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The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth Carriage Museum IV, 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: B'worth / Marcuse Reverse: B6 / Beechworth Nostalgia / BW - 07 (crossed out)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 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 -
The Beechworth Burke Museum
Audio - Oral History, Jennifer Williams, Mr John Clemens, 2000
Mr John Clemens was born in 1913 to Australian parents. His father worked in building roads which led to the family's move from Sunnyside Gen Willis to Beechworth. His father was part of the road making team on the Buffalo River Road between Myrtleford and Beechworth. John worked as a motor mechanic in his early years, having left school in sixth grade. He later worked carting wood (independently) and drinks for Murray Breweries/Billson's Breweries. He delivered drinks and wood to the Old Hospital after its relocation in 1940, to Bonegilla Migrants Camp and got to know most of the townspeople. He recounts his interactions with various members of the community, highlighting the importance of the Zwar Tannery, which John recounts as employing approximately 200 people (dating this recollection to approximately 1938). This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.John's interview demonstrates the dynamics of the Beechworth township in the 1920s-1940s, showing the important industries and connections of the town which he was involved in. His mention of the Model T Ford, produced 1908-1927, shows his experience with early cars in the town, which were owned by the richer people. He talks about the dominance of the Zwar Bros. Tannery over the town, by employing hundreds of people (dating John's recollection to approximately 1938). John's interview shows the changed that the town has gone through through his experiences as a driver for wood and drinks. It can be interpreted as historically significant to the Beechworth local area but also to a wider audience; Zwar Tannery supplies leather to General Motors Holden, the brewery was one of the largest in the country, and the Bonegilla Migrants Camp was the largest and longest running migrant camp in Australia. John's everyday interactions with all of these places and people within makes his story significant. The project is significant for its recording of stories from members of the local Beechworth community before they are lost. It tells of the everyday stories of the people and their memories of the town. The recordings were done in 2000, with interviewees such as John being in their 80s when interviewed. The interviews were recorded to cassette, before being digitised in 2021. This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side. john clemens, burke museum, beechworth, bonegilla migrants camp, beechworth hospital, murray breweries, billson's breweries, zwar bros. tannery -
The Beechworth Burke Museum
Audio - Oral History, Jennifer Williams, Max Suter, 29 June 2000
Mr Max Sutor was born in South Australia. He first began his work as a marine engineer at the Mildura Irrigation Trusts, moving later to the Melbourne Harbour Trusts. After a number of years as an engineer, he moved into farming at Gippsland and joined the prison service several years after during the late 1960s. He was first stationed at Morwell River Prison in South Gippsland, transferring to McLeod Prison in 1972 and finally to Beechworth in 1974 as senior prison and stores officer. He would assist in the organisation, obtaining and distribution of food and medication to prisoners. The prison, at the time, was of medium security and held high security prisoners, with an estimated amount of 108 prisoners to 23 staff. Mr Suter showed a great push in showing humility towards prisoners, wanting to avoid animosity against them by never looking at their records to treat them equally. His choice of kind behaviour towards prisoners had clearly influenced their own, especially during manual labor. The prison had worked cooperatively with a local farm, having their prisoners assist in the farm work. Attitudes inevitably changed positively for several prisoners. Whilst he held no control over their actions at the farm, he still became well trusted and liked amongst the prisoners, as they would continue to go to him for assistance and questions. Mr Suter had also worked as an instigator of finding drugs within each prison he has worked within. This led him to study the variations, and being a member of the Parents and Citizens Association at the high school his children attended, as well as Community Service Director of a Rotary club, he wanted to educate parents in guidance for those unsure on how to conduct actions against such behaviours. From his first seminar, a police surgeon told him that three drug users were found by their parents. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.Mr Max Suter's account on his time and experience as a senior prison officer at Beechworth Prison is historically and socially significant for the cultural heritage of the region. His recounts of his time working within the prison and out in local parent and community associations held a positive effect on the awareness and behaviours of the Beechworth area, and provides detailed information on the duties and complications working in a 20th century rural prison, as well as the lack of local awareness from adults with young influential children. This oral history account is socially and historically significant as it is a part of a broader collection of interviews conducted by Jennifer Williams which were published in the book 'Listen to what they say: voices of twentieth-century Beechworth.' While the township of Beechworth is known for its history as a gold rush town, these accounts provide a unique insight into the day-to-day life of the town's residents during the 20th century, many of which will have now been lost if they had not been preserved.This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.Max Suterlisten to what they say, beechworth, oral history, burke museum, max suter, beechworth prison, farming, drug awareness -
Montmorency/Eltham RSL Sub Branch
Medal Group, WW1, 2166 Lieutenant Reginald Frank Barratt
Information from "The AIF Project" Lieutenant Reginald Frank Barratt was born in 1879 in Withington, Manchester, Lancashire, England. Regimental number 2166. 3rd Field Artillery Brigade, Military District 3 and Military District 6. Arrived in Australia in 1903 aged 24. Address was Mount Street, Heidelberg, Victoria. Occupation - Farmer. Enlistment date was 17th August 1914. Served with the 68 Battery Royal Field Artillery during the South African War. Rank on enlistment was Sergeant. Embarkation details - Unit embarked from Melbourne, Victoria on board Transport A2 Geelong on 19th September 1914. Rank Lieutenant - Unit 1st Divisional Ammunition Column. Information from the Roll of Honour - Awarded Royal Human Society Medal for saving three lives from drowning in Orange River during South African War. Wounded at Zillebeke, near Ypres, Belgium. Died of wounds 22nd August 1917 at the age of 38. Buried at Bedford House Cemetery, Enclosure No 2, (Plot 1, R0w F, Grave 23), Zillebeke, Belgium. Panel number , Roll of Honour Australian War Memorial British War Medal - The medal was struck by the Royal Mint, is a silver disc 36mm in diameter with a straight clasp suspended without swivel. The obverse shows Sir Bertram Mackennal's bare headed effigy of King George V facing left with the legend 'GEORGIVS V BRITT:OMN:REX ET IND:IMD - "George V, King of all the British Isles & Emperor of India". The reverse, designed by William McMillan, shows St George, naked on horseback and armed with a short sword, an allegory of the physical & mental strength which achieved victory of Prussianism. The horse tramples on the Prussian eagle shield and the emblems of death, a skull and cross bones. In the background are ocean waves and just off centre near the right upper time is the risen sun of victory. The years 1914-1918 appear on the perimeter in the left and right fields respectively. The watered silk ribbon is 32mm wide with 3mm wide royal blue band, 2mm wide black band, 3mm wide white band repeated in reverse order and separated by 16mm wide orange band. Victory Medal - The medal is bronze disc 36mm in diameter with a winged figure of Victory on the obverse. The reverse has the words 'THE GREAT WAR FOR CIVILIZATION 1914-1918', all surrounded by a laurel leaf. The watered silk ribbon is 32mm wided has two rainbow design with the violet from each rainbow on the outside edges, moving through to a central red stripe where both rainbows meet.The recipients name, rank and unit are impressed on the bottom edge of the medals - Lieut F Barratt AIF -
Geelong RSL Sub Branch
Photograph, 2/4th Independent Company, circa 1943
This photograph is of 2/4th Independent Company A.I.F Timor 1942-43.This Company was formed in December and posted to Katherine, NT, in March 1942. The Company was deployed to areas between McArthur and Ord Rivers and in August moved to Adelaide River. In September the Company moved to Darwin and boarded the destroyer HMAS Voyager and travelled to East Timor (then Portuguese Timor) to reinforce 2/2nd Independent Company.This photograph is the 2/4th Independent Company Members that served in East Timor 1942-43.A photograph attached to cardboard in a metal frame. The Photograph is covered by perspex instead of glass.2/4th Australian Independent Company, A.I.F. Timor 1942-43.east timor, a.i.f. 2/4th independent company. 1942-43. -
Greensborough Historical Society
Document, Formation of the Heidelberg School of Painting, 1885-1890
The Heidelberg School of Painting worked in the Yarra Valley area between Box Hill and Heidelberg in the late 19th Century and produced a number of famous artists. This article outlines the history of the School and also lists some paintings.The area in which they worked abuts our area of interest and may have overlapped it in the lower Plenty River area.Foolscap double sided typed document of 6 pages; includes list of paintings..Blue biro word on front page, "Fraser"heidelberg, yarra river, walter withers, heidelberg school of painting, australian art. -
Greensborough Historical Society
Newspaper clipping, City of swimming pools, 08/03/1937
A report on the opening of the Greensborough swimming pool in the Plenty River 1937.This pool on the Plenty River still exists today.Article downloaded from Trove (National Library of Australia).greensborough, swimming pools, plenty river, heidelberg city council -
Greensborough Historical Society
Folder, Chapman family (James Chapman), 1849o
History of the origins of this Greensborough family and the family tree of James Chapman (1805-1875) and Susan Palmer (1808-1895). James Chapman, his wife Susan and all his family including his son-in-law William Poulter left the Port of London in November 1848 on board the 'Francis Ridley' of 536 tons on her maiden voyage to Australia and Bombay India. The Master of the ship was Henry Hudson. James Poulter owned the land between Greensborough Railway Station and Plenty River before selling it to William Poulter.20-page plastic binder, spiral bound, clear cover. Contains documents relating to the James Chapman family.chapman family, james chapman, susan palmer -
Greensborough Historical Society
Photograph, Greensborough Tennis Club, 1960s, 1963c
From caption on back: Photograph of Robert (Bob) Maurer (left) and Barry Keith Taylor, now dec. (right). Greensborough Tennis Club near Plenty River mid 1960s. Barry's parents lived behind the Commercial Bank of Australia in Main Street; Greensborough. He attended Ivanhoe Grammar early 1960s. Very good tennis player.Original photograph of Greensborough Tennis Club players 1960s.Black and white photograph of two men at tennis club.Caption on back of photo.greensborough tennis club, robert maurer, barry keith taylor, rosemary isaacs -
Greensborough Historical Society
Photograph - Digital image, Familie Bosch Australien [Bosch/Bush], 1910c
Johannes Bosch and family migrated from Southern Germany to Greensborough district. They farmed along the Plenty River having purchased land from Flintoff. Johannes Bosch came to Australia in 1884 aged 17. He married Henrietta Duck, had 3 children and divorced in 1903. Around 1902 he anglicized the family name to Bush.Digital copy of black and white photograph.johannes bosch, bosch family, bush family -
Greensborough Historical Society
Photograph - Digital image, Bosch family [as adults], 1914c
Photograph of Bosch (Bush) family as adults. Left to right: John Adam Bush Senior (Johannes Adem Bosch born 19/8/1867 died1925), Frederick William Bush (31/3/1892-20/8/1952), John Adam Bush Junior (3/2/1895-24/6/1970), Amelia Suzanne Bush (b25/6/1893). Johannes Bosch came to Australia in 1884 aged 17. He married Henrietta Duck, had 3 children and divorced in 1903. Around 1902 he anglicized the family name to Bush.They farmed along the Plenty River having purchased land from Flintoff. Digital copy of black and white studio photograph.john adam bush, johannes adem bosch, frederick william bush, amelia suzanne bush, bosch family, bush family -
Greensborough Historical Society
Photograph - Digital image, G.E.W. and Emily Maygar, 1903c
The Maygar family came to Greensborough circa 1841 from Somerset England. They were of Hungarian descent. They farmed along the Plenty River. This photo was taken at their Peak Hills Mine in Western Australia.Digital copy of black and white photograph.maygar family, g e w maygar, emily maygar -
Greensborough Historical Society
Photograph - Digital image, Leslie Cecil Maygar, 1900c
The Maygar family came to Greensborough circa 1841 from Somerset England. They were of Hungarian descent. They farmed along the Plenty River. Leslie Cecil Maygar VC, DSO, VD was an Australian recipient of the Victoria Cross. In 1901 Lieutenant Maygar was awarded the Victoria Cross for rescuing a fellow Victorian whose horse had been shot. He died at Beersheeba in Palestine in 1917.Digital copy of black and white studio photograph.leslie cecil maygar, maygar family, victoria cross -
Greensborough Historical Society
Photograph - Digital image, Leslie Cecil Maygar and group of soldiers, 1900c
The Maygar family came to Greensborough circa 1841 from Somerset England. They were of Hungarian descent. They farmed along the Plenty River. Leslie Cecil Maygar VC, DSO, VD was an Australian recipient of the Victoria Cross. In 1901 Lieutenant Maygar was awarded the Victoria Cross for rescuing a fellow Victorian whose horse had been shot. He died at Beersheeba in Palestine in 1917.Digital copy of black and white photograph.leslie cecil maygar, maygar family -
Greensborough Historical Society
Photograph - Digital image, Leslie C Maygar and soldiers, 1900c
The Maygar family came to Greensborough circa 1841 from Somerset England. They were of Hungarian descent. They farmed along the Plenty River. Leslie Cecil Maygar VC, DSO, VD was an Australian recipient of the Victoria Cross. In 1901 Lieutenant Maygar was awarded the Victoria Cross for rescuing a fellow Victorian whose horse had been shot. He died at Beersheeba in Palestine in 1917.Digital copy of black and white photograph.leslie cecil maygar, maygar family, victoria cross -
Greensborough Historical Society
Bereavement Card - Digital image, Ann Ruston - bereavement card 1868, 21/08/1868
Ann Ruston died 1868, aged 75 years. She was the mother of Peter Ruston who came to Australia in 1850. He worked as a carter, carting flour from the mill on the Plenty River near Janefield to the Greensborough area. He married Martha Roberts in 1858. Peter and Martha's daughter, also Martha, married David Medhurst.Connections to early Greensborough families.Digital image of bereavement card.rustin ruston family, ann ruston, peter ruston, bereavement cards -
Greensborough Historical Society
Bereavement Card - Digital image, Peter Ruston 1907 - bereavement card, 03/12/1907
Peter Ruston came to Australia in 1850. He worked as a carter, carting flour from the mill on the Plenty River near Janefield to the Greensborough area. He was one of the first bakers in the area. He married Martha Roberts in 1858. Peter and Martha's daughter, also Martha, married David Medhurst.Connections to pioneer families.Digital copy of black and white bereavement card.peter ruston, peter rustin -
Greensborough Historical Society
Article - Newspaper Clipping (copy), Jas Blackburn, The locality of Batman's Treaty with the Port Phillip natives, 09/01/1886
Text of a paper read before the Historical Society of Australia by Jas. Blackburn in 1886. Discusses Batman's Treaty with the Port Phillip traditional owners and the possible site of the signing - on the east side of the River Plenty, NW of Eltham andd 3 miles above the junction of the Plenty with the Yarra River.6p. text.john batman, batman's treaty, port phillip district, plenty river -
Greensborough Historical Society
Article, Gary Vines, Mills of the Plenty River, by Gary Vines, 2017_10
Transcript of conference paper on flour mills on the Plenty River, including Arthur Sergeantson's Carome Mill, George Coulstock's Janefield Mill and Moses Thomas's Mayfield Mill. The paper was presented at the 19th Australasian Engineering Heritage Conference in Mildura, October 2017Transcript of conference paper, 26 pages, illus. (some col.), maps.plenty river, flour mills -
Greensborough Historical Society
Article, Lucy Grace Ellem, Picturesque and panoramic: English landscape traditions and the Plenty Valley; by Lucy Grace Ellem, 1995
Conference paper comparing the natural Australian landscape with the influence of English landscape traditions.Photocopy of transcript of conference paper, 15 pages.plenty river, plenty valley, flora, landscapes -
Greensborough Historical Society
Booklet, Jenny Macklin, The Jagajaga Community Australia Day Awards 2019, 26/01/2019
This booklet lists the recipients of the Jagajaga Community Australia Day Awards 2019, hosted by Jenny Macklin, Federal Member for Jagajaga. GHS Committee Member Anne Paul received a Jagajaga Community Award for services as a volunteer with Greensborough Historical Society, Friends of the Plenty River and the Plenty River Forum. A supplementary page and colour photograph of Anne accompanies the booklet. Short report by Rosie Bray.20 p. booklet, with single page and col. photograph 2 copies`australia day awards, jagajaga, anne paul -
Greensborough Historical Society
Newspaper Clipping - Digital Image, Barak Bushland Reserve - Floods mean a lot to clean, 02/03/2005
... the rubbish. clean up australia day plenty river ...Receding flood water levels have revealed much rubbish. Clean Up Australia day volunteers work throughout Banyule and Nillumbik to collect the rubbish.Newspaper clipping, black and white text and colour image.clean up australia day, plenty river -
Federation University Historical Collection
Book, Victoria Education Gazette and Teachers' Aid, 1900-1910
The Federation University Historical Collection holds a full range of Victoria Education Gazette and Teachers' Aid from 1900-1968.Ten black hard covered volumes with red tape spine, covering 1900 to 1910. The gazettes include Education Department appointments, transfers, resignations and retirements, notices, queries, notices of books, examination papers, original articles, lesson plans, suggestions for lessons, drawing, obituaries, notes on nature study, mathematics, music, sloyd woodwork, English grammar, Victorian State School Swimming Clubs, Geography, penmanship, science, History, Latin, Geography; The School Garden - Shean's Creek .1) Arbour Day (pg 135) Images: Melbourne Teachers' College 1888 Building (p.8); Union Jack (p. 80); Gasometer (p. 132) .2) Plant Life lesson plans, The Antarctic in 1910, Model Nature Lesson - what plants live on , Superannuation Fund, Saluting the Flag, A.N.A. School Children's Competitions, school garden awards, Teacher Training College, Nature Study - A page from a Teacher's Diary, A Mushroom, Mrs Bush's Kindergarten Christmas Images: Dookie Agricultural College, George R. Button, training college students attending the university, Sloyd teachers, Staff at the Summer School, Outside Wilson Hall, Watt's River Weir, Fungi .3) Images: Walhalla State School; Francis W. Parker (p. 18); Freearm Drawing- Sale State School (p.71) .5) Images: Map of Australia (p.33); Formalin lamps for disinfecting rooms (p. 80); Melbourne Teachers Training College (p. 167) .6) Werribee Gorge Supplement (p. 3, 4, 11, 12, 13) .7) First Exhibition of Women's Work (p. 7, 73-76) .8) Images: Franco-British Exhibition; Memorial to William H. Nichols (p. 191) .9) Temperance Teaching; Birds native to Australia (p.4) Images: Royal Agricultural Show State Schools Exhibit (p. 5-18); Leonard's Hill School; Visit of the American Fleet .10) Funeral of Edward VII Images: Portsea Quarantine Station (p. 33-35)w.o. ryan, f. thomas, a.a. tipping, t.n. considine, w.c. fordyce, e.e. bull, h.w. byrne, j.t. flynn, r.t. smith, a.w. steane, james bagge, theo fink, frank tate, siede, nature, garden, education, school, teacher, teaching, arbor day, arbour day -
Federation University Historical Collection
Photograph - Photograph - black and white, Oallen Ford and Shoalhaven River, 1934
Two black and white photographs associated with Donald Mather. .1) A man, Tom Davis stands surrounded with gold mining equipment such as gold pans, cradles, picks and buckets. He is at Oallen Ford on the Shoalhaven River, New South Wales .2) A man stands beside a ute with 2 women standing on the tray. The photo was taken after crossing a ford at Shoalhaven, New South Walesdonald mather, mather, shoalhaven river, mining, ute, utility, car, gold mining -
Federation University Historical Collection
Correspondence, Letter from Lance Matthews concerning the Snowy Mountains Scheme, 1958, 25/11/1958
Lance Matthews was a former student of the Ballarat School of Mines. Dick Richards was the Principal Construction of the Snowy Scheme was managed by the Snowy Mountains Hydroelectric Authority, it officially began on 17 October 1949 and took 25 years, officially completed on 21 October 1972.A letter comprising of three handwritten pages discussing experiences of work with the Snowy River Authority by Lance Mattews. The letter was written to Richard W. Richards, Principal of the Ballarat School of Mines. A forth page is a response to the letter by Dick Richards. In the letter Matthew relates that he is living at Cooma in the East Camp, and compares the living condition to an army camp. Matthew was working for contractors, Kaiser Walsh, at the Base Plant Pool at Polo Flat about 2 miles out of Cooma. He was involved in a two week tour (inventory) of the Snowy River Scheme and saw most part of the project including Adaminaby Dam, Tunnel Pond, T1 power station and the sites and initial stages of Tooma Reservoir, Lobs Hole Reservoir, Jindabyne Reservoir and several access tunnels..dick richards, lance matthews -
Federation University Historical Collection
Photograph - Black and White, Frank Wright standing on felled trees, 1940s?
Frank Wright was a renown resident of Smeaton, where he was born on 2 August 1901. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.Black and white photograph of a man dressed in a suit standing on the trunk of a large felled tree. Around him are other fallen tree trunks, all located on the banks of a river. In the background is a bridge spanning the river and on either side of the water are the tall trees of a forest. The man is Frank Wright.frank wright, felled trees, forest, bridge