Showing 402 items matching chiltern%20new%20cemetery
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Ballarat Heritage Services
Photograph - digital photographs, Chiltern Pre Olympic Swimming Pool, c2010-2017
Colour photograph of the Chiltern Swimming Pool.swimming pool, sport, swimming, pre olympic, concrete, chiltern, chiltern swimming pool -
Wodonga & District Historical Society Inc
Book - Chiltern Past and Present, Dawn Disher and Chiltern residents, 2011
A collection of profiles of past and present residents of Chiltern compiled from interviewsA collection of profiles of past and present residents of Chiltern compiled from interviewschiltern, residents of chiltern, personal profiles -
Rutherglen Historical Society
Newspaper, Rutherglen Sun and Chiltern Valley Advertiser, The Rutherglen Sun and Chiltern Valley Advertiser, July 15, 1927, 15/07/1927
This issue contains various articles on the opening of the Memorial Hall, Rutherglen, including an article on the back page on "The Honor Roll Rutherglen Town Hall". This article includes the names of all those on the roll.2 copies of the Rutherglen Sun newspaper for Friday 15/7/1927. rutherglen sun, rutherglen memorial hall, newspapers, opening ceremonies, honour boards, world war 1, world war i, ww1 -
Chiltern Athenaeum Trust
Booklet - Booklet of Selected Verse by A.W. Eustace published 1992, Selected Verse/ A.W. Eustace of Chiltern/1820-1907
Alfred William Eustace was a well-known self-taught Australian artist who spent his spare time painting the local landscapes in the Chiltern area. When not doing his work or painting, Eustace regularly contributed letters and verse to the Chiltern newspaper "The Federal Standard". A collection of A. W Eustace's verse and other writings, written between 1845 and 1899, was presented to The Chiltern Athenaeum Trust by Cam Boadle, a grandson of A.W. Eustace, and his wife Connie. The Chiltern Athenaeum Trust created a booklet of some of his poetry which was published in 1992. Copyright for the booklet is held by Chiltern Athenaeum Museum 1992. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. A.W.Eustace was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederich of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. Alfred William Eustace made a valuable contribution to the culture of 19th century Chiltern and his booklet of Selected Verse gives us an insight into life during that time.22 page booklet of Selected Verse/ A.W. Eustace of Chiltern/ 1820-1907. Printed on thick cream paper with a copy of an oval photograph of the author.a. w. eustace, selected verse, chiltern -
Chiltern Athenaeum Trust
Badge "Back to Chiltern Christmas1922", 1922
Reflects a Reunion at Christmas 1922 of Chiltern Past and Present Residents. Circa 1922Small round sepia coloured badge with attachment pin, wording Back to Chiltern Christmas 1922. Back to Chiltern Christmas 1922 -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Chiltern, c1983
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: CHILTERN PHARMACY / Reverse: 025 / 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, Chiltern, c1983
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: Reverse: CHILTERN ? / (SAME (illegible), SAME PAPER + COLOURS AS CHILTERN PHARMACY / BOTH MAY HAVE BEEN 1981 WHEN IN YACKANDANDAH? / 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 -
Chiltern Athenaeum Trust
Photograph - Photograph - Chiltern Valley School Children 1907, circa 1907
A school photo of the students from the Chiltern Valley School in 1907. The photograph is sourced from the Jack Lang Collection. school photo of the children from the Chiltern Valley school in 1907. Sepia photograph of Chiltern Valley school children 1907. Markings on reverse. Teacher known as “Bawly” Burke. 1st School Chiltern Valley. From Jack Lang collection. ( Barr Ch???? 20 07)1907 chiltern valley school photo, chiltern valley school 1907 -
Rutherglen Historical Society
Aperture Card microfilm, Victorian Land Tiltes Office, Town Plan Chiltern (Superseded)
Town layout of Chilterncard with a single microfilm insertplan, town, boundries, lots, roads -
Rutherglen Historical Society
Aperture Card microfilm, Victorian Land Tiltes Office, Town Plan Chiltern (Superseded)
Town layout of Chilterncard with a single microfilm insertplan, town, boundries, lots, roads -
Rutherglen Historical Society
Aperture Card microfilm, Victorian Land Tiltes Office, Town Plan Chiltern (Superseded)
Town layout of Chilterncard with a single microfilm insertplan, town, boundries, lots, roads -
Rutherglen Historical Society
Aperture Card microfilm, Victorian Land Tiltes Office, Town Plan Chiltern (Superseded)
Town layout of Chilterncard with a single microfilm insertplan, town, boundries, lots, roads -
Rutherglen Historical Society
Aperture Card microfilm, Victorian Land Tiltes Office, Parish Schedule Chiltern (Superseded)
Town layout of Chilterncard with a single microfilm insertschedule -
Rutherglen Historical Society
Aperture Card microfilm, Victorian Land Tiltes Office, Town Plan Chiltern, May/1996
Town layout of Chilterncard with a single microfilm insertplan, town, boundries, lots, roads -
Rutherglen Historical Society
Aperture Card microfilm, Victorian Land Tiltes Office, Town Plan Chiltern (Superseded)
Town layout of Chilterncard with a single microfilm insertplan, town, boundries, lots, roads -
Rutherglen Historical Society
Aperture Card microfilm, Victorian Land Tiltes Office, Town Plan Chiltern (Superseded)
Town layout of Chilterncard with a single microfilm insertplan, town, boundries, lots, roads -
Rutherglen Historical Society
Aperture Card microfilm, Victorian Land Tiltes Office, Town Plan Chiltern, October/2000
Town layout of Chilterncard with a single microfilm insertplan, town, boundries, lots, roads -
Rutherglen Historical Society
Aperture Card microfilm, Victorian Land Tiltes Office, Town Plan Chiltern (Superseded)
Town layout of Chilterncard with a single microfilm insertplan, town, boundries, lots, roads -
Rutherglen Historical Society
Aperture Card microfilm, Victorian Land Tiltes Office, Town Plan Chiltern
Town layout of Chilterncard with a single microfilm insertplan, town, boundries, lots, roads -
Rutherglen Historical Society
Aperture Card microfilm, Victorian Land Tiltes Office, Town Plan Chiltern (Siperseded)
Town layout of Chilterncard with a single microfilm insertplan, town, boundries, lots, roads -
Rutherglen Historical Society
Aperture Card microfilm, Victorian Land Tiltes Office, Town Plan Chiltern (Siperseded)
Town layout of Chilterncard with a single microfilm insertplan, town, boundries, lots, roads -
Rutherglen Historical Society
Aperture Card microfilm, Victorian Land Tiltes Office, Town Plan Chiltern (Siperseded)
Town layout of Chilterncard with a single microfilm insertplan, town, boundries, lots, roads -
Rutherglen Historical Society
Aperture Card microfilm, Victorian Land Tiltes Office, Town Plan Chiltern
Town layout of Chilterncard with a single microfilm insertplan, town, boundries, lots, roads -
Rutherglen Historical Society
Aperture Card microfilm, Victorian Land Tiltes Office, Town Plan Chiltern (Superseded)
Town layout of Chilterncard with a single microfilm insertplan, town, boundries, lots, roads -
Rutherglen Historical Society
Aperture Card microfilm, Victorian Land Tiltes Office, Town Plan Chiltern
Town layout of Chilterncard with a single microfilm insertplan, town, boundries, lots, roads -
Rutherglen Historical Society
Aperture Card microfilm, Victorian Land Tiltes Office, Town Plan Chiltern
Town layout of Chilterncard with a single microfilm insertplan, town, boundries, lots, roads -
Rutherglen Historical Society
Aperture Card microfilm, Victorian Land Tiltes Office, Town Plan Chiltern
Town layout of Chilterncard with a single microfilm insertplan, town, boundries, lots, roads -
Rutherglen Historical Society
Aperture Card microfilm, Victorian Land Tiltes Office, Town Plan Chiltern
Town layout of Chilterncard with a single microfilm insertplan, town, boundries, lots, roads -
Rutherglen Historical Society
Aperture Card microfilm, Victorian Land Tiltes Office, Town Plan Chiltern
Town layout of Chilterncard with a single microfilm insertplan, town, boundries, lots, roads -
Rutherglen Historical Society
Aperture Card microfilm, Victorian Land Tiltes Office, Parish Schedule Chiltern
Parish Schedule of Chilterncard with a single microfilm insertschedule