Set of 4 digital images of W6 1000 on the opening day of the service in Bourke St via High St Northcote to East Preston on 26/6/1955. .1 - 1000 (East Preston route 89) at Spencer St, note the sign behind the tram and the newly painted safety zone. Has the Mail Exchange in the background. .2 - ditto at Spencer St with Carlyon's Hotel and the Spencer St Railway station in the background. .3 - tram arriving at the East Preston depot leads - has adverts for Milo, Kiwi boot polish and Pleshur's shoes. .4 - ditto with a Book Repairs Shop, R. P Evans, Goweville Hotel advertising Fosters Lager, and the Melody Picture theatre, In the background is Bell St with a set of clock traffic lights and two tower wagons and a Pura Milk truck just behind the tram.trams, tramways, w6 class, opening, route 89, bourke st, east preston, high st, northcote, tower trucks, traffic lights, bell st, tram 1000

Sign, metal - machine inscribed, with black paint infill, black edge and four screw holes in corners largely covered in tramway green paint. Has been curved to fit the curved section above the windows which is rounded - the top rail. Titled "Notice to Tram Crews", advising the crews which numbers to ring or call in the event of a delay to service. Gives both the track and public telephone numbers. C1950.trams, tramways, signs, delays, accidents, incidents, control centre, crews

Provides a list of the lettering to be painted on the cable trams operated by the Melbourne Tramway and Omnibus Co. (MTOCo) including horse trams and horse omnibus routes. Dated 14/0/1898. Yields information about the signage applied to the Melbourne cable trams by the MTOCo. in 1898.Drawing or list black ink on linen.tramways, cable trams, mtoco, signs, grip car, dummy, trailes, horse buses, horse tram

Sign with equal red bands at top and bottom, white band with letters "HAIL CARS HERE" on both sides to indicate to drivers a request stop, that is, the intending passenger had to indicate or hail the oncoming tram for it to stop and allow them to board. The same sign was used for the same purpose in Melbourne. Has three holes for screws on the upstand or folded section. See item 7395 for a "CARS STOP HERE" version. The second image shows a comparison between the two types. Demonstrates the signage used by the SEC (and the MMTB) to indicate tram stops and in particular whether a request or compulsory tram stop. Piece of sheet steel folded to give an upstand or method of attachment to a pole, enamelled with red, white and black paint for use at tram stops. trams, tramways, ballarat, secv, tram stops, furniture

Demonstrates a hand made metal tram stop sign.Semi circular sign with mild steel metal strap for use at tram stops and fixed around a pole. Painted on heavy metal sheet. Red band top and bottom, smaller band at top with words HAIL TRAM HERE in black paint on a white background. Used on Ballarat system until 9/1971. Has a black painted back. Second copy - with an orange metal oxide painted back and rust marks where strapped to a pole somehow.trams, tramways, ballarat trams, secv, street furniture, tram stops

Piece of sheet steel, enamelled with red, white and black paint for use at tram stops. Small red band at top, white band with letters CARS STOP HERE and large red band underneath, on both sides to indicate to drivers a compulsory stop- That is all tram to stop at the location. Same sign used for same purpose in Melbourne. Two copies held. See also Reg Item 7395 for another sample.trams, tramways, ballarat, secv, tram stops, furniture

Timetable board, giving first and last trams to City for weekdays, Sat and Sun. With mounting holes, lettered on one side only. Reverse side painted black. Was located at Gardens Loop, via Drummond St. Nth. See SECV TimetablesDemonstrates a SECV timetable signs that were located at various points on the tram system,Sheet metal sign, black background, with white letters, painted.Scratching on sign -= "KB 1966" and "Sandra / KB / 1966" contained within a heart.ballarat trams, timetable boards, secv street furniture

Timetable board, giving first and last trams to City for weekdays, Sat. and Sun. With mounting holes, lettered on one side only. Reverse side painted black. Located at Depot or Haddon St. loop. On lower half, writing of times apparent. See SECV TimetablesDemonstrates a SECV timetable signs that were located at various points on the tram system,Sheet metal sign, black background, white letters, painted.transport equipment, timetable boards, secv street furniture

Timetable board, giving first and last trams to City on weekdays, Sat and Sun, with mounting holes. Lettered on one side only, reverse side painted black. Located at Sebastopol terminus. Over painting apparent. For photo of this board in position see item 1269.Demonstrates a SECV timetable signs that were located at various points on the tram system,Sheet metal sign, black background, white letters, painted.ballarat trams, timetable boards, secv street furniture, signs

Timetable board, giving first and last trams to the City for weekdays, Sat and Sun. With mounting holes, painted on one side only, reverse side painted black. Located at Lydiard St. North terminus. See SECV TimetablesDemonstrates a SECV timetable signs that were located at various points on the tram system,Sheet metal sign, black background, white letters, painted.ballarat trams, timetable boards, secv street furniture

Timetable board, giving first and last trams, weekdays, Sat and Sun. To 'City', with mounting holes, lettered on one side only, reverse side painted black, located at Victoria St. terminus. See SECV TimetablesDemonstrates a SECV timetable signs that were located at various points on the tram system,Sheet metal sign, black background white letters, painted.ballarat trams, timetable boards, secv street furniture

Possibly from a horse omnibus which was licensed to carry 12 passengers inside and 2 on the outside. Not applicable to cable tram or an electric tram.Demonstrates the method of advising the licensed capacity of a vehicle.Sign - rectangular sheet steel - provided with three screw holes - badly damaged around the centre hole where it has been removed from the original vehicle and paint damaged. Dark red background paint with yellow letters. Painted brown on the rear side.signs, public transport, horse omnibus

Used by the MMTB to indicate to conductors and inspectors, the tramcar number. Placed on the driver's bulkhead, facing into the tram with one at either end of the tram. The tram was built by Holden's Bodyworks in Adelaide, entered service in April 1926 and was disposed of in Oct. 1967.Demonstrates the method of advising crews the tramcar number internally.Set of 2 signs - galvanised rectangular sheet steel - provided with four screw holes, one in each corner painted with the numerals 3, 3, and 0. Both have small pins - one on the lower edge and one on the right side.signs, trams, tramcars, tram 330, w2 class

Badge or lapel pin for tram crews at the 1999 Qantas Grand Prix featuring a checkered flag and the front of a B class tram, with a card giving details or the item and signed by Russell Nathan as Chief Executive.Demonstrates a Swanston Trams badge given to crewsBadge or lapel pin made with a gloss painted finish and a pin with the retaining clip on the rear within a plastic packet and card. Two copies held. tramways, badges, grand prix, swanston trams, crews

Black colour file folder fitted with Wotar hand operated clip to retain documents. Contains information about destination rolls, layouts, memos regarding destination rolls, signed by R. C. Drummond, bus rolls, Decorated car rolls, route numbers. In the rear of the document are sheets outlining paint and material stocks in 1969/1970. Prepared during the 1960's and early 1970s. See images for destination rolls and route number listing.trams, tramways, mmtb, preston workshops, destination roll, route numbers

May Coles (1915 - 2007) worked for more than 25 years at the exclusive Georges store in Collins St. May lived nearby the West Preston tram terminus and caught the tram to work. The work was commissioned by May to recall those special years of her work at Georges. Has a close association with May Coles who commissioned Norman Kirkpatrick to paint the work.Framed Painting of Norman Kilpatrick 1982, of W 785 west bound in Collins St with Georges Department Store in the background. Wooden frame, painted light and dark brown with light cream cloth inner from and cream lined. Stretched canvas over wooden inner frame stapled to main frame and covered with a Masonite lining on the inside. See notes etc.Signed "Norman Kilpatrick 1982" in bottom right hand corner.trams, tramways, collins st, georges department store

Set of two signs, Masonite with holes near each corner, orange background, with words "Move People" and " Not Vehicles". Used by the AETA at conventions, displays etc. Possibly made 1970's by style of letters and paint.trams, tramways, aeta

Sign, Masonite with holes in each corner, orange background, with words "Australian Electric Traction Association". Used by the AETA at conventions, displays etc. Possibly made 1970's by style of letters and paint.trams, tramways, aeta

Sign, sandwich board style, Masonite sheets secured to pine uprights, yellow background, green letters, with words "Australian Electric Traction Association". Used by the AETA at conventions, displays etc. Possibly made 1980's by style of letters and paint. Has four 50x18 wooden legs, with hinges at the top to support sign and allow it to be opened. Fitted with rope and eyehooks to allow it to be carried our secured in the open position. These are damaged and not functional. Some repairs made.In black letters on one side at the rear, "14 1/2" towel rail rod"trams, tramways, aeta

Tram Stop sign - made from silver painted metal bracket and cement sheet - stop No. 47. Two painted sections of white bakelite sheet - each with one number, bolted onto a metal bracket with a circular metal bracket and bolts to go around a pole. Numerals red - but have faded, off white background. See also item 3780 for another example of the numbers. Said to be from the tram stop outside Camberwell depot.trams, tramways, tram stops, camberwell, mmtb

Photograph of Transport Art Tram No. 731, after conversion to a SW5, painted by Lesley Dumbrell in July 1986. Refer to vicsig.net website for dates, accessed 23/8/2013. Tram in Bourke St, with destination of Special. Has the CUB sponsorship sign behind the route number box. There was no driver in the cab at the time of the photograph. In the background are signs for Roger David and McEwans.In ink on rear of photo "731 on inaugural run as Arts Decorated Tram, City Mall"trams, tramways, transporting art, bourke st, decorated trams, tram 731

Wooden notice board made for public viewing, advertising events at the Buninyong Temperance Hall, 20 August 1891Historically significant documentation of events held at Buninyong Temperance Hall, 20 August 1891Wooden notice board, painted black, with paper notices glued to it."Buninyong Debating Society" Printed advertisements for events at Buninyong Temperance Hall, 20 August 1891buninyong debating society, buninyong temperance hall

Demonstrates how the SEC used etched signs to provide information for their staff.A small, etched brass metal plate reading "SOLE AGENTS AUSTRALIAN GENERAL ELECTRIC CO. 217 CLARENCE STREET SYDNEY AND C/R QUEEN AND LITTLE COLLINS STREET MELBOURNE H.R.9266". The etched lettering background has been painted black, with the lettering proud in brass. Although the reverse was originally painted, much of the paint has worn off. Two holes have been positioned on the sides to allow attaching to the tram car.tramways sign, makers plate for general electric co.

Part of 'Woolcock Gallery Collection' Exhibited CEMA 1989.Drawings of a stem with leaf, flower and seed pod details. Leaves are soft and long, dark green and grow from the central stem. Flowers are bell-shaped and pink-red. From top-bottom is a pale pink flower in full bloom; a leaf top view; a stem detail with pod with whithered petal; top view of flower; side view of white flower; side view of red flower; internal view of flower (splayed open). Work is mounted in a double matt (grey on pink) and framed under glass in gold painted wooden frame.Front: CEW/72 (signature, lower right) (green pencil). Common Heath - Epacris impressa (lower left) (pencil). Common Heath - Epacris impressa (erased, lower centre) CEW (sign, pencil, erased) Back: 5 (upper left) (pen)cema, botanical, collin woolcock, woolcock collection, woolcock, botanical drawings

First held in 1972 the Bendigo International Madison is an athletics and cycling carvial which takes place in Bendigo ove the March Labour Day long weekend. Events include 400m footraces and the largest outdoor Madison event in the world. The madison is a track cycling race in which 17 pairs of riders race over a hectic 200 laps of the Tom Flood Sports Centre in Bendigo. Riders firstly try to gain a lap advantage over other teams or score sprint points during the 34 sprints dotted throughout the race. At any one time, there are riders sprinting, changing or attacking in this frantic event.Large ceramic plate with hand painted design in underglaze depicting three men bicycle racing.Front; 2009 / Bendigo International Madison Reverse; Signed Faye Brady / 09. Stamped; Bendigo Pottery / 1858 / Australiabendigo pottery, city of greater bendigo sport, city of greater bendigo tourism

[original catalog worksheet not found as of 14/10/2024]NoneWeathered wooden sign.Cream paint with areas of exposed wood.School of. Black hand painted print.Three holes on either end of printed title where sign was secured to unknown building or wall.(School of nursing)

Series of B&W photos of the interior and some exterior lettering and lining of Horse tram No. 1 showing the as received condition of the tramcar body. 790.1 - end panel bulkhead and cut hole through the roof where a cupboard was placed - see also item 766 for other details of the By-Laws signs. 790.2 - photo of tramcar side showing the outline through the paint of the tram car number - "1" 790.3 - Interior photo showing detail of framing around the By-Laws signs - see 766. 790.4 - interior detail where roof and end bulkhead meet. 790.5 - Exterior - showing some details of the lining. 790.6 - Exterior - showing locations of lettering along the base of the sides - have been outlined with a heavy line to show layout of lettering. 790.7 - as above but close up of "LLAA" 790.8 - similar to 790.4, but closer up. 790.9 - Exterior - view of one of the bottom corners of the body, showing the steel framing and the lining through the paint.trams, tramways, horse trams, btps, reconstruction, tramcars , tram 1

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 / 83 Reverse: YACKANDANDAH / Y 7 / 019 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

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: BANK OF VICTORIA / YACKANDANDAH / ERNEST MARCUSE / Reverse: Y 4 / 015 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

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: ERNEST MARCUSE / YACKANDANDAH / Reverse: Y 10 / 016 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program