Two handwritten pages with extracts from the Bendigo Advertiser Mining Intelligence. Notes mention making arrangements with other mines to resume bailing, Victoria Quartz still shaft sinking despite strong flow of water, Lansell's 180 preparing to bail water from the deep levels, so that the Victoria Quartz may continue shaft sinking and finishing cutting of plat at 4454 ft. Also a weather report on the 14/6/1910. From the Albert Richardson Mining History Collection.gold, drainage problems, drainage problems, water problems, bendigo advertiser mining intelligence 18/4/1910, 9/5/1910, 23/5/1910, 30/5/1910, 6/6/1910, 13/6/1910, victoria quartz, lazarus coy, lansell's 180, albert richardson

Handwritten notes from Bendigo Advertiser reports. (1) Mr J. H. Craig reports- Victoria Reef Quartz - Cleaned and tested No 3 boiler. Have bailed 3,905 tanks. Water now 2.953 feet from surface. At Lazarus - Bailed 4,828 tanks. At New Chum Railway - Cleaned and tested boilers and flues, effected repairs to machinery and shaft, and started bailing at 3 pm on Friday 29th inst, and bailed 965 tanks. Bendig Advertiser 3/8/1910 Page 2 Mining Intelligence. (2) New Chum Mines - Better progress is now being made in lowering the water in the deep level workings at the New Chum Mines. At the Victoria Quartz, the water which on Monday stood at 3073feet, has been lowered 70 feet during the past four days. The pumping service at the New Chum Railway was in operation yesterday, and the winding plant is fully occupied. There is a considerable quantity of water toraise, and the companies have a difficult task before them. Bendigo Advertiser 5/8/1910 Page 2. Document from Albert Richardson Collection of mining history.gold, drainage problems, new chum drainage association, new chum mines drainage problems 1910, bendigo advertiser 3/8/1910 page 2, mr j h craig, victoria reef quartz, lazarus, new chum railway, bendigo advertiser 5/8/1910 page 2, albert richardson

Handwritten notes from the Bendigo Advertiser 5/7/1910 Page 3. 'New Chum Mines. Yesterday, Mr H. V. Whetelaw, officer in charge of the local survey branch, Mines Dep't accompanied by Inspector Ross, made their first inspection. Water has reached the 3224 ft. level. Now 1530 feet of water in shaft, including the workings below the 3324 ft. level. Bailing been carried on at the Victoria Quartz, Lansell's 180, 222, and New Chum Consolidated. It will take a week or more to get the Lazarus plant in readiness. Then the shaft will have to examined. At Lansell's 222, the water is 18 ft. below the No 18 level, New Chum Consolidated - 18 ft. below, the 1910 ft. Plat.' Bendigo Advertiser- New Chum Mines - 5/7/1910 Page 3. Document from Albert Richardson Collection of mining history.gold, drainage problems, new chum drainage association, victoria quartz drainage problems, bendigo advertiser 5/7/1910 page 3, mr h v whitelaw, mines dept, inspector ross, victoria quartz, lansell's 180, 222, new chum consolidated, lazarus, albert richardson

Handwritten copy of reports from the Bendigo Advertiser regarding water in the mine. (1) The bailing of water is occupying attention in other mines (from Shamrock North) to the Victoria Quartz. The water despite the efforts of the companies engaged bailing, continues to rise. Bendigo Advertiser July 18th Page 3. (2) Victoria Quartz Half Yearly Meeting, Lapsed, No quorum. Directors' Report: Sinking of shaft carried on till 14th June, when it was 4,614 ft. deep. Progress very satisfactory. Progress very satisfactory considering increase of water. As water was interfering with work, made arrangements on 3rd May, that 180 Mine should bail, and Minister of Mines agreed to allow, expense to be charged against work subsidised by Government. Arrangements now made for Lazarus, 222 and New Chum Consolidated mines to bail to unwater line of reef. Victoria Consols, Ironbark, 83, and Hercules and Energetic Companies have undertaken to contribute to cost, and Gov't will allow this to be charged on grant. Document from Albert Richardson Collection of mining history.gold, drainage problems, new chum drainage association, victoria quartz, bendigo advertiserjuly 18th page 2 mining intelligence, bendigo advertiser 20/7/1910 page 3, lazarus, 222, new chum consolidated, victoria consols, ironbark, 83, hercules and energetic, albert richardson

Two handwritten copies of a Bendigo Advertiser report 16/6/1910 Page 7. This is a longer version of 3600.14. It was thought that the rush of water was from a dam bursting in one of the other mines, but as the water showed no signs of slowing that theory was discarded. The temperature of the incoming water was much higher than the Victoria Quartz was accustomed to bail, and this circumstance is significent in view of the increased temperature of the water at the deep levels in the New Chum Railway. Some months ago, the water commenced to flow from the New Chum Railway workings into the New Shenandoah, which is the next mine north. The water rose so rapidly that a disaster was narrowly averted. The mines along the line were connected at different levels and with the cessation of bailing at the deep levels in the southern mines, it was only to be expected that the water would find its way north to the Victoria Quartz. The water raised from the operating mines under the direction of the New Chum Drainage Association, a yeart or two ago used to exceed six million gallons per month. At that time there were eight companies bailing water, and even then some of the plants, especially those at the deep mines, were severely taxed in coping with the water, and performing ordinary work. Since some mines had discontinued bailing, the water has been filling up extensive workings, and as was predicted in the ''Advertiser'' some time ago, the Victoria Quartz Company could not expect to succeed with its deep sinking project without making some special provision for raising the water, which ultimately would become a source of trouble. The Victoria Quartz Company was allotted a special grant of 10,000 pound to assist in sinking the shaft 1000 ft from the 4254 ft level. Under the conditions of the grant, the Company had to contribute half the cost of the sinking, and the raising of the water has also been an exensive item. For the present, all attention will be concentrated in lowering the water, and should the appliances prove unequal to the task the deep sinking scheme can only be accomplished by resorting to some comprehensive system of combating the water'. Document from Albert Richardson Collection of mining history.document, gold, drainage problems, drainage problems, inrush of water at the victoria quartz, bendigo advertiser 16/6/1910 page 7, mine reports 13/6/1910, victoria quartz, lansell's 180, mr stevens, mr w abraham, new chum & victoria mine, new chum railway, new shenandoah, new chum drainage association

Six pages of handwritten notes regarding the New Chum Drainage Proposals. Extracts from the Bendigo Advertiser mentioning the rising of the water in the New Chum Mines. An Advertiser report 27/12/1910 mentions that deep mining will have to be abandoned owing to the absence of some proper scheme to cope with the water. An arrangement had been made by which the companies affected along the line should contribute to a scheme. Suggestions made that the water be lifted by electric pumps. Baling with tanks had been tried for 6 months and then abandoned. Directors Report Victoria Reef Quartz Jan 1911 mentions unwatering had been carried on with assistance of Government. On the 20th Dec, one rope gave out. Decided that replacing it and doing the necessary work could not be met in the present financial conditions. It was also considered that the costof trying to reach the bottom reefcut in the New Chum Railway could not be continued by baling as its cost proved too expensive, while it could probably be done economically & effectively by electric pump which is now subject to negotiations with the Mining Dept.' At the end of the report is a Balance Sheet. Document from Albert Richardson Collection of mining history.document, gold, drainage problems, drainage problems, new chum drainage proposals, bendigo advertiser 11/1/1911 page 7, victoria quartz, victoria consols, bendigo advertiser 5/7/1910 page 3, mr h v whitelaw, mines dept, insp ross, lansell's 180, 222, new chum consolidated, lazarus, bendigo advertiser 6/7/1910 page 7, 9/7/1910 page 9, drainage troubles, bendigo advertiser 8/7/ page 8, new chum railway, south belle vue, eureka ext'd, bgo adv 25/7 1910, 27/12/1910 page 2, rae's machine, bendigo advertiser 2/1/1911, mr mcbride, mines dept, mr stanfield, mines act, bendigo advertiser 16/1/1911 page 3, victoria reef quartz half yearly meeting 1911, directors report and balance sheet, geo paynting

Handwritten notes from a Bendigo Advertiser report, Thursday June 16th 1910. Management had for some time been apprehensive that the flooding in the deep mines to the south would affect them. Lansell's 180 took the precaution of baling. On the Tuesday night the men at the Victoria Quartz had a sensational experience. The storage dam at 3324 ft level receives the overflow from the flooded mines to the south. The level connects with the 3310 level at the Big 180. The water flows uninterrupted into thestorage dam which has a capacity of about 270 tanks. The dam had been emptied on Tuesday morning and work continued until 10 pm that night. The platman noticed that the water was coming down the shaft in a regular torrent. They didn't take much notice as they thought it was a leakinig outlet valve on the ascending tank. At 11 pm the releiving shift came down the shaft and said that the dam at 3,324 ft must be overflowing. The velocity of the water pouring down the shaft increased and the men made a hurried exit from the bottom of the shaft which is down 310 ft from the 4.254 ft plat (a total depth of 4,564 ft). An inspection of the dam at the 3324 ft level found it to be overflowing. By morning (Wednesday) the shaft had filled, and the water rose to 7 ft in the plat at 4254 feet. Mining inspector hgave orders that men were not to go below the 3324 ft level. Baling continued without cessation at the Big 180 all day and could not lower the water. Drilling machines etc and a powerful air winch at the 4254 ft plat are under water. An inspection made of the 3100 ft level at the 180 mine where the workings are connected with the New Chum & Victoria showed that water was running strongly from that mine proving that the inrush was due to flooded water from the southern deep mines to the south. Document from Albert Richardson Collection of mining history. Document from Albert Richardson Collection of mining history.document, gold, drainage problems, new chum drainage scheme, miners sensational experience at the victoria quartz, bendigo advertiser 16/6/1910 page7, lansell's 180, big 180, new chum & victoria

Handwritten copy of a report in the Bendigo Advertiser 12/7/1910 Page 2. New Chum Mines. Progress of Bailing Operations. The bailing operations at the New Chum mines have not yet had the desired effect of lowering the water. On the contrary the water continues to rise in the Victoria Quartz which is the mine most directly affected. It is expected that the necessary preparations at the Lazarus will be completed today when it is hoped that bailing will be commenced at that mine. The success of the bailing scheme will largely depend on the efforts of the Lazarus to cope with the water and the progress made during the next few days will be awaited with interest. It is generally believed that the great volume of water is coming north from the southern group of mines. The companies south of the New Chum Consolidated are not bailing, and the pumping service at the New Chum Railway which is installed down to the 550 ft. level has not been operated since that company abandoned work a few months ago. A perusal of the statistics of the New Chum Drainage Association shows that the pumps at the New Chum Railway were lifting on anaverage close on 1,000,000 galls of water per month in the winter. That great volume of water is now pouring from storage dams at 550 feet to the deep levels, and in the natural order of things will have to be lifted by the tanking system in vogue at the mines N.' Document from Albert Richardson Collection of mining history.document, gold, drainage problems, new chum drainage association, victoria quartz influx of water, bendigo advertiser 12/7/1910 page 2, victoria quartz, lazarus, new chum consolidated, new chum railway, new chum drainage association

Handwritten notes mentioning Bendigo Mines. Four mines, Garden Gully United, South New Moon, Hustlers Reef and Catherine Reef United have some information about them. Others listed are: Catherine Reef United, Carlisle, Clarence United, Central Ellesmere, Collman & Tacchi, Confidence Extended Cornish United, Ellenborough, Extd South Devonshire, Eureka, Fortuna Hustlers, Garden Gully United, G G Consolidated, Geribaldi, Great Southern, Gt Northern, Gt Extended Hustlers, Gt Central Victoria, Golden Age, Golden Pyke, Goldfields North, Goldfields Consolidated, North Johnsons, Pearl, Princess Dagmar, Phoenix, Railway Prince of Wales, Shamrock, St Mungo, Sadowa, Sea, Specimen Hill Sth St Mungo, South New Moon, South Devonshire, Suffolk United, United Devonshire, Unity, United Hustlers & Redan, United Ulster, Victoria Consols, Victoria Quartz, Pansora, Virginia, Victoria Proprietory, Williams United, Hustlers Reef, Hustlers Royal Reserve, Hercules & Energetic, Ironbark, Johnsons Reef No 1, Hustlers Royal Reserve, Ironbark, Johnsons Reef, Johnsons Extended, Kochs Pioneer, Lazarus New Chum, Lady Barkly - Lightning Hill, McDuff Amalgamated, Morning Star, New Chum Consolidated, New Chum Railway, New Chum & Victoria, New Blue Consolidated, New Hopefu, New St Mungo, New Argus, New Moon, New Victoria Catherine, New Chum Goldfields, North New Moon and North Argus. Document from Albert Richardson Collection of mining history.document, gold, bendigo mines 1906, bendigo mines 1906, catherine reef united, carlisle, clarence united, central ellesmere, collman & tacchi, confidence extended cornish united, ellenborough, extd south devonshire, eureka, fortuna hustlers, garden gully united, g g consolidated, geribaldi, great southern, gt northern, gt extended hustlers, gt central victoria, golden age, golden pyke, goldfields north, goldfields consolidated, north johnsons, pearl, princess dagmar, phoenix, railway prince of wales, shamrock, st mungo, sadowa, sea, specimen hill sth st mungo, south new moon, south devonshire, suffolk united, united devonshire, unity, united hustlers & redan, united ulster, victoria consols, victoria quartz, pansora, virginia, victoria proprietory, williams united, hustlers reef, hustlers royal reserve, hercules & energetic, ironbark, johnsons reef no 1, hustlers royal reserve, ironbark, johnsons reef, johnsons extended, kochs pioneer, lazarus new chum, lady barkly - lightning hill, mcduff amalgamated, morning star, new chum consolidated, new chum railway, new chum & victoria, new blue consolidated, new hopefu, new st mungo, new argus, new moon, new victoria catherine, new chum goldfields, north new moon, north argus, bgo library 'healthy golden bendigo' - 1906

Handwritten notes on Bendigo Mines. Notes include area of lease, yards along the reef, depth, dividends, main shafts within one mile of Bendigo Station and shafts made safe by the Mines Dept. Mines mentioned are: South New Moon, Carlisle, Nth Garden Gully, Passby, Old Carlisle,Kentish, Central Garden Gully, Golden Fleece, Garden Gully United, Big Blue, Union Co, Red, White & Blue, New Chum Railway, Unity, Cornish, Catherine Reef United, Garden Gully United, Gt Extended Hustlers, Gt Northern, Lady Barkly, New Moon, South St Mungo, Virginia and Victoria Quartz, Document from Albert Richardson Collection of mining history.document, gold, notes on bendigo mines, notes on bendigo mines, south new moon, carlisle, nth garden gully, passby, old carlisle, kentish, central garden gully, golden fleece, garden gully united, big blue, union co, red, white & blue, new chum railway, unity, cornish, catherine reef united, garden gully united, gt extended hustlers, gt northern, lady barkly, new moon, south st mungo, virginia, victoria quartz, graham, tenby and ashman, mr j b watson, geo lansell, mines dept, d e thomas

Horwood Collection. Shows Nell Gwyne and North Nell Gwyne. Markings: Nell Gwyne & North Nell Gwyne Victoria Hill? Iron Bark OCT65M. Poppet heads in background. Mullock heaps LH side. Used as a teaching aid.Kodakmine, gold, north nell gwyne

Handwritten extract from the Bendigo Advertiser Jan 2nd 1911. ''In absence of Mr McBride, Minister for Mines in the country, officers of the Mines Department were inclined to-day to say much about unwatering the deep Bendigo mines, which is again a pressing problem. Owing to the breaking of the steel wire rope at the victoria Quartz mine, the trouble was intensified. An arrangement had been made by which the companies affected along the line should contribute, but two of the companies, it is stated, suspended operations. A scheme has been placed by Mr Stanfield before the parties interested, and the officers of the Mines Department expressed the hope that for the sake of the future of deep mining, some arrangement should be come to. Unless the companies show a disposition to help themselves substantially, the officers do not think it likely that the Government will co-operate. There are, it was added certain provisions of the Mines Act, and covenants in leases can be enforced, but there is no desire to compel the companies which have carried on in the face of great difficulties, to do anything reasonable.'' Albert Richardson Mining History Collectiongold, drainage problems, drainage problems, new chum mines the drainage question, bendigo advertiser 2/1/1911, mr mcbride, mines department, victoria quartz mine, mr stanfield, mines act, albert richardson.

Handwritten extract of the Victoria Reef Quartz Half-Yearly Meeting from the Bendigo Advertiser Wed 18/1/1911 Page 5. The meeting lapsed for want of a quorum. Director's Report states unwatering had been vigorously carried on with assistance of the Government. On 20 December, one rope gave out. After discussion, it was decided it was too costly to replace with the present financial condition of the Company. It was also considered that the cost of trying to reach the bottom reef cut in the New Chum Railway could not be continued by baling, as its cost proved too expensive, while it probably could be done profitably and effectively by electric pump, which is now subject to negotiations with the Mines Department.'' Also included is a Balance Sheet. From the Albert Richardson Mining History Collection.document, gold, drainage problems, drainage problems, victoria reef quartz half-yearly meeting, bendigo advertiser, 18/1/1911 page 5, new chum railway, mines department, balance sheet victoria reef quartz, ar

Handwritten extract from the Bendigo Advertiser 27/12/1910 Page 2. ''The Victoria Quartz, having deepened its shaft to 4,614 feet, had to abandon sinking on account of an inrush of water from the flooded mines to the south on the line. The influx occurred on the 15th of June, and notwithstanding that baling has been carried on almost constantly the company has failed to get the water out. It appears that the deep ground will have to be abandoned, owing to the absence of some proper scheme to cope with the water.'' Albert Richardson Mining History Collection.document, gold, drainage problems, drainage problems, new chum line drainage problems 1910, bendigo advertiser 27/12/1910 page 2, victoria quartz, albert richardson

Handwritten copy of Bendigo Advertiser reports of water in New Chum Mines. (1) 'The water rose yesterday, 9 feet in the Victoria Quartz mine and now at 3215 ft. Bgo. Adv 6/7/1910 page 7. (2) 'New Chum Mines. Futile attempts to cope with water. Despite the fact that bailing is being carried on steadily, the water has risen 55 feet in the last 24 hours, and is now up to 3160 feet. New Chum Consolidated has since last week raised 327,000 galls, but the bailing has made no perceptible difference. The Lazarus to start on Monday.' Bgo Adv 9/7/1910 Page 9. (3) Letter to Adv by A. L.N. Excerpts. 'Bailing should have commenced at New Chum Railway.' 'The bulk of water is at South end. 3.5 million galls per month, divided between South Belle Vue, Eureka Extended and New Chum Railway.' 'In black and white, the Railway in the wet season, July last year with the aid of the Cornish Lift, raised 2.25 million galls, besides attending to those employed below.' 'Safe to say that 3.5 million galls per month could be raised from the present water level.' 'The plant is strong with abundance of steam space which would allow the firewood to be used economically under the barborous Cornish Boiler or wood-eaters'. Bgo Adv 14/7/1910. Document from Albert Richardson Collection of mining history.document, gold, drainage problems, new chum drainage association, water in new chum mines, victoria quartz, new chum consolidated, lazarus, new chum railway, south belle vue, eureka extended, cornish lift, bendigo advertiser 6/7/1910 page 7, bendigo advertiser 9/7/1910 page 9, bendigo advertiser 14/7/1910

Two handwritten extracts from the Bendigo Advertiser 17/6/1910 regarding the inrush of water at the Victoria Quartz Mine. 'When the inrush of water came on Tuesday night, the men had to make a hurried exit from the bottom of the shaft and 4254 ft. plat. The working equipment left below consists of three rock-drilling machines, air-winch, two trucks, about one ton of drills, while rails, air-pipes, etc, below the 3224 ft. plat are not likely to be recovered'. Document from Albert Richardson Collection of mining history.document, gold, drainage problems, new chum drainage association, inrush of water at the victoria quartz, bendigo advertiser 17/6/1910 page 3, ar

Handwritten notes from the Bendigo Advertiser 22/6/1910, listing the mine, Gallons baled, Deepest depth baled from, Total amount Rec'd, ? ? Coy for Financial Year ended 30/6/1908. Mines mentioned are: New Chum Railway, Eureka Ext'd, New Chum Con'd, Lazarus, Garibaldi, Lansells 180, Victoria Quartz, Lansell's 222, New Chum & Vic., Shamrock and New Shenandoah. Note along the side: re - Vict Quartz Inrush Water. Adv. Wed. 22/6/1910. (b) Handwritten notes on the New Chum Drainage Ass'n 1905 - 1908 from the Bendigo Advertiser 22/6/1910. Listed is the Year, Water Raised (Gallons), Total Amount Re?ed and Amount Re? Coys. The New Chum Drainage Ass'n was formed in 1901 and practically ceased to exist in 1908. Victoria Quartz at time of inrush of water on Tuesday night, the shaft had reached a depth of 4,614 feet. Water has since risen in the shaft to above 4,154 ft plat & the large workings at 4,254 feet, and 4,154 feet have also been t filled. As there are no reef workings from 4,154 to 3,424 feet the water will no doubt rise rapidly until that level is reached. Document from Albert Richardson Collection of mining history.document, gold, drainage problems, new chum drainage association, drainage 1905 - 1908, bendigo advertiser 22/6/1910, victoria quartz, new chum railway, eureka ext'd, new chum con'd, lazarus, garibaldi, lansell's 180, lansell's 222. mew chum & vic, shamrock, new shenandoah

Two handwritten pages naming the mine, the lowest connection and connection to the next mine for the proposed drainage scheme. The second page lists the mines, from South to North, the projected distances in feet and to the nearest yard. Document from Albert Richardson Collection of mining history.document, gold, drainage problems, new chum drainage scheme, drainage 1905 - 1908, mines dept sheet 796/a/6 proposed drainage scheme, south belle vue, eureka ext'd, new chum railway, new shenandoah, shamrock, garibaldi, new chum consol'd, new chum united, lansell's 222, lazarus, old chum ?, new chum & vic, lansell's 180, victoria quartz

Handwritten copy of Bendigo Advertiser 6/12/1901 report detailing the number of gallons the mines had raised. Mines mentioned are: New Chum Consolidated, New Chum Rly, Eureka Ext'd, Garibaldi, Lazarus, Shenandoah, Lansell's 180, New Chum & Victoria, Young Chum, Shamrock and the Old Chum. Document from Albert Richardson Collection of mining history.gold, drainage problems, new chum drainage scheme, drainage report, bendigo advertiser 6/12/1901 page 4 mining intelligence, new chum consolidated, new chum rly, eureka ext'd, garigaldi, lazarus, shenandoah, lansell's 180, new chum & victoria, young chum, shamrock, old chum., albert richardson

Handwritten notes on the Victoria Quartz Mine. Notes mention locality, depth, geological information, Dividends, Calls and the Victoria Reef Tribute. Document from Albert Richardson Collection of mining history.document, gold, victoria quartz, victoria quartz, brief notes on the victoria quartz mine, victoria reef quartz shaft no 127, vict reef q m coy, mines dept, bendigo advertiser, victoria reef tribute

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: ERNEST MARCUSE / BANK OF VICTORIA / YACKANDANDAH Reverse: Y 2 / 013 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: YACKANDANDAH / ERNEST MARCUSE Reverse: Y 1 / 012 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: MARCUSE / YACKANDANDAH / Reverse: Y 3 / 014 / ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: (illegible) / BEECHWORTH Reverse: BEECHWORTH / MARCUSE BEECHWORTH NOSTALGIA BW-06 / B10 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: Charatome / Corning Buggy / Braise & Drag / believed to (illegible) built by Crawford and (illegible) / COBB & CO / WAGONETTE / B'WORTH MUSEUM Reverse: BEECHWORTH NOSTALGIA / BW-07(a) / B 8 / ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: ABBOT BAGGY / B'WORTH / CARRIAGE MUSEUM Reverse: B7 / Beechworth Nostalgia / BW - 07 B (crossed out) / 008ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: BEECHWORTH CARRIAGE MUSEUM / MARCUSE Reverse: BEECHWORTH NOSTALGIA / BW-08 / B 9 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: B'worth / Marcuse Reverse: B6 / Beechworth Nostalgia / BW - 07 (crossed out)ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

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 coloured pencil landscape drawing on paper.Obverse: BEECHWORTH / VIC. / MARCUSE Reverse: BEECHWORTH NOSTALGIA / BW – 03 (on masking tape) 003 (pencil) 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 coloured pencil landscape drawing on paper.Obverse: Opposite Crown Hotel / Tanswell Hotel / BEECHWORTH / (on tape) Reverse: BEECHWORTH NOSTALGIA / BW – 05 (on masking tape) 004 (pencil) 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