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The Beechworth Burke Museum
Drawing, Ernest Marcuse, Yackandandah IV, c1983
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: Marcuse / YACKANDANDAH / Reverse: YACKANDANDAH / Y 8 / 020 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, 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: Reverse: YACKANDANDAH / Y 9 / 021 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 II, 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: YACKANDANDAH / MARCUSE / 83 Reverse: YACKANDANDAH / Y 911/ 022 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 Newtown, 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: B'WORTH NEWTOWN / OLD HOUSE / E MARCUSE Reverse: B 11/ 023 / BEECHWORTH NOSTALGIA / BW - 04 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, Chiltern, 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: Reverse: CHILTERN ? / (SAME (illegible), SAME PAPER + COLOURS AS CHILTERN PHARMACY / BOTH MAY HAVE BEEN 1981 WHEN IN YACKANDANDAH? / 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, Chiltern, 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: CHILTERN PHARMACY / Reverse: 025 / 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 -
8th/13th Victorian Mounted Rifles Regimental Collection
Photograph - Centurion at Buna Barracks
The first British designed and made Centurion tanks arrived in Australia in June 1952. The first tanks went to the 1st Armoured Regiment, but as more tanks became available armoured regiments of the Citizen Military Forces received replacements for their aging General Grant tanks. The Centurion was a great improvement on the Grant with a bigger gun and the ability to fire accurately while moving. Serving soldiers of regiments such as 8th/13th Victorian Mounted Rifles were converted to the new tank and National Servicemen received full-time training while at Puckapunyal. In February 1968, C Squadron, 1st Armoured Regiment, equipped with Centurion tanks was sent to Vietnam. This tank No 169073 was one of the twenty tanks which served in Vietnam. There were many doubters about the likely usefulness of the Centurion in the jungle and paddy field environment of South Vietnam. How would this very large tank perform? No one needed to have worried. The tanks performed magnificently and were treasured by the infantry with whom they operated. ‘Tanks save lives’ was the catchcry. Several Reserve officers were attached to the Squadron in Vietnam including Colonel John Neale and Major Gordon Cole. Following the Australian withdrawal, the tanks were refurbished and issued to Army Reserve regiments for training. Our tank was allocated to 8th/13th Victorian Mounted Rifles. Together with the tanks came a crop of Regular Army Cadre staff and training reached a new peak. When the Centurion was superseded by the Leopard surplus vehicles were allocated to museums and regimental collections as trophy vehicles. Black and white photograph of Centurion Tank No. 169073 at Buna Barracks, Albury, home of 8/13 Victorian Mounted Rifles 1988.centurion, tank, buna barracks, albury, vmr -
8th/13th Victorian Mounted Rifles Regimental Collection
Photograph - Cobram mess
Army Reserve regiments had ARA officers and senior NCOs posted to them for training and administrative purposes. The duration of the posting was usually two yearsRecords a presentation of memento in soldiers' messColour photograph of Lance Corporal Mahony, " A " Squadron 8/13 Victorian Mounted Rifles presenting a plaque to Cadre Staff Sergeant Whitney on his departure from Salamaua Barracks Cobram December 1987.military, mess, cobram, salamaua barracks, vmr -
8th/13th Victorian Mounted Rifles Regimental Collection
Photograph
Army Reserve regiments had ARA officers and senior NCOs posted to them for training and administrative purposes. The duration of the posting was usually two years.Four colour photographs taken at Buna Barracks Albury when Major Robert Morrison farewelled 4 members of the 8/13 Victorian Mounted Rifles Cadre Staff: Sergeant King, Corporal Greg Nye, Sergeant Jim Whitney and Sergeant Len Scott. -
Wangaratta RSL Sub Branch
Photograph - Framed Photograph
Colour photograph of Lt General Brian Ashley "Ash" Power AO, CSC . Ash Power was born on the 20th of January 1957 in Wangaratta, Victoria. After completing his secondary education at Wangaratta High School, he entered the Royal Military College in 1975, graduating in 1978 into the Royal Regiment of Australian Artillery. His initial appointment was as a Section Commander in 4th Field Regiment. He further served in 4th Field Regiment as a Gun Position Officer, Assistant Adjutant, Adjutant, Operations Officer (BatteryCommander Headquarters Battery) and Commanding Officer.Ash has commanded the 1st Brigade, 1st Division and Training Command – Army. He has served on exchange at the Royal Military Academy Sandhurst, Camberley, United Kingdom and has had other training appointments at the School of Artillery, and the Royal Military College Duntroon. He also served as the Defence Attaché in Thailand. On operations Ash deployed to Bougainville on Operation BELISI as Chief of Staff in 1998 and in 1999, after a short period as Chief of Staff Deployable Joint Force Headquarters, was deployed as the Colonel Operations for INTERFET in East Timor. From June 2004 to July 2005 he was appointed as Director, Combined Planning Group, US Central Command, Tampa. He deployed as the Deputy Chief of Staff, Strategic Partnering Headquarters International Security Assistance Force, Kabul, Afghanistan in 2010-11. Lieutenant General Power retired from the Army on 19 July 2014, his final posting being the Chief of Joint OperationsBrown timber frame containing photograph of uniformed Army Officer ash power, australian army -
Kew Historical Society Inc
Document, Irena Higgins, Kew Children's Cottages, 1952-1964
---, ---, Cottages Liaison Committee members, pp. 4&5 ---, (---), (Untitled), p.4. ---, (---), [Memo re feedback from Official Visitors Conference at Royal Park], p.1. ---, (---), [Patient profile proforma], pp.1-2. ---, (---), Admission to Children’s Cottages Kew, p.1. ---, (---), Admissions Procedure, pp.1-2. ---, (---), Chaplaincy, p.1. ---, (---), Children’s Cottages and Special School Kew - Open for Education Week, p.1. ---, (---), Children’s Cottages Kew, p. 1-2. ---, (---), Children’s Cottages Kew, p.1. ---, (---), Children’s Cottages, Kew - Pathology Request and Report Form, p. 1. ---, (---), Children’s Cottages? Kew, pp.1-4 ---, (---), Extracts From the Report of Dr. J. V. McCreery, first Superintendent, p.1. ---, (---), Kew Cottages Training Centre Brochure, pp.1. ---, (---), Kew Special School, pp.1-2. ---, (---), Notes for General Guidance of Officers in Charge of Idiot Children, p.1. ---, (---), Notes for General Guidance of Officers in Charge of Idiot Children, p.1. ---, (---), Notes for Student Groups, pp.1-6. ---, (---), Physiotherapy at the Children’s Cottages Kew, p.1. ---, (---), Preface to Brochure on Cottages, pp.1-2. ---, (---), The administrative staff comprises …, pp.1-2. ---, (---), Untitled, p.2. ---, (1958, 29 August), Notes from a meeting of Superintendents with Dr Dax and other superintendents, p.1. ---, (1958, October - December), Proposed Survey of Children’s Cottages, Kew, pp.1-6., and Case Sheet pp. 1-5. ---, (1961, 2 November), Untitled letter regarding finances and upgrades, p.1. ---, (1962, 25 October), Memorandum, p.1. ---, (1962), Children’s Cottages Kew [overview of activities], p.1. ---, (1962), Report for the Year 1962 [statistics], p.1. ---, (1963), The Children’s Cottages Kew, pp.1-3. ---, (1964, 10 September), Merchandise Project Children’s Welfare Fund, Kew Cottages Parents Association, p.1. ---, (1964, 26 May), [Draft] Preface to Brochure on Cottages, pp.1-2. ---, (1964, October), Report to the Twelfth Annual (Perth) Conference: Australian Council for the Mentally Retarded, Kew Cottages Parents Association, pp.1-2. ---, (1964), Children’s Welfare Fund: Disbursements July 1963 - September 1964. [Brady, Dr W.A.] , (---), Transfer of Patients from One Institution to Another, pp.1-3. [Higgins, Irena], (---), The Formation and Development of Kew Children’s Cottages Parent’s Association, pp.1-6. Ashburner, J.B., (---, ---), Notes and Instructions, Kew Mental Hospital, p.1. Ashburner, J.B., (1954, 1 April), Notices and Instructions, Kew Mental Hospital, pp.1-2. Ashburner, J.B., (1954, 10 February), Notices and Instructions, Kew Mental Hospital, pp.1-3. Ashburner, J.B., (1954, 10 March), Notices and Instructions, Kew Mental Hospital, p.1. Ashburner, J.B., (1954, 11 March), Notices and Instructions, Kew Mental Hospital, pp.1-4. Ashburner, J.B., (1954, 11 May), Notes and Instructions, Kew Mental Hospital, p.1. Ashburner, J.B., (1954, 12 March), Notices and Instructions, Kew Mental Hospital, pp.1-4. Ashburner, J.B., (1954, 12 May), Notes and Instructions, Kew Mental Hospital, p.1. Ashburner, J.B., (1954, 13 August), Notes and Instructions, Kew Mental Hospital, p.1. Ashburner, J.B., (1954, 13 May), Notes and Instructions, Kew Mental Hospital, pp.1-3. Ashburner, J.B., (1954, 14 April), Notes and Instructions, Kew Mental Hospital, pp.1-2. Ashburner, J.B., (1954, 15 April), Notes and Instructions, Kew Mental Hospital, p.1. Ashburner, J.B., (1954, 15 June), Notes and Instructions, Kew Mental Hospital, p.1-2. Ashburner, J.B., (1954, 16 July), Notes and Instructions, Kew Mental Hospital, p.1. Ashburner, J.B., (1954, 19 February), Notes and Instructions, Kew Mental Hospital, pp.1-2. Ashburner, J.B., (1954, 19 October), Notes and Instructions, Kew Mental Hospital, p.1. Ashburner, J.B., (1954, 2 April), Notices and Instructions, Kew Mental Hospital, pp.1-2. Ashburner, J.B., (1954, 2 July), Notes and Instructions, Kew Mental Hospital, p.1. Ashburner, J.B., (1954, 2 March), Annual Report for 1952, Kew Mental Hospital, pp.1-4. Ashburner, J.B., (1954, 20 August), Notes and Instructions, Kew Mental Hospital, pp.1-2. Ashburner, J.B., (1954, 21 October), Notes and Instructions, Kew Mental Hospital, p.1. Ashburner, J.B., (1954, 23 February), Notices and Instruction - Succinic Acid Treatment, Kew Mental Hospital, pp.1-2 Ashburner, J.B., (1954, 23 June), Notes and Instructions, Kew Mental Hospital, pp.1-2. Ashburner, J.B., (1954, 23 March), Notices and Instructions, Kew Mental Hospital, pp.1-2. Ashburner, J.B., (1954, 25 May), Notes and Instructions, Kew Mental Hospital, p.1. Ashburner, J.B., (1954, 27 April), Notes and Instructions, Kew Mental Hospital, pp.1-3. Ashburner, J.B., (1954, 27 May), Notes and Instructions, Kew Mental Hospital, p.1. Ashburner, J.B., (1954, 28 July), Notes and Instructions, Kew Mental Hospital, pp.1-2. Ashburner, J.B., (1954, 29 July), Notes and Instructions, Kew Mental Hospital, p.1. Ashburner, J.B., (1954, 3 September), Notes and Instructions, Kew Mental Hospital, p.1. Ashburner, J.B., (1954, 31 March), Notices and Instructions - Rations, Kew Mental Hospital, pp.1-4. Ashburner, J.B., (1954, 4 June), Notes and Instructions, Kew Mental Hospital, p.1. Ashburner, J.B., (1954, 4 May), Notes and Instructions, Kew Mental Hospital, p.1. Ashburner, J.B., (1954, 4 October), Notes and Instructions, Kew Mental Hospital, p.1. Ashburner, J.B., (1954, 6 April), Notes and Instructions, Kew Mental Hospital, p.1. Ashburner, J.B., (1954, 6 October), Notes and Instructions, Kew Mental Hospital, pp.1-2. Ashburner, J.B., (1954, 7 July), Notes and Instructions, Kew Mental Hospital, p.1. Ashburner, J.B., (1954, 5 February), Notices and Instructions, Kew Mental Hospital, p.1. Brady Dr. W.A. (1960, December), Newsletter to parents, pp.1-5 Brady, Dr W.A. (1965, 28 May), Letter to The Secretary, Mental Health Authority regarding waiting lists, p.1. Brady, Dr. W.A. (1963, 28 February) Annual Report [to the Secretary of the Mental Health Authority], pp.1-15 Brady, W.A., (1954, 9 April), Notes and Instructions, Kew Mental Hospital, pp.1-2. Brady, W.A., (1954, 15 December), Notes and Instructions, Kew Mental Hospital, p.1. Brady, W.A., (1954, 7 December), Notes and Instructions, Kew Mental Hospital, p.1. Brady, W.A., (1954, 9 November), Notes and Instructions, Kew Mental Hospital, p.1. Brady, W.A., (1955, 13 December), Notes and Instructions, Kew Mental Hospital, p.1. Brady, W.A., (1955, 14 December), Notes and Instructions, Kew Mental Hospital, p.1. Brady, W.A., (1955, 15 July), Notes and Instructions, Kew Mental Hospital, p.1. Brady, W.A., (1955, 20 June), Notes and Instructions, Kew Mental Hospital, p.1. Brady, W.A., (1955, 24 June), Notes and Instructions, Kew Mental Hospital, p.1. Brady, W.A., (1955, 24 October), Notes and Instructions, Kew Mental Hospital, p.1. Brady, W.A., (1955, 25 August), Notes and Instructions, Kew Mental Hospital, p.1. Brady, W.A., (1955, 29 March), Notes and Instructions, Kew Mental Hospital, p.1. Brady, W.A., (1955, 5 December), Notes and Instructions, Kew Mental Hospital, p.1. Brady, W.A., (1955, 8 November), Notes and Instructions, Kew Mental Hospital, p.1. Brady, W.A., (1955, 9 May), Notes and Instructions, Kew Mental Hospital, p.1. Brady, W.A., (1956, 6 January), Notes and Instructions, Kew Mental Hospital, p.1. Brady, W.A., (1961, 8 December), Invitation to a screening of Dr. Pitt’s “Brookland Experiment”, p.1. Brazier, ‘Mac’ (1964, February), Newsletter, Kew Cottages Parents Association, pp.1-2. Brazier, ‘Mac’, (1964, June), Newsletter, Kew Cottages Parents Association, pp.1-4. Brazier, ‘Mac’, (1964, April), Newsletter, Kew Cottages Parents Association, pp.1-4. Brazier, ‘Mac’, (1964, August), Newsletter, Kew Cottages Parents Association, pp.1-4. Brazier, ‘Mac’, (1964, December), Newsletter, Kew Cottages Parents Association, pp.1-4. [3 copies]. Brazier, ‘Mac’, (1964, July), Newsletter, Kew Cottages Parents Association, pp.1-4. Brazier, ‘Mac’, (1964, May), Newsletter, Kew Cottages Parents Association, pp.1-4. Brazier, ‘Mac’, (1964, November), Newsletter, Kew Cottages Parents Association, pp.1-5. Brazier, ‘Mac’, (1964, October), Newsletter, Kew Cottages Parents Association, pp.1-6. Brazier, ‘Mac’, (1964, September), Newsletter, Kew Cottages Parents Association, pp.1-4. Brazier, Betty (1964, 26 April), Letter to I Higgins re Distribution of newsletters to staff, Kew Cottages Parents Association. (p.1) Dale, (1964), A Few Facts About the Children’s Cottages Kew Fordyce, J., (1956, 13 January), Notes and Instructions, Kew Mental Hospital, p.1. Higgins, Irena (---), A Short History of the Children’s Cottages, Kew, pp.1-2. Higgins, Irena (1966, 28 November), Letter to Dr Brady regarding waiting lists, pp.1-3. Higgins, Irena, (---), ‘Children’s Cottages’, Kew, p. 1-2. Loveless, L.W., (1963, 18 July), [Commonwealth Department of Social Services] ‘Approval of Children’s Cottages as an endowed Institution’, p.1. M.H. 11, Schedule 17 Section 41 (2) (b), ‘Request of Medical Practitioner for Admission of Voluntary patient to a Training Centre or Private Training Centre’, Mental Health Regulations 1962, p.1. M.H. 12, Section 41 (10) (a) (b) (c), ‘Order for the Discharge of a Voluntary Patient’, Mental Health Regulations 1962, p.1. M.H. 13, Section 41 (10) (d), ‘Application for Discharge by Voluntary Patient and Order for Discharge’, Mental Health Regulations 1962, p.1. M.H. 14, Section 41 (1), Application for Leave of Absence for Voluntary Patient, Mental Health Regulations 1962, p.1. M.H. 2, Schedule 9 Section 41 (a) 41 (b) 42 (1) 43 (1) 44 (1) 48, 59 (1) (2) ‘Statement of Personal Details of Patient’, Mental Health Regulations 1962, p.1-2. M.H. 21, Schedule 9 Section 44 (1) 48 and 52, Medical Approval for Admission to Training Centre, Mental Health Regulations 1962, pp.1-2. M.H. 22, Schedule 25 Section 44, Request to Receive a Patient into a Training Centre, Mental Health Regulations 1962, p.1. M.H. 33, Schedule 40, Section 62, Notice of Death, Mental Health Regulations 1962, p.1. M.H. 37, Section 87 (1), Application and Approval for Trial Leave, Recommended and Approved Patients, Mental Health Regulations 1962, p.1. M.H. 39, Section 93 (1), Order of Superintendent for Discharge of Patient on Leave Upon Production of Medical Certificate, Mental Health Regulations 1962, p.1. M.H. 40, Section 94 (1), Order of Superintendent for Discharge of Patient, Mental Health Regulations 1962, p.1. M.H. 43, Section 102, Consent of the Chief medical Officer or Superintendent for Anaethesia or Surgical Operation Upon a Patient, Mental Health Regulations 1962, p. 1. M.H. 7, Schedule 14 Section 41 (2) (a) (i) and (ii), ‘Application for Admission of Voluntary Patient to a Training Centre or Private Training Centre by Parent or Guardian’, Mental Health Regulations 1962, p.1. M.H. 9, Schedule 16 Section 41 (2) (a) (ii), ‘Application for Admission to a Training Centre as a Voluntary Patient’, Mental Health Regulations 1962, p.1. Medical Officers (1958, 11 October), Percentage of deaths and statistics for the years 1955 to 1957, Report to Dr. E.C. Dax, Chairman, Mental Health Authority, pp. 1-2. Plumridge, Len, (1964), Statement of Receipts & Expenditure 1963-1964: Children’s Welfare Fund, Kew Cottages Parents Association, p.1. Temby, E., (---), The Kew Cottages Parents’ Association, p. 1-2. Temby, Ethel, (1964, October), Proceedings of the Twelfth Annual Conference, Australian Council for the Mentally Retarded, pp.1-2. Temby, Ethel, (1964, September), [Information Committee] Sixth Annual Report pp.1-2 Temby, Ethel, (1964, September), Information Committee: Sixth Annual Report, pp.1-2 Wann, E.M., (1956, 16 March), Memo [regarding the overcrowding crisis], p. 1. WM.7663 (---), Children’s Cottages Kew E.4 [overview and personnel], pp. 1-2.An important manuscript comprising original and reproduced materials from the period 1952-1964 assembled by and for senior staff at the Children's Cottages, Kew.Sorted folio of original manuscripts and printed material from the 1950s and 1960s relating to the Kew Cottages created by Irena Higgins, senior social worker at the Kew Mental Hospital and Kew Cottages. The material later formed part of the collection of Dr Cliff Judge, resident psychiatrist at the Cottages. Material within the folio includes original typescripts created by Irena Higgins, copies of newsletters by various Superintendent and Deputy Superintendent Psychiatrists including Dr A.W. Brady, and published and unpublished reports to relevant mental health departments.mental health - victoria - history, chidren's cottages - kew, irana higgins, dr cliff judge, dr. a.w. brady -
Vision Australia
Administrative record - Text, Royal Victorian Institute for the Blind annual report 109th 1974-1975, 1974-1975
Articles in annual report include: List of RVIB president, vice president, board of management, medical staff and officers of the institute, honorary officers and consultant medical staff, President's report, The children - independence and achievement, Our Christmas party, Multi handicapped blind children, Training and understanding at Burwood centre, Financial independence through employment, Training confidence and achievement, Expansion of welfare services, Other services, Carols by candlelight, Auxiliaries and other generous helpers, Public education, Finance, Services and facilities, When you make or amend your will. Events that occurred in 1974 : Two permanent welfare officers in the country at Wangaratta and Sale, Re-equipment programme for the library and enlarging the range of books and magazines available to readers, Burwood centre for multi handicapped blind children separate to school - accommodation for twenty-four, Training department started instruction in use of hand tools - two clients gained employment in wood assembly. 1 volume of text and black and white photographsroyal victorian institute for the blind, annual reports -
Vision Australia
Administrative record - Text, Royal Victorian Institute for the Blind annual report 105th 1970-1971, 1970-1971
Articles in annual report include: List of RVIB president, vice president, board of management, medical staff and officers of the institute, honorary officers and consultant medical staff, President's report, Nursery and school, Industrial, Training and rehabilitation centre, Multi handicapped blind children, Sight restored after 35 years - article about John Crowe who went to New York where no other medical centre in the world offered a procedure to use a synthetic cornea. The cost of the trip was met by RVIB, after losing his sight which he lost in an industrial accident, when he returned to Melbourne he saw his wife for the first time, Carols by candlelight, Finance, Welfare and counselling services, Blindness in old age, Auxiliaries and other general helpers, Services and facilities, When you make or amend your will. Events that occurred in 1970 : Australia post supported work training program -offered a complete training centre for blind switchboard operators, the only one of its type in the world, established at the institute, 53 operators were successfully employed in Vic, some also operate as receptionists.1 printed volume with photographsroyal victorian institute for the blind, annual reports -
Vision Australia
Administrative record - Text, Royal Victorian Institute for the Blind 104th annual report 1969-1970, 1969-1970
Articles in annual report include: List of RVIB president, vice president, board of management, medical staff and officers of the institute, honorary officers and consultant medical staff, The president's report, Nursery and school, Employment - the means of independence, Training and rehabilitation centre the rebirth of confidence and skills, Multi handicapped children, Our senior blind citizens the aged are not forgotten, Finance, Our auxiliaries and other helpers, Welfare -an increasing need, Melbourne traditional carols by candlelight, Services and facilities, When you make or amend your will. Events that occurred in 1969 : Alexander Mair died, he was a member of the board of management since 1952, RVIB faced a deficit, to date they did not have to restrict the scope of any of the services available to blind people and it was hoped with increasing support from all sections of the community that they would not have to do so, after 31 continuous years radio station 3KZ decided to discontinue its association with the Melbourne traditional Christmas festival carols by candlelight but in doing so offered the RVIB the rights to continue. It was the first time RVIB hosted and they offered thanks to television channel 0 and radio station 3AW.1 volume of printed text with photographsroyal victorian institute for the blind, annual reports -
Uniting Church Archives - Synod of Victoria
Photograph, 1944
Rev Ira Menear (1901 - 1977). Born at Kapunda. Worked at the Kimba and Pt Neill mission stations on the west coast of South Australia before studying at the Brighton Training College and Adelaide University. Graduated B.A. Adelaide University 1928. After completing his theological training he was appointed to the Norwood Circuit before being appointed to take charge of the Methodist Inland Mission at Cloncurry. Minister at Crow's Nest, Gympie & Rockhampton 1936 - 1940. In 1940 he was accepted as a pilot officer in the RAAF, having been given leave of absence by the Methodist Conference. Menear enlisted RAAF air crew but was later transferred to the administrative staff. He rose from A.C.1 to the rank of Acting Wing Commander. He served in many parts of Australia, including the Darwin area. After the war Rev Menear took charge of the Commonwealth Rehabilitation Centre at Mount Osmond and later Mount Breckan, Victoria Harbour Rehabilitation Centre. B & W waist length studio portrait of Rev. Ira Menear dressed in his RAAF Flt. Lt. uniform."Seasons Greetings I Menear F/LT Control Officer Operations Room Pearce W.A."ira menear, methodist, minister, adelaide university, brighton training college, methodist inland mission, cloncurry, raaf, commonwealth rehabilitation centre -
Ambulance Victoria Museum
Photograph, Ambulance Staff, 16September 1982
presentation of certificates of applied science (ambulance) to T (?) O'Loughlan, K (?) Robinson and D. Smith. These were the first ambulance officers to graduate from the new ambulance officers training course. Mr R. W. Purnell, president of the ambulance service, makes the presentation. Source inscription on photograph.Black and white photograph. Three ambulance officers being presented certificates by man in suit.o'loughlan, robinson, d. smith -
Ambulance Victoria Museum
Medallion, Commemorative, Peninsula Ambulance Service, 1987
Medallion issued to Peninsula Ambulance staff to commemorate the amalgamation of that service with Ambulance Service Melbourne. Given to Laurence Spelling. Laurie Spelling joined the ambulance service in the early 1970s and completed various training courses at the Ambulance Officer's Training Centre. He was employed by the Peninsula Ambulance Service and later qualified as a paramedic and was MICA coordinator. In the period 1999-2003 he was area manager for Rural Ambulance Victoria.Gold coloured circular medallion in cream coloured plastic case. Peninsula Ambulance Service 1953 - 1987peninsula ambulance service, amalgamation, laurie spelling -
Ambulance Victoria Museum
Medallion, Commemorative, Metropolitan Ambulance Service, Doncaster headquarters opening, 16 May 1989
presented to staff to mark the official opening of the Doncaster headquarters. Given to Laurence Spelling. Laurie Spelling joined the ambulance service in the early 1970s and completed various training courses at the Ambulance Officer's Training Centre. He was employed by the Peninsula Ambulance Service and later qualified as a paramedic and was MICA coordinator. In the period 1999-2003 he was area manager for Rural Ambulance Victoria.Bronze circular medallion in plastic case. presented to staff to mark the official opening of the Doncaster headquartersdoncaster, laurie spelling, laurence pearce spelling -
Ambulance Victoria Museum
Puzzle, promotional, ambulance membership, 1996
Givaway promotionl item used for Ambulance Week in 1996. Given to Laurence Spelling. Laurie Spelling joined the ambulance service in the early 1970s and completed various training courses at the Ambulance Officer's Training Centre. He was employed by the Peninsula Ambulance Service and later qualified as a paramedic and was MICA coordinator. In the period 1999-2003 he was area manager for Rural Ambulance Victoria.White plastic puzzle with movable parts. Features caricature of ambulance office in slouch hat. presented to staff to mark the official opening of the Doncaster headquartersambulance week, membership, laurie spelling, laurence pearce spelling -
Ambulance Victoria Museum
Photograph, Ambulance Officers, Ambulance Officers Training College, 1976
... Training College Photocopy of group photograph. Three rows of staff ...Ambulance Officer Training College class of 1976. Ambulance officer George Hood may appear in this photograph. George passed on a large donation of material to the museum relating to Reg McGinley.Photocopy of group photograph. Three rows of staff. -
8th/13th Victorian Mounted Rifles Regimental Collection
Plaque - Almond plaque
Warrant Officer Class One Ron Almond served on the 8/13 Victorian Mounted Rifles cadre staff before being posted as a member of the Australian Army Training Team Vietnam (AATTV) in 1969. There he was posted as adviser to 17th Armored Cavalry Squadron. He later returned to 8/13 VMR as Regimental Sergeant Major. The AATTV was a specialist unit of military advisors of the Australian Army that operated during the Vietnam War. Raised in 1962, the unit was formed solely for service as part of Australia's contribution to the war, providing training and assistance to South Vietnamese forces. Initially numbering only approximately 30 men, the size of the unit grew several times over the following years as the Australian commitment to South Vietnam gradually grew, with the unit's strength peaking at 227 in November 1970. Members of the team worked individually or in small groups, operating throughout the country from the far south to the Demilitarized Zone (DMZ) in the north. Later they were concentrated in Phước Tuy Province as Australian forces prepared to withdraw from Vietnam. It is believed to be the most decorated Australian unit to serve in Vietnam; its members received over 100 decorations, including four Victoria Crosses, during its existence. The unit was withdrawn from Vietnam on 18 December 1972 and was disbanded in Australia on 16 February 1973. A total of 1,009 men served with the unit over a period of ten years, consisting of 998 Australians and 11 New Zealanders. Representative of a connection between Australian Army Reserve and South Vietnam.Wooden shield with coloured plastic emblem mounted at centre and engraved metal plate below.Presented to / 8/13 VMR OR's Mess / By Ex RSM 8/13 VMR / WO1 Ronald M Almond / 17th Armoured Cavalry Sqn / Advisory team 116 / Republic of Vietnam / May 1969-May 1970military, cadre, aattv, vietnam, cavalry, armour, almond -
8th/13th Victorian Mounted Rifles Regimental Collection
Photograph - Wynd and Cobain
Major cobain was Officer Commanding VMR Squadron, Sgt Wynd was Training Sergeant and S/Sgt Reynolds was Pay Sergeant.Colour photograph of Sergeant G. Wynd, Major F Cobain and Staff Sergeant D. Reynolds all of 8/13 Victorian Mounted Rifles at Dinner at Buna Barracks 25 May 1991.dinner, wynd, cobain, vmr -
8th/13th Victorian Mounted Rifles Regimental Collection
Photograph
The4th Task Force ( 4TF ) was a grouping of all arms ans services in Victoria. They combined to conduct recruit training courses. On this occasion it was held at the 8/13 VMR depot in Siseley Avenue, Wangaratta. Named are Back -, -, Sgt. Steffard, -, SGT.Tehaar,. Centre : Sgt. Bainer ( in centre ) Front: -, -, -, RSM White DCM 4/19th PWLH,Major Neale OC, Captain Horne 4/19th PWLH,-,-.Black and white photograph of twenty - four Officers and NCO's posed in three tiers. Mixture of headdress and badges indicate they come from a variety of regiments.Staff 4TF Recruit Camp Wangaratta August 1968. -
8th/13th Victorian Mounted Rifles Regimental Collection
Uniform - Victorian Mounted Rifles battledress
This uniform probably was worn by a cadre staff member posted to 8/13 Victorian Mounted Rifles to provide training to reserve soldiers. The 8th/13th Victorian Mounted Rifles was raised as a regiment of the Royal Australian Armoured Corps on 1 May 1948 with Headquarters in Melbourne and squadrons in Sale, Benalla/Wangaratta and Albury. In 1955 Regimental Headquarters moved to Wangaratta and a second squadron was located at Albury. The Sale squadron transferred to 4th/19th Prince of Wales’s Light Horse. In 1977 8/13 VMR Regiment was reduced to an independent squadron A Squadron 8th/13th Victorian Mounted Rifles and in 1991 was linked with 4th/19th Prince of Wales’s Light Horse forming the VMR Squadron of that regiment.Battledress jacket, trousers, shirt and tie with Warrant Officer Class Two rank insignia, Parachute qualification insignia, ribbon bar: General Service medal with Borneo bar, Vietnam medal, National medal and Vietnamese Campaign medal.military, vmr, uniform -
8th/13th Victorian Mounted Rifles Regimental Collection
Photograph
In this exercise A Squadron 8/13 VMR operated under command 2 Cavalry Regiment. Major D. Hunter commanded A Squadron 1980-1982, then was promoted to Lieutenant Colonel and posted as Staff Officer Grade 1 ( SO1 Armour ) on Headquarters 3rd Division.Colour photograph of officer standing beside camouflaged M113 Armoured Command Vehicle ( ACV ) during exercise in Ivanhoe NSW area, 1980. Major Doug Hunter was Officer Commanding A Squadron 8/13 Victorian Mounted Rifles.military, vehicle, training, soldier, camouflage, hunter, vmr, victorian mounted rifles, acv -
Melbourne Legacy
Magazine - Newsletter, Melbourne Legacy, Legacy Newsletter August 1956, 1956
The newsletter from August 1956. It featured Lord Mayor of Melbourne Sir Frank Selleck on the cover. The president's introduction talked about Frank Selleck suggesting the name Legacy. There was an article about the Victoria Cross and one about the new Legacy house in Swanston Street. Also a careers page focusing on nursing as a profession. Pages showed news from the different Boys and Girls Classes. Also photos of the Legacy staff, including Miss Dorrie Vines -Matron of Stanhope, Mrs B Cobby -Legacy's Welfare Officer, Mrs V Duncan -office supervisor and Mr Jim Tierney -boys instructor. A small photo shows the wedding of Lynn Rennie a former junior legatee, with her Legatee Ralph Small. And mentions Lyn's twin sister Jean is speech training instructor on Tuesday nights. A newsletter published by Legacy in this format for many years from 1942. It mentions "Issued from time to time for Private Circulation among the Sons and Daughters of Deceased Service men and Merchant Seamen who served their Country during the War of 1914-18, or the present War". Many articles on the work of Legacy, including features on boys classes, girls classes, camps, the residences and where their past residents ended up. There are some suggestion for careers and some general interest articles. Some very interesting photos.Newsletter outlining news of Junior Legatee activities.Black and white printed newsletter x 16 pages from August 1956. Volume 9 Number 2Date on cover incorrect - real date August 1956boys classes, activities, girls classes, staff -
Federation University Historical Collection
Programme, Memorial Service Booklet for Hugh Dean Thomas Williamson, 1985
Hugh D.T. WIlliamson C.B.E. was born in Ballarat on 04 February 1901 and died on 20 December 1985. "He witnessed first-hand the difficulties of rural life exacerbated by a world war that had stripped whole towns of their young men, and the long, lean years of the Depression were to define the way he lived the rest of his life. Hard work, constancy, eschewing wastage of any kind along with a hunger to seize opportunities wherever they presented themselves were the principles that informed his life and career and which, in time, gave rise to a commitment to others and to organisations and communities in which he saw the same ideals. Hugh attained the rank of Honorary Colonel in the Salvation Army and attained its highest award in 1978 when he was presented with its Distinguished Service Medal. In his time with the Salvation Army, Hugh helped establish the Red Shield Appeal and established scholarships to support senior officers to obtain business management training at the Australian Administrative Staff College in Mt Eliza (operated from a property formerly owned by Sir Reginald Ansett). He began his working life at age 16 at the Ballarat Banking Company. He steadily worked his way up through the ranks of the banking industry to become General Manager of the ANZ Bank from which he retired in 1961. Hugh was also a founding Trustee of the William Buckland Foundation, an association which strongly influenced his decision to set up his own foundation."Yellow Order of Service booklet for the funeral of Hugh Williamson. hugh williamson, hugh d.t. williamson, memorial service, martin carlson, j. davis mccaughey, francis macnab, frank linsell, john norman, ian harrison -
Dandenong/Cranbourne RSL Sub Branch
Badge - RAN Bridging Train Collar Badge, Circa 1914/15
The 1st Royal Australian Naval Bridging Train (1st RANBT) was formed in Melbourne on 28 February 1915 and was intended to be a horse drawn engineering unit attached to the Royal Naval Division (RND), then serving as infantry on the Western Front. The term ‘train’, in its title, was a direct reference to the horse drawn wagons that would, in theory, form and move ‘in train’ to carry the unit’s heavy lumber, building materials and engineering equipment to the front. The unit was manned by members of the Royal Australian Naval Reserve for whom there were no available billets in seagoing RAN ships. Many of the sailors serving in the 1st RANBT were rated ‘drivers’, and again, this refers to wagon drivers as opposed to motor vehicle drivers. Other seamen were rated as ‘artificers’ or ‘sappers’, the latter being a military term traditionally used to describe army engineers. Appointed in command of the 1st RANBT was Lieutenant Commander Leighton Seymour Bracegirdle, RAN. Bracegirdle was ideally suited to command the unit, having seen active service with the NSW Naval Brigade during the Boxer Rebellion in China as well as serving as a military officer in the South African Irregular Horse during the Boer War in 1901. He had also recently returned from German New Guinea where he had served as a staff officer in the joint Australian Naval and Military Expeditionary Force (ANMEF) responsible for the capture of the German colonies in the Pacific in September 1914. Three hundred naval reservists, including 50 men who had recently served in New Guinea, were selected for the 1st RANBT and they began their training in horsemanship, engineering and pontoon bridging at the Domain in Melbourne. By late May 1915 a decision was made to send the unit to Britain to complete its training and then to join the RND on the Western Front. The plan, however, never eventuated. The complaints about the non-combatant work being done by the men had been raised in Federal Parliament and following consultation with the senior Australian officer in the Middle East, Lieutenant General Sir Harry Chauvel, a recommendation was made that the unit be disbanded and its men used as reinforcements for the AIF. Consequently, Lieutenant Commander Bracegirdle was advised that his unit was to be dispersed; its men transferring to the AIF or being returned to Australia for discharge. On 27 March 1917 the 1st RANBT was officially disbanded.Oxidised brass anchor shaped collar badge.ww1, world war 1, first world war, ranbt, ran bridging train, royal australian navy bridging train, collar badge -
Bendigo Military Museum
Manual - TRAINING MANUAL, ARMY OFFICER, Staff Officers Course
... TRAINING MANUAL, ARMY OFFICER Manual Staff Officers Course ...A restricted access document covering topics related to officer training. Part of the collection of KEVIN JOHN HERDMAN No.397661. See Cat No. 5942P for details of his service record.Blue coloured plastic coated two ring binder containing printed black text and handwritten notes. Handwritten notes in blue ink. Printed pages are white in colour with cut edges and rounded corners. Two holes punched in all pages. Sections separated by alphabetically labelled light brown dividers. Handwritten and typed pages are on white paper with blue lines. Various printed and hand-drawn diagrams. Title on cover in gold coloured lettering, Australian Army, logo in gold.On inside of folder's back cover on Dymo tape label: "HERDMAN".officer training, australian army, training manual, kevin john herdman -
Melbourne Legacy
Document, Thank you note to donors and a flyer, 1965
A copy of note that was given to donors to thank them for their donations it was sent with their receipt. Was part of a folio of proforma stationery from the 1960s. The flyer gives some information about Legacy House. It mentions the facilities available for the benefit of widows and children. Including two large well equipped gymnasia which are attended by more than 700 junior legatees each week. A dental clinic were Junior Legatees under 17 years of age are able to receive free dental examinations and treatment. Free medical examinations are carried out here too. Meeting rooms for Junior Legacy Mothers' Club and Senior Widows Club (those over 50 years of age). When printed the Senior Widows Club numbered more than 5,200. It mentions room for fetes run by a number of auxiliaries to raise funds. Also a sewing room fitted with 5 electric sewing machines to make costumes for the Annual Demonstration. A well equipped library for use of the Junior Legatees. A ladies lounge and television room where widows may rest when visiting the city. Rooms for speech training and mathematics coaching classes. A maintenance workshop where all sporting and general equipment used by widows and children can be repaired and/or constructed. Sundry committee meeting rooms where members of Legacy meet to consider and find solutions for the many problems which arise in respect of the families they care for. Sundry equipment and costume storerooms. Office accommodation for permanent staff including welfare and pension officers. Was compiled in a folio of proforma stationery. A similar set of proformas are at 00338.A record of forms and items used in Legacy's business practices in the 1960s.Yellow brochure thanking donors and a flyer about Legacy pasted on brown paper from a folio of forms and brochures from the 1960s.Pencil mark '1960/1'.proformas, stationery, forms, dureau house