Domestic water filters would have been used in Orbost before water was reticulated to all town houses and on rural properties using tank water.This is an example of a domestic ceramic container used to hold and filter water in the early 20th century."The Abbot Filter" used to cool water. Tall, stoneware, cylindrical, cream coloured with handles and tap. Tap is stainless steel."The Abbot Filter" - Australianwater-supply abbot-filter container water-cooler

Widely used to open early beer or soft drink bottles. The Abbots Lager opener may have been a promotional product for this brand of beer.Two cast iron bottle openers, rusted exterior. One labelled Fosters Lager; one labelled Abbots Lager.'Carlton & Victoria Bitter' 'Abbots Lager' 'Fosters Lager'bottle openers, bottle accessories

Waverley Novels Vol 21 The Abbot- 2 (Sequel to the Monastery), Light brown hardcover lettering in black text. Author: Sir Walter Scott Publisher: Fisher Son & Co Date: 1837 fictionThe subject volume “The Abbot- 2 (Sequel to the Monastery) Vol 21” published by Fisher Son & Co (1837) is part of a collected edition of Sir Walter Scott's works, containing stories from the "Tales of My Landlord" series. "Tales of My Landlord" forms a key subset of Scott's Waverley Novels, presented as fictional tales gathered by characters like Peter Pattieson from the landlord of the Wallace “Inn at Gandercleugh”. The series spans multiple books across four sub-series, including “The Black Dwarf” (1707 setting), “Old Mortality” (1679–1689), “The Heart of Midlothian” (1736), “The Bride of Lammermoor” (1709–1711), “A Legend of Montrose” (1644–1645), “Count Robert of Paris” (1097), and “Castle Dangerous” (1307). Vol 46 in the 1838 Fisher edition reprints later entries like “Count Robert of Paris” or “Castle Dangerous” from the fourth series, as these stories originally appeared in Scott's Magnum Opus collected volume editions, the first from 1816. With the influential 48-volume “Magnum Opus” edition from 1829–1833 by Robert Cadell, serving as the basis for later collected published sets like Fisher's. The Abbot is Walter Scott’s sequel to The Monastery, set in 1567–1568 during the turmoil around Mary, Queen of Scots. The story follows Roland Græme and other characters around Lochleven Castle, where Mary is imprisoned, and builds toward her escape attempt and the political crisis that ends with her defeat and flight to England. Part two follows Roland to Edinburgh and then to Lochleven, where he becomes involved in the events around Mary’s imprisonment. It includes Mary’s confrontation with the Lady of Lochleven, the delivery of the abdication papers, and the forced political outcome that strips Mary of power. From there, the story moves toward the escape attempt, the battle of Langside, and Mary’s flight to England. warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, waverley novels vol 46 tales of my landlord, sir walter scott, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library

Waverley Novels Vol 20 The Abbot- 1 Vol 20 (Sequel to the Monastery), Light brown hardcover lettering in black text. Author: Sir Walter Scott Publisher: Fisher Son & Co Date: 1837 fictionThe subject volume “The Abbot- 1 (Sequel to the Monastery) Vol 20” published by Fisher Son & Co (1837) is part of a collected edition of Sir Walter Scott's works, containing stories from the "Tales of My Landlord" series. "Tales of My Landlord" forms a key subset of Scott's Waverley Novels, presented as fictional tales gathered by characters like Peter Pattieson from the landlord of the Wallace “Inn at Gandercleugh”. The series spans multiple books across four sub-series, including “The Black Dwarf” (1707 setting), “Old Mortality” (1679–1689), “The Heart of Midlothian” (1736), “The Bride of Lammermoor” (1709–1711), “A Legend of Montrose” (1644–1645), “Count Robert of Paris” (1097), and “Castle Dangerous” (1307). Vol 46 in the 1838 Fisher edition reprints later entries like “Count Robert of Paris” or “Castle Dangerous” from the fourth series, as these stories originally appeared in Scott's Magnum Opus collected volume editions, the first from 1816. With the influential 48-volume “Magnum Opus” edition from 1829–1833 by Robert Cadell, serving as the basis for later collected published sets like Fisher's. The Abbot is Walter Scott’s sequel to The Monastery, set in 1567–1568 during the turmoil around Mary, Queen of Scots. The story follows Roland Græme and other characters around Lochleven Castle, where Mary is imprisoned, and builds toward her escape attempt and the political crisis that ends with her defeat and flight to England. Like the other novels in the Waverley series it mixes historical events with fictional characters: Roland Græme, the Avenel household, and the mysterious “Abbot” figure are woven into the real struggle between Protestant and Catholic factions in Scotland. A central thread is Roland’s divided loyalties, his attraction to both the Catholic and Protestant worlds, and his involvement in helping Mary’s cause. The climax comes with Mary’s attempted escape from Lochleven, the fighting that follows, and her eventual loss of power in Scotland. warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, waverley novels vol 46 tales of my landlord, sir walter scott, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library

Widely used to open early beer or soft drink bottles. The Abbots Lager opener may have been a promotional product for this brand of beer.Cast iron bottle openers, rusted exterior. One plain, unnamed; one labelled Abbots Lager.opener, crown seal beer bottle, cast iron, abbots lager

A photo of a mural in Libya painted by a South Australian Sapper of a bottle of Abbots Lager. The photo, and two others, were sent to Melbourne Legacy in 1979 by Legatee Syd Wilson of Yamba NSW. He thought Melbourne Legacy might be able to use them to generate money by selling them for advertising or publicity. He said they were enlargements of snapshots he had found in his old army trunk. The text says 'Keep Going. Fill up in town, but a good drink is bloody hard to get'. Legatee Wilson's letter says the murals were: 'painted on three walls of a white concrete Italian block house (Police Check post I think), some 18/20 miles west of Tobruk, between Tobruk and Derna, and near a captured Italian airfield, somewhere about February 1941. Obviously they were painted by a Victorian Sapper. They were very well done, by a competent Sign-writer/artist, in correct and excellent colours (captured Itie paint no doubt - there was plenty in their Naval Stores at Tobruk).' (NB Itie was slang for Italian) From the AWM website the signs were painted by South Australian painter, SZ538 Sapper Leslie John “Doc” Dawes, 2/3rd Field Company, Royal Australian Engineers. There are several photos on the AWM site including the building the three murals were on.Photos taken by a Legatee when on active service in Libya in World War 2. They were donated to Legacy when it was thought they could be used for fundraising, which shows that Legatees were conscious of that Legacy needs to generate funds to continue its work.Black and white enlargement of a photo taken in Libya of Abbots Lager mural.tobruk, soldiers, lager, beer, abbots lager, murals

index, App, ill, p.216.non-fictionA history of the 'railway navvy' who built the railways of Great Britain in the 19th century.railroad construction workers -- great britain -- history -- 19th century, railroad construction - united kingdom - history

index, ill, p.166.non-fictionA history of the many different types of railwaymen working on the railways of Great Britain.railroad operations - great britain - history, railroads -- great britain -- employees -- history

index, app, ill, maps, p.218.non-fictionThe continuing history of The Cambrian Railway, in western Wales from 1889 to 1968.railroads - great britain - history, railroads - the cambrian railway - history

index, ill, p.178.non-fictionA history of The Cambrian Railway, in western Wales from 1852 to 1888.railroads - great britain - history, railroads - the cambrian railway - history

index, app, bib, ill, maps, p159.non-fictionA history of the Midland & South Western Junction Railway in England.railroads - the midland & south western junction railway - history, railroads - great britain - history

index, ill, maps, p.288.non-fictionThe history of the Lancashire & Yorkshire Railway in the north of England. volume 1railroads - lancashire & yorkshire railway - history, railroads - great britain - history

index, app, ill, p.333.non-fictionA history of the North Staffordshire Railway in England.railroads - north staffordshire railway - history, railroads - great britain - history

index, ill, maps, p.223.non-fictionAn industrial history of the railways in Britain.railroads - great britain - history, railroad industry - history

index, app, bib, maps, p.60.non-fictionA railway map of Ireland including all the different railway companies and industrial railways.railroads -- great britain -- history -- atlases, railroads - ireland - history

Typed document listing prominent buildings of Bendigo, including Hand's butchery and Abbot & co building in Pall Mall.bendigo, history, buildings/streetscapes

Hand written document listing prominent buildings and places in Bendigo. Eg. Abbot & Co, Conservatory, Stillwells, Specimen Cottage.bendigo, history, buildings/streetscapes

The Jade Buddha for Universal Peace, the largest Buddha carved from gemstone-quality jade in the world, is the centerpiece of the Great Stupa of Universal Compassion in Bendigo, Australia. Standing 2.5 meters tall and weighing 4 tonnes, this priceless Buddhist statue toured over 120 cities across 20 countries from 2009 to 2018, inspiring peace in families, schools, and communities worldwide. After attracting an estimated 12 million visitors, it returned to the Great Stupa in May 2018, where it continues to be a potent symbol of peace.This mounted artwork, presented in August 2009 by Thich Minh Hieu, Abbot of Minh Quang Temple in Sydney, embodies the principles of wisdom, compassion, and enlightenment. Depicting the Buddha in deep contemplation, it serves as a visual expression of mindfulness, inner harmony, and the temple’s role in promoting peace and spiritual reflection.jade buddha, memorabilia

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: ABBOT BAGGY / B'WORTH / CARRIAGE MUSEUM Reverse: B7 / Beechworth Nostalgia / BW - 07 B (crossed out) / 008ernest 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

Photo, color. Pall Mall Bendigo, 1940's ? Image shows The Beehive, Abbots, Myers. On bottom ' Pall Mall, Bendigo' No. 14.'bendigo, streetscape, pall mall, beehive, pall mall, myer

Twelve-page booklet including photographs and performance dates throughout August (1987), with full list of performers and production personnel.Presentation by arrangement with Chappell & Co. (Aust.) P/L, music & lyrics by Richard Adler & Jerry Ross, book by George Abbot & Richard Bissell.

Typed letter from richard Hartley Smith Abbot, dated 21 February, 1939 seeking an extension of his re-entry permit to the United States.sciences, instruments - general, scalebuoy, bill ashman collection - correspondence, scott's hotel melbourne, richard hartley smith abbott, c s bird, scalebuoy, mariposa, abbott supply company

Burwood State School Mothers Club Scholarship John Davies Best General Results 1954. President R.L. Abbot. Head Teacher A.R. Donald.Framed Certificate Burwood State School Scholarship award.Burwood State School Mothers Club Scholarship

Black and White photographText on accompanying sheet reads, "Picture & Abbots Lager sign taken after 1912 because of the bracket signals, before 1926 because signal box is on north side, but before 1920 because there is no footbridge.

Photo envelope ''Keogh's Camera House 140 Hare Street Echuca - Shop 1 Abbot Arcade Queen Street Bendigo. The envelope contained negatives catalogue number 11518.499 and photos from 11518.482 to 11518 498business, retail, photography