Showing 569 items matching australian media
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The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth Carriage Museum III, c1972-1976
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 -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth Carriage Museum II, c1972-1976
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: Charatome / Corning Buggy / Braise & Drag / believed to (illegible) built by Crawford and (illegible) / COBB & CO / WAGONETTE / B'WORTH MUSEUM Reverse: BEECHWORTH NOSTALGIA / BW-07(a) / B 8 / 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 -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth Carriage Museum I, c1972-1976
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: BEECHWORTH CARRIAGE MUSEUM / MARCUSE Reverse: BEECHWORTH NOSTALGIA / BW-08 / B 9 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 -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth II, c1972-1976
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: (illegible) / BEECHWORTH Reverse: BEECHWORTH / MARCUSE BEECHWORTH NOSTALGIA BW-06 / B10 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 -
Montmorency/Eltham RSL Sub Branch
Uniform - Jacket, Service Dress WW2, WW2 Service Jacket, 1942
Owned by William Albert HARRISON (Service Number VX41478; above Link ["WW2 Record"] indicates that Rank on Discharge was Cpl, but other AIF documents, from National Archives Australia [including Proceedings of Discharge - see pdf Media File above], indicate that he was Sergeant, which is consistent with the rank on this jacket). Name not written on item but known to be part of set which includes slouch hat, which does contain the name, and other related items which include Service Number, verifying identity. See further service details in "Links" above. Soldier's name known. Items donated (date unknown) by brother-in-law who was living in Montmorency and was a committee member of MERSL when item donated.Khaki jacket; long sleeve 4 front buttons (attached with continuous leather strip) 4 pockets (buttons sewn on) Shoulder straps (buttons sewn on) Cuff buttons (sewn on) Badges on lapels & on shoulder straps Unit Patches on upper sleeves (Part of set with Slouch Hat, 0030.2)Inside label: V300; 1942; Size (2 - 'faint', may be other numbers indicating size details) Brass badges: Australian Commonwealth Military Forces (both lapels); Australia (both shoulder straps) Badge of rank (Sergeant) - 3 chevrons (R upper sleeve) Colour patches on both sleeves for 2/5 Battalion, 6th Division Second AIF Years of Service insignia - 3 chevrons, indicating 3 years O/S service (R lower sleeve) Unit patches - rectangle black over red (2/5 Battalion, WW2) -
Montmorency/Eltham RSL Sub Branch
Headwear - Slouch hat, Hat, khaki, fur felt, 1940
Owned by William Albert HARRISON (Service Number VX41478; above Link ["WW2 Record"] indicates that Rank on Discharge was Cpl, but other AIF documents, from National Archives Australia [including Proceedings on Discharge - see pdf Media File above], indicate that he was Sergeant). Soldier's name known. Items donated (date unknown) by brother-in-law who was living in Montmorency and was a committee member of MERSL when item donated.Slouch hat with Australian Commonwealth Military Forces badge; cotton puggaree with 2/5 Battalion unit colour patch (Rectangle, black over red). Inside: hand-written name (W. A. HARRISON) Size 6 7/8, 1940 Maker's name stamped on leather lining (CORONET FELTS Pty [Ltd]) -
Montmorency/Eltham RSL Sub Branch
Functional object - Bandage Case
Owned by William Albert HARRISON (Service Number VX41478; above Link ["WW2 Record"] indicates that Rank on Discharge was Cpl, but other AIF documents, from National Archives Australia [including Proceedings on Discharge - see pdf Media File above], indicate that he was Sergeant).Soldier's name known. Items donated (date unknown) by brother-in-law who was living in Montmorency and was a committee member of MERSL when item donated.Brown vinyl case with silver coloured clasp at front and cotton stitching around edgingTo W.HARRISON From S & L Staff June 1940 -
Montmorency/Eltham RSL Sub Branch
Uniform - Belt, Patt. '37 W.E, 1937 Khaki Webbing Belt, 1940
Owned by William Albert HARRISON (Service Number VX41478; above Link ["WW2 Record"] indicates that Rank on Discharge was Cpl, but other AIF documents, from National Archives Australia [including Proceedings on Discharge - see pdf Media File above], indicate that he was Sergeant). Soldier's name known. Items donated (date unknown) by brother-in-law who was living in Montmorency and was a committee member of MERSL when item donated.Khaki Pattern 1937 Webbing belt minus its two rear brass buckles. hand-written name ("W. A. HARRISON") and service number (VX41478) Carrier PLN 2/5 Bn S^ ME Co 1940 -
Montmorency/Eltham RSL Sub Branch
Textile - Red Chain Bandage Box, Bandage Box, 1940
Owned by William Albert HARRISON (Service Number VX41478; above Link ["WW2 Record"] indicates that Rank on Discharge was Cpl, but other AIF documents, from National Archives Australia [including Proceedings of Discharge - see pdf Media File above], indicate that he was Sergeant, which is consistent with the rank on this jacket). Name not written on item but known to be part of set which includes slouch hat, which does contain the name, and other related items which include Service Number, verifying identity. See further service details in "Links" above. Soldier's name known. Items donated (date unknown) by brother-in-law who was living in Montmorency and was a committee member of MERSL when item donated.Blue coloured rectangle box with orange, red & white labels on one side and ends of boxSide label: Sterilized neat Edge RED CHAIN BANDAGE 4 Inches 6 Yards Johnson & Johnson Pty Ltd Sydney End labels: Red Chain Bandage 4 Inches 6 Yards -
Montmorency/Eltham RSL Sub Branch
Container - Water bottle, Australian, WW2, 1942
Owned by William Albert HARRISON (Service Number VX41478; above Link ["WW2 Record"] indicates that Rank on Discharge was Cpl, but other AIF documents, from National Archives Australia [including Proceedings of Discharge - see pdf Media File above], indicate that he was Sergeant, which is consistent with the rank on this jacket). Name not written on item but known to be part of set which includes slouch hat, which does contain the name, and other related items which include Service Number, verifying identity. See further service details in "Links" above. Soldier's name known. Items donated (date unknown) by brother-in-law who was living in Montmorency and was a committee member of MERSL when item donated.Australian WW2 blue enamel 2 pint water bottle with cork and metal stopper. Wool felt cover and leather 1903 Pattern carrier. Cork and metal stopper is attached with twine sewn to the cover.D^D KH 1942 G^ QP D^D KH 1942 Acceptance mark G^ -
Montmorency/Eltham RSL Sub Branch
Accessory - Gaiter, Patt. '37 W.E, Gaiter, 1942
Owned by William Albert HARRISON (Service Number VX41478; above Link ["WW2 Record"] indicates that Rank on Discharge was Cpl, but other AIF documents, from National Archives Australia [including Proceedings on Discharge - see pdf Media File above], indicate that he was Sergeant). Soldier's name known. Items donated (date unknown) by brother-in-law who was living in Montmorency and was a committee member of MERSL when item donated.Gaiter webbing, Australian Commonwealth Military Forces. Hand-written name ("W. A. HARRISON") and service number (VX41478) JJ 1942 size 2 -
Montmorency/Eltham RSL Sub Branch
Banner - WRAAF Training School Banner
Felt banner recording course attendance for Recruit Training Squadron (see media photo). Wooden dowel support.WRAAF WOMENS ROYAL AUSTRALIAN AIR FORCE RECRUIT TRAINING SQUADRON WRAAF PER ARDUA AD ASTRA COURSE 207 4TH APRIL - 10TH MAY 1972 1.RTU EDINBURGH S.A.wraaf, banner -
Greensborough Historical Society
Book, Victorian Women's Trust, A Switch in Time, 2012_09
The book was published at a time when Australia's first woman Prime Minister was under constant personal attack from the media and political commentators. It discusses gender bias and respect.It highlights the gender bias in the business and particularly the political world and the reporting of the same.A 62 page book with black printing on multi coloured pages. The outer covers are pink in colour with white writing. 2 copies.julia gillard, politics, media bias, sexism, misogyny, victorian womens trust -
Greensborough Historical Society
Article and Photograph, Latoof and Callil Pty Ltd, 2016_
Photograph and information about Latoof and Calill, "Australia's largest dressmaking organisation" with a branch in Main Street Greensborough, later moved to Watsonia.This photograph and text was copied from a Facebook site. Members are people who lived in the Greensborough area and share their reminiscences of the area with others. The site is administered by a GHS member but is not officially affiliated with the Society. Any information is the opinion of the contributor. Article and photograph sourced from social media.latoof and callil -
Federation University Historical Collection
Document - Correspondence - Applications, VIOSH: Letters from applicants for Graduate Diploma in Occupational Hazard Management Course, 1979
Victorian Institute of Occupational Safety and Health (VIOSH) Australia is the Asia-Pacific centre for teaching and research in occupational health and safety (OHS) and is known as one of Australia's leaders on the field. VIOSH has a global reputation for its innovative approach within the field of OHS management. VIOSH had its first intake of students in 1979. At that time the Institution was known as the Ballarat College of Advanced Education. In 1990 it became known as Ballarat University College, then in 1994 as University of Ballarat. It was 2014 that it became Federation University. VIOSH Australia students are safety managers, senior advisors and experienced OHS professionals. They come from all over Australia and industry. Students are taught active research and enquiry; rather than textbook learning and a one-size fits all approach. VIOSH accepts people into the Graduate Diploma of Occupational Hazard Management who have no undergraduate degree - on the basis of extensive work experience and knowledge. The first intake of student for The Graduate Diploma in Occupational Hazard Management was in 1979. The letters are from students wishing to attend. All letters were replied to and a detailed information pack was forwarded to those who were accepted. This pack is shown in Media or can also be seen at Item 26575 on Victorian Collections. The applications come from both male and female students for all over Australia and from many different occupations, workplaces and businesses - private and public. Letters are either typed or handwritten. Some are on letterheads related to the applicants workplace. Majority addressed to Derek Viner.Signatures of Derek Viner and applicantsviosh, victorian institute of occupational safety and health, graduate diploma in occupational hazard management, application letters, derek viner, information pack -
Federation University Historical Collection
Document, Geoffrey Blainey, University of Ballarat Media Release Re the Appointment of David James of Vice Chancellor, 29/04/1994
The University of Ballarat is a predecessor Institution of Federation University Australia.University of Ballarat Media Release on letterhead regarding the Appointment of David James of Vice Chancellor.david james, geoffrey blainey, vice-chancellor, university of ballarat -
Federation University Historical Collection
Photograph, Plaque in the Ballarat School of Mines Botanical Gardens, c1990
Photographe of a metal plaque located in the Ballarat School of Mines Botanical Gardens1879-1979 These botanical gardens were established in 1879 in connection with the materia media course of the Ballarat School of Mines. They were inspired bu Baron Ferdinand von Mueller K.C.M.G., Ph.D., F.R.S., who examined students in Botany from 1880 - 1888. Early lecturers were J.F. Usher and E. Guthiel, M.D.ballarat school of mines botanical gardens, materia medica, ferdinand von mueller, botany, j.f. usher, emil gutheil -
Federation University Historical Collection
Projector, Radiguet & Massiot: Constructeurs, Lantern Slide Projector, 1899-1930
Used as a visual aid in classrooms at Ballarat School of Mines Early media technology used by the histroical school of Mines in Ballarat Brass Lantern Slide projector, used for glass slidesof maximum 8x8 picture size. Projector has original power cord and phillips projection globe as well as 2 sets of lenses. Name plate on side door with manufacters identity " Radiguet & Massiot: Constructeurs, 13 et 15 Bould des Filles du Calvatre. Paris".projector, ballarat school of mines, paris, glass slides, radiguet & massiot, theatre, photography, lantren slide -
Federation University Historical Collection
Newsletter, Pickle: Student Media for the Arts Academy, Issue 1, November 2005, 11/2005
The Arts Academy is the Camp Street campus of Federation University Australia, and was established in 2005A3 newsletter covering items of interest to the newly established Arts Academy, Camp Street Campus. arts academy, camp street, barnaby joyce, victorian students union, student media, art school funnies, swipe card system, post office gallery exhibition, anthony woodward, lefa singleton -
Federation University Historical Collection
Newsletter, Pickle: STudent Media for the Arts Academy, Vol 1, November 2005
A3 news sgeet -
Federation University Historical Collection
Scientific Instument, Media Hochleistung, Electron Valve, 11/11/1926
A glass cylindar with a spherical enlargement in the middle part, with metal end attachments. ONe end connections for emitter filament heating current. Other end - attachmentes for electron target, with some provisin for air/gas flow. Paper label on one end, tabular voltages, currents, etc. Serial Number 243738scientific instrument, electron valve, x-ray -
Federation University Historical Collection
Seal Press, "E.M.U" Press
The press was in a show case in the Library of the Ballarat Institute of Advanced Education and the the University of Ballarat. It came from the Education Media Unit.Black enamelled iron. E.M.U. (standing for Education Media Unit) presses onto paper Brass circular head on steel disc base.Maker's name e m u press, library, ballarat institute of advanced education, education media unit, seal -
Lara RSL Sub Branch
Belt, Leather Belt
This belt belonged to a WW1 Australian Anzac who most probably, because of the buttons and badges, served on the Western Front. Records destroyed in 1969 bush fires at Lara means we are unable to determine who owned this in the RSL. The belts is called a 'stable belt' and the one you have acquired is an early example with a leather pocket. It became common in WW1 for both, leather belts (especially that from the 1903 bandolier equipment as worn by those in the Boer War), and stable belts to be used to hold badges collected from fellow soldiers and for that reason it was often known as a 'souvenir belt'. The evolution of the stable belt: It seems that stable belts began to become popular across the Army as a whole around the turn of the 20th century, although they probably originated with the cavalry a little earlier sometime in the 1880s/1890s. All units at that time had horses on their establishment and those soldiers told off to attend them reported for Stable Parade in Stable Dress which consisted of very high waisted and pocket less breeches, or trousers, held up by braces and collarless, woollen flannel shirts with sleeves rolled up. This was to facilitate the rigorous physical effort and flexibility of movement necessary for mucking out and grooming. Braces at that time had no elastic as rubber was expensive, they were made of cotton with no 'give' whatsoever and so soldiers commonly allowed the braces to flop down from the waist so that they could bend over freely. For trousers that fitted loosely (due to the high waist) this meant that they tended to slip down and at first soldiers cinched them in with leather belts. Later on the regimental saddlers began to make belts from the same, plain canvas or wool strapping used for the horses Surcingle and utilising the same double leather strap and buckle arrangement for security (if one strap broke the other would hold and prevent the saddle from coming unseated). One particular feature of these early stable belts was a sewn on (or in) pocket, secured by a stud or clip, within which loose change could be kept, or a pocket watch, as there were no pockets in the breeches. As you might imagine these became very popular as the pocket was useful and the extra breadth afforded by the canvas strapping made them very comfortable. Around about the turn of the 20th century it began to be popular for officers to wear neckties in regimental colours both for sport and less formal, country dress. This habit probably began with the Queens Household troops and Line Cavalry, but quickly spread throughout the Army and it appears as if this use of regimental colours spread to the canvas or wool strapping used to make stable belts. For this reason the stable belts invariably followed the same colour scheme (but not always the same pattern arrangement) of regimental neck ties. This belt is an example of what Australian troops collected when on the Western Front during WW1 and when on leave.Leather Belt with 31 Badges and Buttons from WW1 attachedSee Mediaww1, world war 1, australian army, badges, button, belt, stable belt -
Lara RSL Sub Branch
Belt, Webbing Belt
This belt belonged to a WW1 Australian Anzac who most probably, because of the buttons and badges, served on the Western Front. Records destroyed in 1969 bush fires at Lara means we are unable to determine who owned this in the RSL. The belts is called a 'stable belt' and the one you have acquired is an early example with a leather pocket. It became common in WW1 for both, leather belts (especially that from the 1903 bandolier equipment as worn by those in the Boer War), and stable belts to be used to hold badges collected from fellow soldiers and for that reason it was often known as a 'souvenir belt'. The evolution of the stable belt: It seems that stable belts began to become popular across the Army as a whole around the turn of the 20th century, although they probably originated with the cavalry a little earlier sometime in the 1880s/1890s. All units at that time had horses on their establishment and those soldiers told off to attend them reported for Stable Parade in Stable Dress which consisted of very high waisted and pocket less breeches, or trousers, held up by braces and collarless, woollen flannel shirts with sleeves rolled up. This was to facilitate the rigorous physical effort and flexibility of movement necessary for mucking out and grooming. Braces at that time had no elastic as rubber was expensive, they were made of cotton with no 'give' whatsoever and so soldiers commonly allowed the braces to flop down from the waist so that they could bend over freely. For trousers that fitted loosely (due to the high waist) this meant that they tended to slip down and at first soldiers cinched them in with leather belts. Later on the regimental saddlers began to make belts from the same, plain canvas or wool strapping used for the horses Surcingle and utilising the same double leather strap and buckle arrangement for security (if one strap broke the other would hold and prevent the saddle from coming unseated). One particular feature of these early stable belts was a sewn on (or in) pocket, secured by a stud or clip, within which loose change could be kept, or a pocket watch, as there were no pockets in the breeches. As you might imagine these became very popular as the pocket was useful and the extra breadth afforded by the canvas strapping made them very comfortable. Around about the turn of the 20th century it began to be popular for officers to wear neckties in regimental colours both for sport and less formal, country dress. This habit probably began with the Queens Household troops and Line Cavalry, but quickly spread throughout the Army and it appears as if this use of regimental colours spread to the canvas or wool strapping used to make stable belts. For this reason the stable belts invariably followed the same colour scheme (but not always the same pattern arrangement) of regimental neck ties.This belt is an example of what Australian troops collected when on the Western Front during WW1 and when on leave.Webbing Belt with Badges and Buttons WW1See Mediaarmy, australian army, western front, aif, s.w.ellis, service number 640, 2 m.g.c., buttons, badges, belt, stable belt -
Federation University Historical Collection
Magazine, The Educational Magazine, Volume 29, Number 9, September 1972, 09/1969
Orange, white and black soft covered magazine. Contents include: "Why is Art Taught in School" by Susan Wilkins, "Art Education: An INternational Survey", "Rebound Walls" by Ja Crosswhite, "Multi-Media Learning" by Neville Johnson and Ian Legg, "Raywood" by M.N. Lockwood, "Southern Cross Lodge" by Ron Major, "Metrication in Britain" by I. McKinnon, "Illiteracy" by N.J. Maher, and "Goodbye Melbourne Town" by Brian McKinlay. education, art education, raywood, southern cross lodge -
Federation University Historical Collection
Booklet, Reclaiming the Radical Spirit of the Eureka Rebellion, 2004
Orange covered booklet on the Eureka Stockade, direct democracy, Direct Action, Internationalism, Solidarity, Why an Apology (It's time for an apology from the Victoria police for their role in the Eureka Massacre in 1854), Birthplace of Australian Democracy? - Conservative Responses to Eureka and the 1901 Federal Constitution (by Ken Mansell), The Post-Eureka Settlementeureka stockade, anarchist media institute, ken mansell, democracy -
Australian National Surfing Museum
Document, Human Impact on Australian Beaches (Results from SOS95 Beach Survey), 1/5/1996 (estimated)
Human Impacts on Australian Beaches was a landmark environmental study which provided a 'snapshot' of the health of 1612 beach areas around Australia. This nationwide study (which built on the success of the 1994 State of Our Surf Report) was put together by the Surfrider Foundation Australia with the support of more then 340 individuals and 70 organisations around Australia. The report was authored by surfer/environmentalist/artist Michael Legge-Wilkinson from Newcastle, New South Wales. Human Impacts was launched officially by Peter Garrett, leader of Australian rock band Midnight Oil at the Bondi Pavilion, Bondi Beach in May 1996.Human Impacts built on the success of the 1994 State Of Our Surf Report, released by the Surfrider Foundation Australia in 1994. Human Impacts was the first major report to specifically examine the environmental health of 1612 of Australia's beaches. A limited 500 copies of this report were produced, the majority of which went to education institutions, libraries, community groups and government departments. The report generated national and international media interest with the BBC London reporting on its findings in the week after its launch.Beach Environmental Report. 168 page report which examines the health of 1612 beach areas around Australia. Sepia cover featuring a photograph of endangered sanddunes at Stockton Bight, north of Newcastle. 168 pagesSepia cover, Surfrider Foundation logo on report coverbeach, surfrider foundation australia, human impacts on beaches, sos95, michael legge wilkinson, coastal development, beach pollution -
Ringwood and District Historical Society
Mixed media - Video and notes, RDHS Guest Speaker Presentation - "Vexillology - Ringwood & District Emblems" - Ralph Bartlett
Digitised video (3.28GB) with typed transcript notes. Duration: 60 minutes. Recorded April, 2023 (Video is available for viewing at Ringwood & District Historical Society Archives by appointment)Presenter: Ralph G.C. Bartlett, Co-Founder and Secretary, Flag Society of Australia. Vexillology is all things related to the preservation, history and collection of Flags. -
Ringwood and District Historical Society
Mixed media - Video, RDHS Guest Speaker Presentation - "The Battle To Save Ford Australia Archives" - Peter Fry
Digitised video (1.52GB) Duration: 34 minutes. Recorded March, 2023 (Video is available for viewing at Ringwood & District Historical Society Archives by appointment)Presenter: Peter Fry, automotive historian. -
Bendigo Military Museum
Mixed media - PACKAGE - TEACHER'S AID BOOK, DVD & CD ROM, Australian Department of Veterans Affairs, Australian Women in War, 2008
... goldfields PACKAGE - TEACHER'S AID BOOK, DVD & CD ROM Mixed media ....1) Book. Hard cover. Printed images of WWII women in armed forces, nursing & land army. Bottom image is photo of modern females in RAN. Red & blue printing. 108 pages, illustrated photos & maps. .2) DVD - Australian Government Department Veterans Affairs. Changing roles of women, 1899 - today. Images identical to front cover. .3) CD Rom identical cover to .2) above.books reference/military, audio-visual technology - audio/visual accessories, illustrations-prints, military history