodonga area.This drawing is significant because it depicts the first school opened in Wodonga.A sketch of Green Hills School completed by Jim Parker, a life member of Wodonga & District Historical Society. This sketch was completed as part of a project to place commemorative plaques at key locations around Wodonga green hills school, wodonga schools, education wodonga

The Hamilton-Smith collection was donated by the children of Grace Mary Hamilton-Smith nee Ellwood (1911-2004) and John Hamilton-Smith (1909-1984) who settled in Wodonga in the 1940s. The Ellwood family had lived in north-east Victoria since the late 1800s. Grace’s mother, Rosina Ellwood nee Smale, was the first teacher at Baranduda in 1888, and a foundation member of the C.W.A. Rosina and her husband Mark retired to Wodonga in 1934. Grace and John married at St. David’s Church, Albury in 1941. John was a grazier, and actively involved in Agricultural Societies. The collection contains significant items which reflect the local history of Wodonga, including handmade needlework, books, photographs, a wedding dress, maps, and material relating to the world wars. The ephemeral edition of 'Australian Bush Songs' visible inside the case was published in 1937 in Melbourne by Allan & Co. It contains children's songs drawing on Australian themes which were popular and well-known in the 1930s. This item has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of social and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history.A brown vinyl suitcase containing song books, periodicals and magazines c. 1920s - 1930s.hamilton-smith, ellwood, hamilton-smith collection, wodgona, books, reading, songs, song, singing, children, child

significant as a work of art by local Pyrenees artist, locally significant to the Central Highlands Region of Victoria as a representation of local landscape and/or culture Charcoal still life sketch of wooden sculptureverso: Lynette Heenan sketch for the 2003 Pyrenees Art Award Knight 1996

A book of drawings and photos published about the trenches in Europe in 1917. Put together by the Australian Commonwealth Military Forces and published by a British publisher. Reproductions of official photographs and cartoons and sketches by members of the A.I.F. Photos show life in the trenches and the war zones, including Ypres, Hill 60, Hindenburg line, Bapaume, Menin Road, Zonnebeke and more. Plus conducting battle operations, Boche prisoners, ruined towns and churches, and the wounded awaiting transport. Most of the drawings are humorous. It is incomplete, the back cover is missing and the pages are only from Page 1 to 24 and 57 to 127. Information from the Australian War Memorial archives says it should have been 157 pages long. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving Portsea in 1920.A record that photos from the trenches were published as a memento of Christmas in 1917, presumably for the troops.A book of black and white photos and drawings published for the troops in World War 1.Title page has 'JB McLean / Maffra' handwritten in blue ink.world war one, souvenir

A commemorative publication from the voyage back to Australia aboard the ship The Ceramic in 1920. It departed Tillbury, UK 12th March and docked in Freemantle on 27th April 1920 and then went onto Adelaide, Melbourne and Sydney. The Ceramic was a transport vessel built in Belfast in 1913 for the White Star Line to transport frozen produce and apples from Australia to UK. It was taken over by the Australian Government for troop transport in October 1914 and could carry over 3,000 troops. This trip in 1920 there were 1467 on board, there were women and children as well as 439 soldiers returning home. The publication has articles of life on the voyage as well as poems, stories, photos and drawings compiled on-board. Notable events such as crossing the equator, a baby competition and stopping in Bombay were some of the photos. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving Portsea in 1920.A record of a soldier's journey home after World War 1.An onboard publication x 28 pages, to record the journey home from World War 1.On the cover in blue ink 'J.B. McLean 1919'.world war one, souvenir

A 32 page book, primarily humorous drawings that provide a lighter look at life in the trenches of France. The drawings were drawn by Captain Bruce Bainsfather and published in The Bystander, a London publication. Then compilations of the drawings were published as 'The Bystander's Fragments from France'. This is the fifth volume. It was published in Australia by Sands and McDougall of Melbourne and sold for 1/9.Illustrations from World War One that would have been significant to the founding legatees.A book containing black and white humorous drawings from World War One.world war one, france, soldiers

A photo of Legatee Donovan Joynt VC, with three children and a dog. Their names are unknown, though they could be junior legatees. The date is unknown. Legatee Joynt was a long serving legatee and his life was celebrated in many ways, such as a biography and his uniform being presented to the AWM on his death.Black and white photo of Legatee Joynt with three children and a dog mounted on thick buff coloured cardboard.Stamped on reverse in blue ink 'Fashion Plant drawing board'donovan joynt, junior legatees

Set of 6 reports, photocopied onto heat sensitive paper from various magazines. Documents match the image numbers. .1 - .2 pages - Electrical Engineer - 15/8/1928 - "Rail Grinding Machine for Melbourne Tramways" - Grinders .2 - 5 pages - Electrical Engineer - 15/6/`1927 - "Workshop of the Melbourne Tramways Board" - includes a layout drawing - See Reg Item 3675 for a reprint of this document. .3 - 1 sheet - Electrical Engineer - 15/9/1927 - "Worm Driver for Electric Tramcars - new type of truck constructed by Melbourne Tramways Board" - fitted to X1 class cars. Has a sketch of the truck. .4 - 8 pages - The Electrical Engineer and Merchandiser - 15/11/1933 - "A Supervisory Control system for Traction Substation - Equipment designed for the MMTB" - written by C. L. Steele. .5 - 8 pages - "Institute of Engineers Australia" - Dec. 1943 - "Prolonging the life of the tramway rail" - by A. H. Blanch. Note some pages have handwritten additions where the copying is out of line. .6 - 1 page - The Electrical Engineer and Merchandiser - 16-10-1950 - "Noiseless bogie for Tramcars" - PCC bogies. - St Louis Car C B-3 Bogie.trams, tramways, mmtb, rail grinding, rail wear, track materials, grinding, preston workshops, worm drive, x1 class, substation, electrical engineering, electrical equipment, tramway per way, bogies, pcc class

Raafat Ishak is a Melbourne-based artist working across painting, installation and site-specific drawing. His work delves into the exploration of identity and the challenges of navigating life between two cultures, particularly influenced by his teenage emigration from Cairo, Egypt. Ishak employs a graphic visual language in his art, drawing inspiration from both architecture and his Arabic heritage. His artistic practice is situated at the crossroads of the personal and the political, delving into themes of utopia through the use of romanticised imagery. Through his work, Ishak seeks to scrutinize and interpret the complexities of cross-cultural dialogue.

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 / BANK OF VICTORIA / YACKANDANDAH Reverse: Y 2 / 013 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: YACKANDANDAH / ERNEST MARCUSE Reverse: Y 1 / 012 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