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Moorabbin Air Museum
Drawing (Item) - Wamira Tail plane drawings
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Ararat Gallery TAMA
Mixed media, Wendy Stavrianos, River Totem
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Wangaratta Art Gallery
Textile, Rodney Love, Si Degrees - Work 2, 2004-2007
The Six Degrees works are hand-spun human hair yarn woven on a 4-shaft table loom with a cotton warp. The names of the people who have donated the hair are written above the weavings. They were traced with graphite carbon paper directly on to mount board. Six Degrees is about the connections between individuals and the groups they are part of, emphasised by the names of the donors of the hair being included above the weavings. Wangaratta Art Gallery Collection. Donated by the artist.A small weaving made from cotton and human hair mounted on a board marked with the names of the people who donated their hair to be woven.rodney love, human hair, textile, weaving -
Ararat Gallery TAMA
Textile, Frances Burke, Cane, c. 1952
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
National Wool Museum
Textile - Travel Rug, Onkaparinga Woollen Mill Company, 1960s
Collector says: "I can still recall one of my earliest childhood memories, of my nana's bright aqua shoes against the checks of our family travel rug on summer picnics. Maybe that's when this collection planted its seed in me - 40 years later I start my first blanket collection after stumbling across old Onkaparinga travel rugs. I would go to a vintage market in Collingwood every month and almost always found a good one, amassing enough for the entire household. Everyone had their favourite, even the cat had his own – a small red tartan one just for him." Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from. "Fringed travel rug, teal and brownAn Onkaparinga 100% pure wool production. In emblem: Made in Australiawool, blanket, blanket fever, travel rug, onkaparinga -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 1 Parkhill Drive, Kew, 2001
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 1 Parkhill Drive, Kew by Margaret Picken.1 PARKHILL DRIVE., KEW / MARGARET PICKEN ©2001 / FLETCHERS REAL ESTATEartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 1 parkhill drive - kew (vic) -
Federation University Historical Collection
Drawing - Artwork, Technical Drawings by John Rash, 1954
John Rash is the son of Ballarat signwriter Keith Rash.Nineteen examples of Isometric and technical Drawing by John Rash at the Ballarat Junior Technical School (a division of the Ballarat School of Mines).geometry, drawings, alumni, jphmrash, technical drawing, ballarat junior technical school -
Darebin Art Collection
Drawing - Helen Semmler, Helen Semmler, Book Illustration for Ghost Ride by Rosemary Hayes; Page 43, 2010
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Churchill Island Heritage Farm
Textile - Lace Fragment
This piece is a fragment of machine made net which would be used for needle embroidery. The first machine to produce a twisted net that would not unravel when cut was John Heathcoat’s Bobbin net or Twisted net machine invented in 1808. It was a twisted net that so closely resembled the handmade bobbin net that the two could scarcely be told apart. Heathcoat’s bobbinet machine is so ingeniously designed that the ones used today have suffered little alteration. The gauge of the mesh is calculated by the number of bobbins working per square inch of the machine’s width with the coarsest net being 4 point (or 4 bobbins per square inch) and the finest at 16 point.(cf the Leavers machine at 30 point) Assuming the paper clip to be approximately one inch long this fragment would appear to be towards the finest net that Heathcoat’s machine could produce.Churchill Island has a large lace collection, which was added to by three successive generations of the Amess family - Jane, Janet, and Unity. The Amess family owned Churchill Island from 1872 to 1929. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island. The examples of lace are notable for their variety, and provide representative examples of techniques from the late nineteenth to the early twentieth centuries. Machine net for base of embroidery.janet amess lace collection, lace, churchill island, amess, fragment, machine, net, embroidery -
Kilmore Historical Society
Textile - Right Shoe sole, Leather shoe sole
Right leather sole. Skin side polished. Flesh side mechanically skivedNil -
Gippsland Art Gallery
Mixed Media, Page, Jessica, Dandelion, 2003
Donated by Andy Dinan, 2018Mixed mediagippsland, artwork, permanent collection -
Melbourne Tram Museum
Drawing, Melbourne & Metropolitan Tramways Board (MMTB), "Preston Workshops", c1938
Set of nine photocopied plans or drawings on A3 sheets of the "Preston Workshops" - c1939 .1 - P8491 - Plan of land showing layout and associated drawings including Reservoir railway line - 19-4-1939. .2 - P8492 - Plan of Timber stacks and Hall - 3-2-1939 .3 - P8493 - Plan of Offices and location of sub-station - 13-12-1938 .4 - P8494 - Plan of Store including Oil store - c1939. .5 - P8495 - Plan of Paint Shop and relationship to timber stack - 1-3-1939 .6 - P8496 - Plan of Car building and Repairs shop - 6-12-1938 .7 - P8497 - Plan of machine shop - 10-12-1938 .8 - P8500 - Plan of Blacksmiths shop - 1-12-1938 .9 - P8590 - Plan of Substation - 1-12-1938trams, tramways, drawings, depots, property, preston workshops, workshops, substation -
Whitehorse Historical Society Inc.
Mixed media - Doll House, Yvonne Fitzmaurice, Doll House Front Bedroom -contents, 1974
Hand-made child's doll's house. Built by Mrs Yvonne Fitzmaurice and finished in 1979. This house was built as a 1:12 scale and is a model of a Californian house called Peppercorn farm. House was built by Yvonne and her family and took a period of three years. A lot of the furniture is handmade and the rest is collected from various shops. Catalogued books, manuals, repair kits etc used when building the house.house, dolls -
Hawthorn Historical Society
Drawing - Property Illustration, 14 Oberon Avenue, 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.14 OBERON AVE, HAW E Margaret Picken `90 WOODARDS -HAW EHTartist - margaret picken 1950- -
Hawthorn Historical Society
Drawing - Property Illustration, 58 Kinkora Road, 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.58 KINKORA RD, HAW Margaret Picken ~97 WOODARDS - HAWartist - margaret picken 1950- -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 11 Tara Avenue, Kew, 1996
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 11 Tara Avenue, Kew by Margaret Picken.11 TARA AVE., KEW / MARGARET PICKEN '96 / WOODARDS ~ C'WELLartist -- margaret picken 1950-, 11 tara avenue -- kew (vic.), property illustrations — buildings — kew (vic.) -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 32 Stawell Street, Kew, 1997
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 32 Stawell Street, Kew by Margaret Picken.32 STAWELL ST., KEW / MARGARET PICKEN ~97 / WOODARDS ~ HAWTHORNartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 32 stawell street - kew (vic) -
Latrobe Regional Gallery
Drawing, BELLANY, John b. 1942, Port Seton d. 2013, Untitled, 1983
Charcoal on paperSigned and dated 'Bellany '83' in lower right corner of drawing. -
Clunes Museum
Drawing, HARRY SANDO
ARCHITECT DRAWING OF CLUNES PRESERVING BOILER HOUSE .1 DATED 12 MARCH 1897 .2 DRAWING "BUILDING OF THE BOILER", LONGITUDAL ELEVATION APRIL 1987 .3 DRAWING NO. 1 DATED 12 MARCH 1897 .4 DRAWING OF MAIN BUILDING TESTING ROOM .5 DRAWING OF CAST IRON RING AND WROUGHT IRON COVER TO BOILER 21/4/1897.5 THESE ARE THE DRAWINGS REFERRED TO IN TENDER DATED 9 DAY OF APRIL 1897 FOR BUILDING BOILER AND OTHER WORK AT THE LOTHAIR BOILER HOUSE, DATED AT CLUNES THIS 29 DAY OF APRIL 1897 SIGNED BY THE CONTRACTOR, WITNESS TO SIGNATURE HARRY SANDO clunes preserving company, boiler house, lothair boiler house -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 3 Straughan Street, Burwood, 2002
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Flagstaff Hill Maritime Museum and Village
Textile - Tea Cosy
Crocheted linen tea cosy with grey satin lining.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tea cosy, crotched, teapot cover, tea service, linen -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 35 Childers Street, Kew, 2000
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 drawing is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c.1983 and c.2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink architectural drawing on drafting film of 35 Childers Street, Kew by Margaret Picken.35 CHILDERS ST., KEW / MARGARET PICKEN ~2000 / WOODARDS ~ BALWYNartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 35 childers street -- kew (vic.) -
Whitehorse Historical Society Inc.
Mixed media - Article, Forest Hill Network Video, 2017
Forest Hill Network Video store at Brentford Square closes due to the impact of the internet.Forest Hill Network Video store at Brentford Square closes due to the impact of the internet.Forest Hill Network Video store at Brentford Square closes due to the impact of the internet.video stores, forest hill, brentford square shopping centre, forest hill -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 198 Highfield Road, Camberwell, 1999
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Stawell Historical Society Inc
Drawing, Mr C.A. Akins' Bookshop in Main Street Stawell from P.C. News Supplement 1888 -- Sketch
C.A. Akins Bookshop Main Street from P.C. News Supplement 1888stawell businesses -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 4 Victoria Road, Camberwell, 1991
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Port Fairy Historical Society Museum and Archives
Mixed media - Model, J.W.Haymes, Early 1970's
This model was part of a panorama consisting of 11 pieces designed from drawings in 1892 Almanac from the Port Fairy Gazette. The Panorama was used in a historical display in the historical society rooms in Bank Street from the late 1970's to 1992 when the Historical Society moved to the Court House in Gipps Street Port FairyThis Panorama was part of an eleven piece Panorama of the Streetscape of Port Fairy in 1982. Made by a local resident.Small handmade model of a shop front from the 1892 almanac.J.W.Haymes. Watchmaker panorama, model, j w haymes, watchmaker, bank street -
Glenelg Shire Council Cultural Collection
Drawing - Botanical Illustration, Colin Woolcock, Melaleuca uncinata, c. 1990
Returned to CEMA from Botany Dept., Latrobe University. It is believed they may have been used in a publication.Unframed pen illustration of Melaleuca uncinata on heavy white paper.Front: 'C.E.W. Melaleuca uncinata' -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Yackandandah IV, 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: Marcuse / YACKANDANDAH / Reverse: YACKANDANDAH / Y 8 / 020 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, 9 Kardinia Road, Glen Iris, 1998
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses