Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 82 Page 83 Page 84 Page 85 Page 86 Page 87 Page 88 Page 89 Page 90 Page 91 Page 92 Page 93 Page 94 Page 95 Page 96 Page 97 Page 98 Page 99 Page 100 Page 101 Page 102 Page 103 Page 104 Page 105the Company and to those who have a desire for a better knowledge of the Company’s affairs. Snelling’s scrapbook also included a series of two–colour banners and posters, and one–colour magazine advertisements, promoting Kriesler’s war projects—suggesting that he might have been employed in Kriesler’s design or marketing office. These promotions appear similar to Snelling’s typographic and illustrative work for Warners in the late 1930s—supplemented by some newly fashionable illustrations of native islanders drumming tribal music. An article in New Zealand Free Lance of 26 September 1945 noted that Snelling’s job at the factory was ‘designing electrical equipment, such as junction boxes and dashboards, with the object of ‘making it functional and good to look at, too’. He also preserved photographs of and advertisements for Kriesler’s first consumer radio set released on the post–war market. Called the ‘Sealed Midget Radio Model 114’, it was advertised as ‘the radio of the future ... 360 sound radiation ... tamper–proof ... beauty back and front’. Kriesler prided itself on offering customers ‘the best set at any price’. Snelling told relatives that he had designed the first sealed radios, but publicity credited Ray Weingott, managing director of the family–owned company.The Australian designs looked more refined in styling than American models (from Emerson Radio, for example) which flooded Australian shops after the war. While employed at Kriesler (where he learned a great deal about audio electronics that proved valuable later with the advent of hi– fidelity sound systems), Snelling moonlighted on other profitable projects. In 1944, he appeared in newspaper advertisements for IXL Marmalade: as the model husband breakfasting with his ‘wife’. And according to the New Zealand Free Lance article of 26 September 1945, he painted a mural on the history of England for the Kensington Golf Club’s British Centre. In 1944, he was commissioned by club owner Sammy Lee to paint cartoon portraits of key wartime political figures around the walls of his Roosevelt restaurant. A press clipping from The Sun of 17 August 1944 showed American comedian Jerry Colonna (in town with The Bob Hope Show) comparing bushy moustaches with Snelling’s portrait of Joseph Stalin. Around this time, and via a contact at the United States Navy base at Garden Island, Snelling was hired to refurbish a stately 1882 villa called Maramanah (on the site of today’s El Alamein fountain at Kings Cross) as a recreation centre for American sailors. The Navy demolished, Victorian villa on extensive grounds at the corner of Macleay and Manning Streets, Potts Point. At this time, it was a habit for some of the area’s young people to meet at the Cairo for Sunday afternoon tennis on its two grass courts, then take refreshments at Kings Cross tearooms and restaurants. In this social context, he met and promptly began wooing Nancy Bear (née Springhall), the Adelaide–born daughter of a prosperous Wellington importer of office machines. Because Nancy’s husband, Edward (Scotty) Macquarie–Bear (a descendant of early Australian Governor Sir Lachlan Macquarie), was away in the Army, she was living with her mother (separated from her father) at Selsdon, a villa further down Macleay Street. Snelling avoided joining Australia’s military services, but he and Nancy regularly mingled with American officers and servicemen from the Garden Island naval base at the foot of Potts Point—their social lives often crossed around the eastern suburbs and city. During the 1940s, swingers in Sydney often gravitated to dine–n– dance hotspots like the Tivoli at Haymarket, Romano’s and Prince’s cabarets at Martin Place and the Roosevelt restaurant, beside the Minerva Theatre in Potts Point. The Roosevelt was owned by Sammy Lee, a cigar–smoking entrepreneur who, according to Nancy Springhall, Snelling had known in New Zealand. Although successful in avoiding active service, Snelling was required to contribute to the war effort by working in protected industries—for manufacturers whose factories had been ordered to make military components. First he joined Waygood Otis, a Canadian elevator construction company which was producing munitions at Waterloo. In either 1943 or early 1944, Snelling joined Kriesler (Aust) Pty Ltd, a leading local maker of radiograms before the war. Its Newtown factory had been converted to make electrical components for the armed services. This firm supplied parts for Mosquito bombers, the fast, twin–engined fighter planes that were being produced in spruce ply and balsa at Hawker de Havilland’s Bankstown hangers. Snelling appeared to have been a responsible Kriesler employee, because he was given (and glued into his scrapbook) a copy of ‘General Notes’, the company’s little red rule book dated May 1944. In his introduction, general manager LEA Walcot announced: These notes have been prepared for your guidance in matters which are general in their character. They are not issued indiscriminately and only to those who have been given specific responsibility in the affairs of DOUGLAS SNELLING DOUGLAS SNELLING 38 39 1940–1955 1940–1955