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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 -
Federation University Historical Collection
Book, Memoirs of the Geological Survey of Victoria No 14 The Ballarat Goldfields, 1923
William Baragwanath was educated at the Ballarat School of Mines, obtaining a Geology Certificate in 1911. After further study he went on the become Secretary for Mines, and Chief Mining Surveyor. Baragwanath was a Councillor of the Ballarat School of Mine from 1916 to 1950.Pink covered foolscap book of 257 pages and 32 maps and plans by William Baragwanath. Contents include topography, physiography, historical, geology, basalt, faults, dykes, minerals leads, alluvial mines, nuggets, structure of Ballarat West goldfields, structure of Ballarat East gold-field, quartz formation, indicators, defunct mines, existing mines, table of deepest shafts. Images include: section of the Ballarat Gold-Field, Dead HOrse Flat, lakes formed by Basalt Flows, Gong Gong Creek, Frenchman's Lead, Ballarat West Mines, LEases and positions of shafts (1857), puddling, White Horse Lead, Woah Hawp Canton, Ballarat Township mines, Sebastopol, syncline, Victoria United Line, First Chance Mine, Llanberris No 1 Mine, Saddle Reef, New Normanby Mine, Woah Hawp Canton Mine, South Star Mine, Sebastopol Plateau, south Woah Hawp Mine, Woah No. 2 Minegeology, geological survey no 14, ballarat, baragwanath, william baragwanath -
Federation University Historical Collection
Book - Scrapbook, Mining articles and notices, 1932 - 1936, 1934-1936
Hardcover minute book with charcoal green cover and red spine. Numerous newspaper clipping have been pasted onto the pages, most related to mining. The clippings include: 26 September 1932 - Castlemaine Goldmines - Best Prospects for Years 12 October 1932 - South New Chum Syncline Goldmines NL 30 November 1932 - New Morning Star Co. 19 February 1934 - Berringa Gold Syndicate NL 12 September 1934 - Murchison Goldfield - Triton Gold Mine 1935 - Great Poseidon 1935 1935 - Golden Age Amalgamated 11 February 1935 - Loloma Gold Mines NL 19 May 1936 - Beaconsfield Gold Mine in Tasmania 02 July 1936 - Fletchers Gold Mine 17 August 1936 - Lasseter's Reef. Kalgoorlie 17 November 1836 - Large Scale Operations at Ballarat 16 January 1937 - New Charlton Gold Area 19 January 1937 Golden Jacket Mine 26 January 1937 - Rich Quartz at Avoca April 1934 - Bendigo Mines Limited May 1934 - Church Centenary - St Luke's Campbell Town Interesting History (image) Tasmania 1932 - Evolution of Auto-Car - Cugnot's Steam Trolley (image) 1932 - Evolution of Auto-Car - Push Foot Schemes (image) 1933 - Evolution of Auto-Car - Hancock's Steam Omnibus (image) 1933 - Evolution of Auto-Car - First Petrol Car (image) 1934 - The Gold Standard - How Australia Forsook It August 1934 - Bolwarrah and Gordon's Amalgamated NL 23 August 1934 - Dunolly Gold Mines NL 12 September 1934 - Murchison Goldfield - Triton Gold Mine 08 September, Adelaide Advertiser - Australia's Heritage of Golden Days by Ernestine Hill 28 November 1934 - Chronicles of Early Melbourne by Garyowen 05 May 1936 - Bendigo Mines Director's Policy (image of E.C. Dyason) 30 June 1936 - Lamplough Mine 27 June 1936 - Gold Dredging Company for Newstead 30 May 1935, The Herald - Gordon Battery in Production 19 September 1936 - Wattle Gully reef - Payable Values at 655 Feet 30 June 1936 - Avoca Developments NL 16 July 1934 - Westralia Renown Mines NL Prospectus 07 November 1936 - Ballarat East Gold Field - English Company's Deal (Victoria United, Britania United, First Chance, Last Chance, Llanberris No 1, Llanberris No 2, Sulieman No. 1, Sulieman No. 2, Sulieman No. 4, North Normanby, North Woah Hawp, Woah Hawp Canton, Tinworth's, Prince Regent Consolidated) 07 November 1936 - Large Scale Operations at Ballarat (image of A.E. Llewellyn) * How an Australian Discovered the World's Greatest Goldfield -The Beginning of The Rand. bendigo mines, coolgardie discovery, melbourne - chronicles of early melbourne, ballarat gold field, mining, lasseter's reef, squatter, emperor mine, cassilis gold mining, granite, bendigo mines ltd, campbell town st luke's centenary, car evolution, dartmore, harcourt granite, murchison goldfield, ballarat mines, fanny bay, mail, rand, alex allan, raymond cahalin, mary dyer, robert fordham, a. garsand, augustus f. heseltine, j. owen james, william latham, k palmer, tinworth, theosanous, c. tompkin, castlemaine goldmines, coolgardie -
Federation University Historical Collection
Map, Ballaarat Gold Field, 1861
A party of surveyors camped by Yuille's Swamp (later Lake Wendouree) and surveyed the countryside for a map to be produced by the Geological Survey of Victoria. In November 2004 the Central Highlands Regional Library presented a special edition of 200 copies of the 1861 map reproduced from a copy in their collection. Original 1861 map of Ballarat showing streets and leads. Blue dots indicate gold leads, and red lines indicate auriferous quartz reef and outcrops of quartz veins."Compiled & Drawn from the Survey of Mining Surveyors Davidson, Fitzpatrick and Cowan & the Plans in the Surveyor General's Office by J. Brahe, 21st October 1861. R. Brough Smyth, Secretary for Mines. The Honourable J.B. Humffray, M.L.A. Commr of Mines.”ballarat, map, ballarat east, lake wendouree, survey, mines, robert davidson, ballarat gold field 1861, yuille's swamp, wendouree swamp, little bendigo diggings, gold leads, old post office hill, specimen hill, bakery hill, black hill, dead horse creek, brown hill, pennyweight hill, clayton hill, soldiers hill, golden point, gum tree flat, white flat, poverty hill, chinese village, robert brough smyth, ballarat map 1861, ballaarat vineyard, dead horse gully, deadhorse creek, invermay, black hill flat, gaelic church, police reserve, magpie range, dalton's flat, caadian lead, rifle butts, powder magazine, bathing house, government camp, gold office, chinese, llanberrris, victoria theatre, charlie napier hotel, united states hotel, grape's hoel, clayton's hill, cattleyard hill, free trade hotel, esmond lead, bakery hill, black hill lead, juvenile reformatory, ballarat orphanage, lady barkly lead, triffet's slaughter yard, little bendigo, melbourne road -
Federation University Historical Collection
Letter - Correspondence, Inwards correspondence to the Ballarat School of Mines, 1908, 07/01908
The Ballarat School of Mines was the first school of Mines in Australasia, and was established in 1870. It is a predecessor institution of Federation University Australia.Correspondence to the Ballarat School of Mines for the month of July 1908. Letter 162 Ballarat Fine Art Public Gallery Association 19 Lydiard Street North Ballarat, 26th June 1908 Sir, I am directed to inform you that at a meeting of the Council of the above held last evening, your previously acknowledged letter of 11th June 1908, addressted to "E. [Stoer?] Esq, President Late Technical Art School Committee", was received and referred to a committee for its report thereon, cousi directions of which was made are the Order of the Day for the Councils next Ordinary Monthly Meeting. I am, Sir, Your Obedient Servant, J.A. Powell Secretary F.J. Martell Esq Director The Ballarat School of Mines Ballarat ballarat school of mines, frederick martell, ballarat fine art gallery, j.a. powell, art gallery of ballarat, gallery association, charles j. morris, ballarat fine art public gallery association, telegram, c.h. clark, l. ditchburn, alumni, examinations, w.g. taylor, london bank of australia limited, bealiba, thomas r. lyle, jessie chalmers, signor steffani, arundel orchard, w.f. coltman, e.e. hobson, j.t. mooney, queanbeyan, p.e. marmion, willaim m. robertson, assay, e.e. brook, lloyd copper mines, h.b. silberberg & co., education department melbourne, c. james, w. west, haddon, warragul, bakers reef gold mning company, letterhead, victorian portland cement works, d. mitchell, electric lighting and traction co. australia ltd, austral otis engineering comapny ltd, melbourne glass bottle works company, cuming, smith & co. pty ltd, excursions, metropolitan gas company, jaques bros manufacturing engineers, victoria iron works, a. victor leggo co, leggo's metallurgical works, melbourne hydraulic power company limited, mount lyell mining and railway coy ltd, victorian railways, telegraph, land surveying, j. brittain, g. fitzgerald, hamilton, cochran and co, wynne-grant antimony reduction company, mt egerton and gordons mining co, e. hogan, e.c. connell, a.d. galoway, metallurgy, h.b. silberberg, specific gravity balance and weights, union bank of australia (ballarat), bullarto, bush inn, bullarto, w. harrington, prospective student, book donaton from smithsonian institution, e. la t. armstrong, department of mines and forests, melbourne, snake valley, r. hall-jones, c. calaby, clementston, thomas ramsay, w.d. thompson, longmans, green and co, selwyn chase, missionary exhibition, aboriginal court of the missionary exhibition, examination results, leslie coulter, hnery j. saw, thomas ramsay, virgil tucker, leslie c. blick, thomas r. williams, oliver w. williams, thomas r. williams, leo m. seward, david w. bonar, louis w.g. buchner, leo m. seward, albert j. robin, james a. chambers, james d. brokenshire, william kingston, edgar c. hurdsfield, virgil tucker, oliver w. williams, william g. sides, herbert hawkesworth, colin c. corrie, henry j. saw, thomas h. trengrove, thomas r. prigdeon, harold b. herbert, viola p. jackson, lionel s. davies, stanley w. tompkins, arthur m. lilburne -
Federation University Historical Collection
Book, Guide for Prospectors in Victoria, 1931
... : working alluvial deposits, equipment, geology of Victoria, gold...: working alluvial deposits, equipment, geology of Victoria, gold ...The handbook was intended for those with little experience who wanted to prospect of fossick.Grey soft covered book of 90 pages. Includes fold out map of a portion of Victoria showing auriferous areas and mineral localities. Also show Counties of Victoria and localities of minerals such as tin, antimony, copper, silver lead, Malybdenite, tungsten ores, manganese, platinum, osmiridium and iron. Chapter heading s include: working alluvial deposits, equipment, geology of Victoria, gold deposits, quartz reefs, indicators, economic minerals, assistance to prospectors, Miners' Right, mining bye-law, mining leases, forest regulations and glossary. Descriptions are given of a god dish, puddling tub, cradle, puddling machine, ground sluicing, boring, windlass, whim, hand dollying, sweeping, California pump, and wing dam.mining, baragwanath, gold, prospector, geology, quartz reefs, alluvial deposits, indicators, victorian goldfields, miners rights, mining leases, forest regulations, sluicing, sluice box, puddling machine, miner's cradle, whim, whip, california pump, gold nuggets, saddle reef, ballarat indicators, state batteries -
Federation University Historical Collection
Plan, Raywood Gold Mining Lease Blocks, c1986
Raywood is in the State of Victoria.Gold mining lease blocks at Raywood. Thought to be from The Gold-Fields of Victoria Reports of The Mining Registrars for the Quarter Ended 30th June 1886raywood, raywood botanical gardens, pound, raywood state school, buxton, new buxton, new perserverance, pioneer, new nil, south pioneer and may reef, london -
Marysville & District Historical Society
Document (item) - Gold Mine Prospectus, H.D. McKie, Prospectus of the New Golden Bower & Star Gold M.Co, 1896
A copy of the Prospectus of the New Golden Bower & Star Gold M.Co. near Marysville in Victoria.A copy of the Prospectus of the New Golden Bower & Star Gold M.Co. near Marysville in Victoria. The Golden Bower gold mine was a quartz reef mine. William Edward Chester discovered the Golden Secret gold vein which became part of the Golden Bower Mine at Chesterville near Donovans Creek on the Cumberland goldfield which he mined with George Locke until the late 1930s. new golden bower & star gold m.co., donovan's creek, nuggety gully creek, yarra track, marysville, victoria, share prospectus, upper yarra track, wood's point, victoria mount morgan gold mining co., british mount morgan mine, mr white, reefton turnoff, santa claus reef, bear's creek, mr r ely, bear's creek reef, big river, mr feely, new star reef, golden bower reef, a1 mining co, mr r m lee, locke's no.1 extended gold mining company, mr q dick -
Marysville & District Historical Society
Document (item) - Gold Mine Prospectus, Messrs Bruce & Robinson, Prospectus-Chester & Locke's Golden Secret Gold Mining Company, 1899
A copy of the prospectus for the Chester & Locke's Golden Secret Mining Company near Marysville in Victoria.A copy of the prospectus for the Chester & Locke's Golden Secret Mining Company near Marysville in Victoria. The Golden Bower gold mine was a quartz reef mine. William Edward Chester discovered the Golden Secret gold vein which became part of the Golden Bower Mine at Chesterville near Donovans Creek on the Cumberland goldfield which he mined with George Locke until the late 1930s. FOR PRIVATE CIRCULATIONshare prospectus, chester & locke's golden secret mining company, marysville, victoria, yarra track, upper yarra district, david newell, j.g. aikman, w.j. mountain, andrew barrie, gold mining, messrs w.p. jones and co., william chester, george locke, chesterville -
Marysville & District Historical Society
Document (item) - Historic Site Register Sheet, Parks Victoria, Historic Site Recording System-Site Register Sheet-Chester & Locke Mine, 1989
A copy of a historic site register sheet for the Chester and Locke gold mine near Marysville in Victoria.A copy of a historic site register sheet for the Chester and Locke gold mine near Marysville in Victoria. The Golden Bower gold mine was a quartz reef mine. William Edward Chester discovered the Golden Secret gold vein which became part of the Golden Bower Mine at Chesterville near Donovans Creek on the Cumberland goldfield which he mined with George Locke until the late 1930s. chester and locke mine, william chester, george locke, cambarville, yarra ranges, walker's hotel, marysville, victoria -
Federation University Historical Collection
Book, Selection of Geological Publications, 09/1866
This book was owned and used by Professor Ferdinand M. Krause of the Ballarat School of Mines.Ferdinand Krause was a renowned teacher at the Ballarat School of Mines. He also produced many important Geological Maps. This book has seven reports that Krause had bound together for his own use. Half black leather bound book with hand marbled paper cover. Marbling on cover is grey, maroon and darker grey with gold bands on black leather spine. The book contains 7 papers on various subjects associated with ores. The book includes: 1. Auriferous, Leads, & Silver Ores at Upper Hungary - G.H.F. Ulrich, 1868 2. Nuggetty Reef, Maldon, Victoria - G.H.F. Ulrich, 1866 3. Internal Communication - Lieut. Amsinck, 1856 4. Roads for Victoria - William Macredie, 1856 5. Mining & Mineral Statistics of Victoria - Robert Brough Smyth, 1866 6. Physical Geography & Geology of Victoria - R.C. Selwyn, 1866 7. Mineralogy of Victoria - G.H.F. Ulrich, 1866 Leather component is black with gold bands on spine with "Silver Ores etc" written on spine. 'G" on square cream paper at top of spine; "2" on square cream paper on middle of spine; and "3" on square cream paper on bottom of spine. Inside front cover on red paper rectangle near spine "bound by W. PAUL 17 Lydiard St BALLARAT" "Ferdinand M Krause C E" handwritten in black ink on title page of first paper (right hand side)treatment, auriferous, lead, silver ores, nuggetty reef, maldon, victoria, internal communication, roads for victoria, mining, mineral statistics, geography, geology, mineralogy, ulrich, amsinck, selwyn, ferdinand krause, macredie -
Marysville & District Historical Society
Photograph (item) - Black and white photograph, Unknown
An early black and white photograph of George Locke's hut in the Cumberland Valley near Marysville in Victoria.An early black and white photograph of George Locke's hut in the Cumberland Valley near Marysville in Victoria. George Locke was a well-educated young man and had some success prospecting in the Cumberland area before partnering with William Chester with whom he opened the Golden Bower gold mine in 1896. George and William then discovered a second reef which they named the Silver Bower mine. George lived in a log cabin in the Cumberland reserve and was known to be a loner. He was clever with his money and chose not to have a bank account in Marysville, where everyone would learn about his financial status. He banked at the ES&A in Fitzroy and at the time of his death in 1941 he had accumulated the princely sum of three hundred and sixty pounds. George Locke was known as "the Hermit of Cumberland Valley" and lived in his humpy until his last few days during which he moved into a Forest Commission's patrol hut because his old humpy had started to fall to pieces. When George passed away at the age of 81 years he had not visited Marysville for over 14 years. Today (2022) George Locke's hut is part of the Cumberland Reserve.Mr Lock hermit Joy Marysville 392george locke, cumberland valley, marysville, victoria, william chester, golden bower mine, silver bower mine, cumberland reserve, hermit of cumberland valley -
Marysville & District Historical Society
Photograph (item) - Black and white photograph, Unknown
An early black and white photograph of George Locke's hut in the Cumberland Valley near Marysville in Victoria.An early black and white photograph of George Locke's hut in the Cumberland Valley near Marysville in Victoria. George Locke was a well-educated young man and had some success prospecting in the Cumberland area before partnering with William Chester with whom he opened the Golden Bower gold mine in 1896. George and William then discovered a second reef which they named the Silver Bower mine. George lived in a log cabin in the Cumberland reserve and was known to be a loner. He was clever with his money and chose not to have a bank account in Marysville, where everyone would learn about his financial status. He banked at the ES&A in Fitzroy and at the time of his death in 1941 he had accumulated the princely sum of three hundred and sixty pounds. George Locke was known as "the Hermit of Cumberland Valley" and lived in his humpy until his last few days during which he moved into a Forest Commission's patrol hut because his old humpy had started to fall to pieces. When George passed away at the age of 81 years he had not visited Marysville for over 14 years. Today (2022) George Locke's hut is part of the Cumberland Reserve.george locke, cumberland valley, marysville, victoria, william chester, golden bower mine, silver bower mine, cumberland reserve, hermit of cumberland valley -
Marysville & District Historical Society
Photograph (item) - Black and white photograph, Unknown
An early black and white photograph taken at the Golden Bower in the Cumberland Valley in Victoria.An early black and white photograph taken at the Golden Bower Mine in the Cumberland Valley in Victoria. The Golden Bower gold mine was a quartz reef mine. William Edward Chester discovered the Golden Secret gold vein which became part of the Golden Bower Mine at Chesterville near Donovans Creek on the Cumberland goldfield which he mined with George Locke until the late 1930s. golden bower gold mine, cumberland valley, victoria, quartz reef mining, water-powered battery, william edward chester, george locke, chesterville, donovan's creek, cumberland goldfield -
Marysville & District Historical Society
Photograph (item) - Black and white photograph, Unknown
An early black and white photograph of the blacksmith's forge at the Golden Bower mine in the Cumberland Valley in Victoria.An early black and white photograph taken at the Golden Bower Mine in the Cumberland Valley in Victoria. The Golden Bower gold mine was a quartz reef mine. William Edward Chester discovered the Golden Secret gold vein which became part of the Golden Bower Mine at Chesterville near Donovans Creek on the Cumberland goldfield which he mined with George Locke until the late 1930s. golden bower gold mine, cumberland valley, victoria, quartz reef mining, water-powered battery, william edward chester, george locke, chesterville, donovan's creek, cumberland goldfield -
Marysville & District Historical Society
Photograph (item) - Black and white photograph, Unknown
An early black and white photograph of the Golden Bower mine in the Cumberland Valley in Victoria.An early black and white photograph taken at the Golden Bower Mine in the Cumberland Valley in Victoria. The Golden Bower gold mine was a quartz reef mine. William Edward Chester discovered the Golden Secret gold vein which became part of the Golden Bower Mine at Chesterville near Donovans Creek on the Cumberland goldfield which he mined with George Locke until the late 1930s. golden bower gold mine, cumberland valley, victoria, quartz reef mining, water-powered battery, william edward chester, george locke, chesterville, donovan's creek, cumberland goldfield -
Marysville & District Historical Society
Photograph (item) - Black and white photograph, Unknown
An early black and white photograph of the Golden Bower mine camp in the Cumberland Valley in Victoria.An early black and white photograph taken at the Golden Bower Mine in the Cumberland Valley in Victoria. The Golden Bower gold mine was a quartz reef mine. William Edward Chester discovered the Golden Secret gold vein which became part of the Golden Bower Mine at Chesterville near Donovans Creek on the Cumberland goldfield which he mined with George Locke until the late 1930s. golden bower gold mine, cumberland valley, victoria, quartz reef mining, water-powered battery, william edward chester, george locke, chesterville, donovan's creek, cumberland goldfield -
Marysville & District Historical Society
Photograph (item) - Black and white photograph, Unknown
An early black and white photograph taken at the Golden Bower Mine Camp in the Cumberland Valley in Victoria.An early black and white photograph taken at the Golden Bower Mine in the Cumberland Valley in Victoria. The Golden Bower gold mine was a quartz reef mine. William Edward Chester discovered the Golden Secret gold vein which became part of the Golden Bower Mine at Chesterville near Donovans Creek on the Cumberland goldfield which he mined with George Locke until the late 1930s. golden bower gold mine, cumberland valley, victoria, quartz reef mining, water-powered battery, william edward chester, george locke, chesterville, donovan's creek, cumberland goldfield -
Marysville & District Historical Society
Photograph (item) - Black and white photograph, Unknown
An early black and white photograph taken at the Golden Bower Mine in the Cumberland Valley in Victoria.An early black and white photograph taken at the Golden Bower Mine in the Cumberland Valley in Victoria. The Golden Bower gold mine was a quartz reef mine. William Edward Chester discovered the Golden Secret gold vein which became part of the Golden Bower Mine at Chesterville near Donovans Creek on the Cumberland goldfield which he mined with George Locke until the late 1930s. golden bower gold mine, cumberland valley, victoria, quartz reef mining, water-powered battery, william edward chester, george locke, chesterville, donovan's creek, cumberland goldfield -
Marysville & District Historical Society
Postcard (item) - Black and white postcard, Unknown
An early black and white photograph taken at the Golden Bower Mine in the Cumberland Valley in Victoria.An early black and white photograph taken at the Golden Bower Mine in the Cumberland Valley in Victoria. The Golden Bower gold mine was a quartz reef mine. William Edward Chester discovered the Golden Secret gold vein which became part of the Golden Bower Mine at Chesterville near Donovans Creek on the Cumberland goldfield which he mined with George Locke until the late 1930s. POST CARD EMPIRE FOR CORRESPONDENCE FOR ADDRESS ONLY STAMPgolden bower gold mine, cumberland valley, victoria, quartz reef mining, water-powered battery, william edward chester, george locke, chesterville, donovan's creek, cumberland goldfield, postcard, souvenir -
Marysville & District Historical Society
Postcard (item) - Black and white postcard, Unknown
An early black and white photograph taken at the Golden Bower Mine Camp in the Cumberland Valley in Victoria.An early black and white photograph taken at the Golden Bower Mine Camp in the Cumberland Valley in Victoria. The Golden Bower gold mine was a quartz reef mine. William Edward Chester discovered the Golden Secret gold vein which became part of the Golden Bower Mine at Chesterville near Donovans Creek on the Cumberland goldfield which he mined with George Locke until the late 1930s. POST CARD CORRESPONDENCE. ADDRESS ONLY. KODAK/ AUSTRALIA 30/06/10 Rose Hill/ Fitzwilliam Street/ Kew Should have written/ to you months ago about the/ photos I took at Easter./ Sorry to say the one of the little/ girls was no good I expect/ you will recognise both these/ places/ K McDowell Mrs Fletcher/ Golden Bower Mine/ Via Marysville J Mahoneygolden bower gold mine, cumberland valley, victoria, quartz reef mining, water-powered battery, william edward chester, george locke, chesterville, donovan's creek, cumberland goldfield -
Federation University Historical Collection
Letter, Inward Correspondence to the Ballarat School of Mines, 1910, 08/1910
Inward Correspondence to the Ballarat School of Mines, November 1910letterhead, education department, telegram, yarraville chlorination and ore reduction works, a. anderson, h.b. silberberg & co, a.h. walsh, j.m. edgar, charles w. frost, gordon technical college, g. king, jennings deep lead tingha tin mining company, ballarat city board of advice, metallurgical laboratory, s. radcliff, f.w. hall, ararat, gordon technical school, d.c. newham, staffordshire reef, john wilesmith, sandstone western australia, j. worthington, elaine, j. loughman, gold buyers act, h.h. smith, incorporated institute of accountants, james stapp, electric supply companyof victoria, h.j. spencer, tasmanis mines department, david melvin, caulter f. ingpen, hobson's gold mining company, canadian finance and securities, scott hotel steiglitz, g. straight, jubilee mine italians, elsie alcock, dressmaking, w.a. t. davies, legislative assembly, state forests department, myles b. webster, photography, albury, commercial banking company sydney -
Federation University Historical Collection
Book, Australasian Institute of Mining Engineers, Transactions of the Australasian Institute of Mining Engineers, Volume X, 1905
Fabric covered hardcovered book of 367 pages. Includes a number of pullout plans. Contents * Mount Lyell Mining Field Tasmania by Professor J.W. Gregory * Concentration of solver-led ores (with 6 plates) by V.F. Stanley Low * Phosphate Deposites of Ocean and Pleasnt Islands (with 15 plates) by F. Danvers Power * Coal and Coal Mining in New SoPleassant Isuth Wales by Thomas Parton * Method of TImbering at the Mount Rex Tin Mne, Ben Lomand, Tasmania by Mark Ireland * Peck's Centrifugal Elevator by W. Peck * A Portable Assay Furnace by J.J. Gillio * NOtes on Sampling by A.C. Thomas * The Career of the Gold Dredge i n New South Wales by David K. Blair * The Transmission of Power by COmpressed Air in Mines by R.W. Chapman * The Misplacement of Mning Shafts and Adits in Victoria (with 7 figures) * The Indicators of the Daylesford Gold Mines, Victoria * Mining Accounts by R.N. Kirknon-fictionausimm, a.s. kenyon, frank a. moss, mount lyell, j.w. gregory, coal, gold dredge, transmission of power, mining shaft audits, daylesford gold mines, spitzkastens, ocean island banaba, pleasant island nauru, pinnacles on flat reef pleasant island, ocean island, blow hole howe bay, rock phosphate, thomas parton, mark ireland, mount rex tin mine, ngapara dredge, w. peck, w.h. vale, daylesford, jim crow diggings, glenmona gmc, f. danvers power, leigh g. hancock, workers' industrial union of australia (barrier district) -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Yackandandah XI, 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: YACKANDANDAH / ERNEST MARCUSE Reverse: Y 1 / 012 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, Bank of Victoria – Yackandandah III, 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 / BANK OF VICTORIA / YACKANDANDAH Reverse: Y 2 / 013 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, Yackandandah VIII, 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: Y 3 / 014 / 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