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Artwork, other (1261)
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Hawthorn Historical Society
Drawing - Property Illustration, 11 Temple Street, Hawthorn East, 1993
'After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view.' (Margaret Picken, 2020)This property illustration is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c. 1983 and c. 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020pen and ink architectural drawing on drafting film.11 TEMPLE ST, HAWTHORN Margaret Picken ~89 WOODARDS - C'WELLartist - margaret picken 1950- -
Bendigo Historical Society Inc.
Drawing - NORMAN PENROSE COLLECTION: ART FOLDER, 1953, 1954, 1955
Artwork. Norman Penrose collection: brown art folder with darker brown spine. Contains notes on Painting Schools and art. Also pronunciation of artists names. Also contains cuttings from magazines & papers relating to women's and men's fashions. Also some cuttings of armchairs. Some drawings of women and notes and illustrations of proportions of the head for fashion drawing. Some of the cuttings are pages from the Australian Women's Weekly.drawing, pencil, norman penrose collection, australian women's weekly, painting schools, women's and men's fashions. -
Hawthorn Historical Society
Drawing - Property Illustration, 516 Tooronga Road, Hawthorn East, 1993
'After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view.' (Margaret Picken, 2020)This property illustration is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c. 1983 and c. 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020pen and ink architectural drawing on drafting film.516 TOORONGA RD, HAW E Margaret Picken ~98 WOODARDS -HAWartist - margaret picken 1950- -
Federation University Art Collection
Drawing - Cartoon, 'University of Ballarat' by Dave Gibbs, 2001
Dave Gibbs (c1959-2021) This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.A cartoon of a Mount Helen buildings with four flagpoles.art, artwork, university of ballarat, cartoon, cartoonist, fllags, dave gibbs, available, gibbs -
Wodonga & District Historical Society Inc
Drawing - The Green Hills School
Green Hills School was the first school in the Wodonga area. Before the school could open and a teacher commence duties, the Government had to be assured that a minimum of 20 children would be attending. The school was built of round timber, slab walls, bark roof, dirt floor and shuttered windows. The school opened in 1850 and closed in 1870. This sketch, completed by Jim Parker, a Life Member of Wodonga & District Historical Society, was included on a commemorative plaque as part of the Wodonga Heritage Drive established by the Society to recognise the story of key historic locations in the Wodonga area.This drawing is significant because it depicts the first school opened in Wodonga.A sketch of Green Hills School completed by Jim Parker, a life member of Wodonga & District Historical Society. This sketch was completed as part of a project to place commemorative plaques at key locations around Wodonga green hills school, wodonga schools, education wodonga -
Bendigo Military Museum
Print - PRINT, FRAMED WW1, Reader's Digest (Australia) Pty Limited, 2015
From information book - "Reader's Digest/ Gallipoli/ 25th April 1915 - 9th January 1916/ Centenary Commemorative Prints". Collection of 20 prints. Refer Cat No. 7300.Framed print. Print - colour print on paper. Copy of an original oil painting on canvas. Depicts a soldier leaning against a wall structure with a second soldier in more muted tones in the background within an earth trench. Frame - Black plastic framing with glass front and MDF board backing with adhered black paper.Details below print - in black ink. "GEORGE COURTNEY BENSON (1886-1960) Infantryman c 1919-1920". GEORGE BENSON " Enlisted in the Australian Imperial Force in September 1914 with the 3rd Field Artillery Brigade". "Commissioned as an official artist in April 1918".framed accessories, prints, ww1, gallipoli, centenary -
Hawthorn Historical Society
Drawing - Property Illustration, 53 Haines Street, Hawthorn, 1993
'After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view.' (Margaret Picken, 2020)This property illustration is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c. 1983 and c. 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink property illustration on drafting film of 53 Haines Street, Hawthorn by Margaret Picken.53 HAINES STREET, HAWTHORN Margaret Picken ~96 WOODARDS - HAWTHORNartist - margaret picken 1950- -
Swan Hill Regional Art Gallery
Print, CANTRILL, Ivor, Man, 2010
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Ballarat Heritage Services
Ceramic, Old Ballarat Pottery, Old Ballarat Pottery Bottle, C1990
Old Ballarat Pottery was set up by John Gilbert as part of the Old Ballarat Village, opposite Sovereign Hill. Gilbert had lectured at Ballarat College of Advanced Education before establishing the Edinburgh Pottery at Sovereign Hill in 1972 to enable visitors to see traditional trades at work. The Old Ballarat Pottery was a much larger concern, producing wares for sale through department stores and on party plan via Faberware as well as through the village. Early works looked as though they might have been made in the 1850s, with unturned bases, crude marks and dark treacle-like glazes. Peter Pilven, one of Gilbert's students, worked there after graduating from the Ballarat College of Advanced Education, teaching throwing to students like the potter John Ferguson, who was there from 1978-79. Potters were initially employed by Gilbert's company Pontresina Pty Ltd, registered in 1973. (The Old Ballarat Pottery was registered as a company from 1984-1994.) Early works are marked with an impressed long-tailed 'B', or an 'OB' on either side of a mine tower. A printed stamp also features a mine tower surrounded by the text 'Old Ballarat Pottery Made in Australia'. Later work is impressed 'Stoneware Old Ballarat Pottery Australia' with a kangaroo.Hand thrown black glazed bottle with lip. Stamped 'Stoneware Old Ballarat Pottery' and impressed with a long tailed B.old ballarat pottery, australian studio pottery, pontresina, bottle -
Lilydale RSL Sub Branch
Print - Framed Print, In Remembrance of ANZAC Forces in Vietnam
Roll of honour - Lists names of Australian and New Zealand personnel who died in Vietnam. Central in the print is a photo of Sgt William Francis Hacking (36448) - Australian Army Training Team (AATT)- 1st Australian soldier killed in Vietnam. -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 1A Britten Street, Glen Iris, 2000
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 38 Uvadale Grove, Kew, 1999
After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 22 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a number of real estate agents in Melbourne between 1983 and 2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink architectural drawing on drafting film of 38 Uvadale Grove, Kew by Margaret Picken.38 UVADALE GVE., KEW / MARGARET PICKEN '99 / WOODARDS ~ HAWTHORNartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), kew, 38 uvadale grove -- kew (vic.) -
Ringwood RSL Sub-Branch
Print - Hurricane, Memorabilia
Wood framed print of Hurricane -
Kew Historical Society Inc
Decorative object - Tea cosy cover
White linen embroidered tea cosy cover. Broderie Anglais. Crotcheted edge.tea cosy covers, household textiles -
Kew Historical Society Inc
Print - 'Monnington', Adeney Avenue, Trompf, 1977
In the mid 1960s, the Monnington Special Education Centre was established at 15 Adeney Avenue as an offshoot to 'Glendonald' in Marshall Avenue. In 1988, the amalgamation of Princess Elizabeth Junior School for Deaf Children, the Monnington Centre and Carronbank School for Deaf Blind Students allowed the Victorian Government to sell each of the sites. Monnington [Adeney Avenue, Kew] reverted to private ownership, while Glendonald and Carronbank in Marshall Avenue were demolished and subdivided. The donor, Mr Murray Osler, was Principal of the Monnington Special Education Centre in Adeney Avenue (Kew) from 1976. This photo, and an accompanying drawing of 'Carronbank' are important primary resources for the history of the delivery of education to and for deaf-blind children in Victoria.Gift of Murray Osler, 2021This limited and numbered print [number 10/100], framed under perspex, is of Monnington in Adeney Avenue, Kew when it functioned as a Special Education Centre for deaf/blind children during the 1960s to the 1990s. . "Monnington Special Ed. Centre / 60s-90s / (Parent Guidance for Deaf/Blind Ch. / Adeney Ave, Kew / Murray Osler / Principal 76-80s"schools -- kew (vic.), mornington -- adeney avenue -
Whitehorse Historical Society Inc.
Decorative object - Trench Art container
From the Collection of the Mitcham RSL Sub Branch which closed on 16 January 2014An oval shaped container decorated wih bullets and a uniform button on the hindged lid. Inside are stones, shrapnel and a half of a German Badge. -
Hawthorn Historical Society
Drawing - Property Illustration, 43 Lisson Grove, Hawthorn, 1993
'After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view.' (Margaret Picken, 2020)This property illustration is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c. 1983 and c. 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020pen and ink architectural drawing on drafting film.43 LISSON GVE, HAW Margaret Picken ~97 WOODARDS - BOX HILLartist - margaret picken 1950- -
Darebin Art Collection
Drawing - Helen Semmler, Helen Semmler, Book Illustration for Ghost Ride by Rosemary Hayes; Page 59, 2010
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Wodonga & District Historical Society Inc
Decorative object - Silver toned Commemorative Pendant from the Sarah Coventry Jewellery Range c.1970s-1980s
Sarah Coventry Pty. Ltd. was a North American jewellery company that was established in 1949 by the Stuart family as part of Emmons Jewelry, Inc. It began operations in England and Australia in 1968, and in Australia it moved from Carlton in Melbourne to Wodonga in 1969. The premises were originally on High St. in Wodonga, but a new warehouse was built in Melbourne Rd. later in 1969. It was a direct selling jewellery business using a party-plan model similar to Tupperware and Avon. The sales reps or 'Hostesses' were provided with jewellery samples in demonstration kits, which they displayed at jewellery parties in their homes. The designs for jewellery such as brooches, necklaces, earrings, chokers and bracelets were purchased from freelance designers and jewellery manufacturers rather than in-house designers. In 1979 Sarah Coventry Pty. Ltd. in Wodonga was bought by three Australian businessmen, including Wodonga local Jim Sawyer, and continued to sell jewellery under the name "Sargem Pty. Ltd”, for several more years in the 1980s. As part of the Sarah Coventry collection, the pendant has local significance with the decentralised commercial development of regional centres such as Wodonga in NE Victoria, as well as national and international significance from the perspective of social and economic developments for women after World War II. The direct selling party-plan business model Sarah Coventry was based on is also considered the first of its kind for jewellery. A silver toned Sarah Coventry commemorative pendant, with a central design of the Australian continent sarah coventry, jewellery, wodonga, costume jewellery, vintage fashion jewellery, pendant, necklace, necklaces -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth 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 coloured pencil landscape drawing on paper.Obverse: MARCUSE / B.worth (in pen) Reverse: BEECHWORTH NOSTALGIA / BW – 01 (crossed out) / B2 / CORNER CAMP + FORD STREET / (on masking tape) 001 (pencil) 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 -
Flagstaff Hill Maritime Museum and Village
Ceramic - Bowl, Broadhurst Staffordshire Ironstone Pottery, 1950s - 1960s
Broadhurst China was established in 1862 the firm was based at the Crown Pottery, Longton, Staffordshire until 1870 where James Broadhurst made a range of gold and silver lusterwares. In 1870 the firm moved to the Portland Pottery at Fenton, Staffordshire and continued to produce good quality earthenware. In 1897 "& Sons" was added to the company name and "Ltd" from C.1922. The full name, James Broadhurst & Sons Ltd. appears from 1957. In 1984 James Broadhurst & Sons Ltd became Churchill Tableware Ltd.Items made around 1950s or slightly later that are now collectors items made by one of the founders of ironstone pottery in England.Small ironstone willow pattern bowlThe back is stamped "WILLOW BROADHURST STAFFORDSHIRE IRONSTONE Made in England Detergent and Dishwasher Proof" Mass produce, Ceramic, Potteryironstone pottery, staffordshire pottery, flagstaff hill museum, crockery, dinner set, willow pattern -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 7 Range Street, Camberwell, 1991
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Wyndham Art Gallery (Wyndham City Council)
Decorative object, Sue Anderson, Birds in Flight over Wetlands, 2005
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Gippsland Art Gallery
Print, Gittoes, George, Our Chair, 1991
Donated from the estate of Patricia Marie White, 2013Etching on papergippsland, artwork, permanent collection -
Horsham Regional Art Gallery
Print, Kevin LINCOLN, Untitled, 1972
Donated through the Australian Government's Cultural Gifts Program by Mia Heriot, 2005monotype, pen and ink on paper -
Federation University Art Collection
Ceramic, [vessel] by Jill ?
This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.We are currently looking for information on the artist who created this work. If you are able to assist please leave details in the comments link below.art, artwork, ceramics -
Charlton RSL Sub Branch
Decorative object - Large frame of crochet poppies, 5000 Poppy Project, 2015
Large wood and glass frame of crochet poppies to commemorate 100 years since the Gallipoli landingsPresented to RSL by the Charlton community -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Yackandandah VII, 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: ERNEST MARCUSE / YACKANDANDAH / Reverse: Y 10 / 016 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 -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 150 - 150A High Street, Ashburton, 2000
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Glenelg Shire Council Cultural Collection
Drawing - Botanical Illustration, Colin Woolcock, Grevillea ilicifolia, 1990s
Returned to CEMA from Botany Dept., Latrobe University. It is believed they may have been used in a publication.Unframed pen illustration of Grevillea ilicifolia on heavy white paper.Front: 'C.E.W. Grevillea ilicifolia'botanical illustration, drawing, collin woolcock, portland artist