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Federation University Historical Collection
Book, The MIneral Industry its Statistics, Technology and Trade during 1919 and 1920 and 1927 and 1928, 1920-1929
This volume includes Australasia, and lists each state seperately , as well as New Zealand, It also lists Bismoth, Chome iron ore, coal, copper, gold, lead, mineral industry growth, alumite, antinomy, cobalt, coke, copper ore, gold, iron, lead, limestone flux, managanese, shale, silver, silver-lead, tin and zincRed hard cloth covered book of 900 pages. Includes contents and index.non-fictionThis volume includes Australasia, and lists each state seperately , as well as New Zealand, It also lists Bismoth, Chome iron ore, coal, copper, gold, lead, mineral industry growth, alumite, antinomy, cobalt, coke, copper ore, gold, iron, lead, limestone flux, managanese, shale, silver, silver-lead, tin and zinc mining, statistics, technology, trades, metal industry, minerals, united states, canada, china, france, germany, italy, japan, russia, south america, spain, sweden, united kingdom, ireland, coins, cuba, blast furnaces, gold, lead production, manganese, opals, silver, +, alumite, antinomy, cobalt, coke, copper ore, iron, lead, limestone flux, managanese, shale, silver-lead, tin, zinc, abrasives, chemical industry, gems, precious stones, dividends, akalies, salt, earthernware, glass, petroleum, aluminium, bismuth, tungsten -
Federation University Historical Collection
Book, The Mineral Industry Its Statistics, Technology and Trade during 1926, 1927
This volume includes Australasia, and lists each state seperately , as well as New Zealand, It also lists Bismoth, Chome iron ore, coal, copper, gold, lead, mineral industry growth, alumite, antinomy, cobalt, coke, copper ore, gold, iron, lead, limestone flux, managanese, shale, silver, silver-lead, tin and zincRed hard cloth covered book of 878 pages. Includes contents and index.non-fictionThis volume includes Australasia, and lists each state seperately , as well as New Zealand, It also lists Bismoth, Chome iron ore, coal, copper, gold, lead, mineral industry growth, alumite, antinomy, cobalt, coke, copper ore, gold, iron, lead, limestone flux, managanese, shale, silver, silver-lead, tin and zinc mining, statistics, technology, trades, metal industry, minerals, united states, canada, china, france, germany, italy, japan, russia, south america, spain, sweden, united kingdom, ireland, coins, cuba, blast furnaces, gold, lead production, manganese, opals, silver, +, alumite, antinomy, cobalt, coke, copper ore, iron, lead, limestone flux, managanese, shale, silver-lead, tin, zinc, abrasives, chemical industry, gems, precious stones, dividends, akalies, salt, earthernware, glass, petroleum, aluminium, bismuth, tungsten -
Federation University Historical Collection
Book, The Mineral Industry its Statistics, Technology and Trade during 1929, 1930
This volume includes Australasia, and lists each state seperately , as well as New Zealand, It also lists Bismoth, Chome iron ore, coal, copper, gold, lead, mineral industry growth, alumite, antinomy, cobalt, coke, copper ore, gold, iron, lead, limestone flux, managanese, shale, silver, silver-lead, tin and zincRed hard cloth covered book of 845 pages. Includes contents and index.non-fictionThis volume includes Australasia, and lists each state seperately , as well as New Zealand, It also lists Bismoth, Chome iron ore, coal, copper, gold, lead, mineral industry growth, alumite, antinomy, cobalt, coke, copper ore, gold, iron, lead, limestone flux, managanese, shale, silver, silver-lead, tin and zinc mining, statistics, technology, trades, metal industry, minerals, united states, canada, china, france, germany, italy, japan, russia, south america, spain, sweden, united kingdom, ireland, coins, cuba, blast furnaces, gold, lead production, manganese, opals, silver, +, alumite, antinomy, cobalt, coke, copper ore, iron, lead, limestone flux, managanese, shale, silver-lead, tin, zinc, abrasives, chemical industry, gems, precious stones, dividends, akalies, salt, earthernware, glass, petroleum, aluminium, bismuth, tungsten -
Ballarat Clarendon College
Book, Mrs E Burrows, Tuppy; or, the autobiography of a donkey, 1868
Book prize awarded to T Boyd (enrolled 1873) for excellence in Writing by Principal F J Thomas in 1874. The book was donated to the school by Sheila (Campbell) Edwards who purchased it from a secondhand dealer in Melbourne.During these early times book prizes were ordered from London where they were specially bound and embossed with the College crest. F J Thomas had an illustrious career at Ballarat College. During his tenure as Principal it was discovered the BA after his name stoold for Bonn Academy (Germany) not, as may have been implied, Bachelor of Arts. Once discovered he left the State under 'not too dignified circumstances' as Mein records in the 1964 History of Ballarat College, p. 19. Light brown calf binding with gold borders to front and back covers; raised bands on spine with six compartments, gold lettering and decoration; school crest embossed on front cover; book plate inside front cover;black and white sketches on frontispiece and throughout book;Book plate inside front cover: Ballarat College crest / PRIZE / FOR / Writing / Awarded to / T Boyd / 1874 / F J THOMAS, B.A.PRINCIPALshelia-edwards, thomas-boyd, 1974, book-prize, ballarat-college, f-j-thomas -
Ballarat Clarendon College
Memorial plaque
The WWI Death Plaque (Dead Man's Penny) was issued to the next of kin of servicemen/women who had fallen in the Great War between 1914 and 1918.Edward S Holgate entered Ballarat College in 1894. On leaving school he became on auctioneer with the family firm S Holgate & Son, Ballarat. Before enlistment he was secretary of the Ballarat College Old Collegians Society. 'Ted' was killed at Villers-Bretonneux on 27 April 1918 two dats after his commendation in military dispatches for 'gallantry in the field on 24-25 April 1918'. Edward's brother Harry Spencer Holgate also enlisted and was killed at Zonnebeke on 11 October 1917. Of the 305 Ballarat College old collegians who enlisted in WW1 65 gave their lives for their country. This 'death penny' is representative of the incredible sacrifice given by this huge percentage of the school's community. Round disk cast in bronze gunmetal, which incorporates the following; an image of Britannia holding an oak spray with leaves and acorns, an imperial lion, two dolphins representing Britain's sea power, the emblem of Imperial Germany's eagle being torn to pieces by another lion. The medallion is incased in a heavy card envelopeInscribed around face of medallion: He died for freedom and honour A rectangular tablet cast on front of medallion inscribed: Edward Spencer Holgate.edward-spencer-holgate, ballarat-college, world-war-one, death-penny, -
Ballarat Clarendon College
Memorial plaque
The WWI Death Plaque (Dead Man's Penny) was issued to the next of kin of servicemen/women who had fallen in the Great War between 1914 and 1918.This plaque was given to honour the service of Ballarat College old collegian Harry Spencer Holgate who entered the school in 1894. On leaving school he became an auctioneer at Muswellbrook and Scone. He enlisted on 24 May 1916 and was awarded the Military Medal at Polygon Wood in September 1917. He was killed at Zonnebeke on 11 October 1917. His brother Edward Spencer Holgate was also killed while serving his country during World War 1. Of the 305 Ballarat College old collegians who enlisted in WW1 65 gave their lives for their country. This 'death penny' is representative of the incredible sacrifice given by this huge percentage of the school's community. Round disk cast in bronze gunmetal, which incorporates the following; an image of Britannia holding an oak spray with leaves and acorns, an imperial lion, two dolphins representing Britain's sea power, the emblem of Imperial Germany's eagle being torn to pieces by another lion. The medallion is packaged in a heavy card envelope.Inscribed around face of medallion: He died for freedom and honour. A rectangular tablet cast on front of medallion inscribed 'Harry Edward Spencer'. harry-spencer-holgate, ballarat-college, world-war-one, death-penny, -
Ballarat Clarendon College
Memorial plaque
The WWI Death Plaque (Dead Man's Penny) was issued to the next of kin of servicemen/women who had fallen in the Great War between 1914 and 1918. John Mercer Walker entered ballarat College in 1902 and was Dux of the school in 1904. He enlisted as a Private in the 3rd Light Horse Field Ambulance and served on Gallipoli. He transferred to 21st Squadron AFC in November 1917 and served in Palestine. He was killed a 22 August 1918 and buried at the Ramleh War Cemetery. Of the 305 Ballarat College old collegians who enlisted in WW1 65 gave their lives for their country. This 'death penny' is representative of the incredible sacrifice given by this huge percentage of the school's community. Round disk cast in bronze gunmetal, which incorporates the following; an image of Britannia holding an oak spray with leaves and acorns, an imperial lion, two dolphins representing Britain's sea power, the emblem of Imperial Germany's eagle being torn to pieces by another lion. The medallion is incased in a heavy card envelope. The medallion is accompanied with Walker's wings RFC and RAAF,Inscribed around face of medallion: He died for freedom and honour A rectangular tablet cast on front of medallion inscribed: John Mercer Walkerjohn-mercer-walker, death-penny, ballarat-college, w-w-1, world-war-one, -
Federation University Historical Collection
Booklet - Annual Report, Grenville College Annual Report, 1907-8, 1908
Grenville College was founded in 1855 by W. Stellard as Ballarat Grammar School. The school was amalgamated by Mr Victor are Ballarat Grammar School in 1867 as the Ballarat Collegiate and Grammar School. Its name was changed to Grenville College in 1869. In 1908 Grenville College was situated in Mair Street, Ballarat, and the Principal was A.A. Buley. Pupils were educated for either commercial life or for the University. Those who intended to matriculate were advised to take the following subjects: - English, History, and Geography; Arithmetic, Algebra, Euclid, and Trigonometry; and either French and German, or Latin and Greek.Fourteen page soft covered Annual Roport, Honor List and Prospectusgrenville college, cyril callister, frank g. menzies, william morcom, sydney r. curnow, william h. collyer, revill tinworth, c. brokenshire, george p. merz, alfred h. barrett, anthony jenkin, alexander sutherland, wilford whittle, owen peters, john la gerche, mary delahunty, lily evans, henry japp, edith forster, j. sutherland, a.m. lilburne, eustace coltman, james g. leadbeater -
Federation University Historical Collection
Book, Druck und Verlag der Kaiserl, Naturgeschichte der Amphibien [Natural History of Amphibians], 1864
... all picture labels and articles are written in German ...Beautiful colour illustrations of reptiles in a green cloth hard bound book all picture labels and articles are written in German.non-fictionballarat school of mines library, atlas, reptiles, leopold fitzinger, vienna, austria, snakes, lizards -
Federation University Historical Collection
Book - Scrapbook, Ballarat School of Mines Scrapbook, 1899, 1872-1908
.1) Scrapbook of newspaper clipping in oversize scrapbook .2) White file of newspaper clippings 1872-1908newsclips, newspaper cuttings, schools of mines, sale school of mines, bairnsdale school of mines, daylesford school of mines, castlemaine school of mines, bendigo school of mines, stawell school of mines, st arnaud school of mines, alfred mica smith, industrial institute, james bickett, redmond barry, ballarat school of mines opening, mining engineering, pottery, charles fenner, pottery classes, maurice copland, plumbing, harold herbert, ballarat school of mines statistics, andrew anderson, j.c. molloy, art schools, ballarat west art school, herbert h. smith, amelia h. troon, martha pinkerton, r.t. vale, david ham, clunes, rivett bland obituary, university of melbourne affiliation, gilbert dawbarn, kernot, james patterson, john rowe, cassilis chlorination, r.w. lamb, j. flegeltaub, tasmanian examination, balarat school of mines museum, latham watson, state school students, w. longstafff, daisy ditchburn, e. grownow, ballarat east art school, art gallery association technical art school, e. guse, j.g. williamson, m.f. williamson, george biknell, print engraving, a.e.c. kerr, a.n.a. fete, hannay electro-cyanide process, james oddie, r.m. serjeant, xrays, roentgen xrays, lizzie drape, mines bill, henry forster, technical education in germany, deeble's patent, p. cohen, deeble's cyanide plant donation, h. rosales, thomas hart, ballarat observatory, robert denham pinnock, isaac james jones, edward ivan rosenblum, samuel ernest figgis, r.w. best, thomas f. morkham, beatrice j. flude, bertha craig, drucilla hopwood, george bird, james galbally, mining exchange, transit theodilite, univerisity of melbourne, affiliation, t.d. wanliss, scrapbook, s.e. figgis, j. dawbarn, gilbert dawbarn, g.g. simpson, brown coal, parwan, bacchus marsh, a. berry, f.m. krause, practical mining, cassilis, tasmanian exhibition, ballarat school of mines dilapidated, thomas bath, cyanide, elextirc rock drills, herbert franklin, frank bruce, henry rivett bland, j.n. dunn, dr pinnick, theo williams, steiglitz gold mines, meredith, a.f. balderson, j.m. bickett, f.j. martell, cosmo newberry, m. lindsay, pyrites, pyrites roaster, blucjer amagamator, ludovico hart, photographer, art gallery association's technical art school, ballarat east school of art, otto riegelbuth, hugh colquhoun, louis lemp, g.a.f. soderstron, e. gude, a.f. tweedie, m.l. tuxen, george h. bicknell, c.v. brind, a.h. troon, r. flohm, c.s. proctor, m. oddie, b.s. williamson, f.h.w. robinson, photography classes, i.g. wittkowski, h.r. murphy, mary browne, technical education, andrew berry, r-ray, xray, watson's focus tubes, rohmkorff coil, treloar, wooster, t.e. molloy, w/m/ acheson, ladies art association, ballarat art gallery association, maud glover, bertha s. williamson, hnery foster, native telurides of gold, eliza kershaw, edith curnow -
Federation University Historical Collection
Book - Scrapbook, Ballarat School of Mines Scrapbook, 1894-1899
The Ballarat School of Mines was the first school of technical education in Australasia.Large format brown scrapbooks with newsclips relating to the Ballarat School of Mines.ballarat school of mines, newsclips, art examinations, ballarat west art school, st john ambulance association, andrew anderson, university affiliations, university of melbourne, professor kernot, geological cause and effect of faults, cassilis chlorination works, electric rock drills, museum, ballarat school of mines museum, latham watson, william barnard, krause, blucher amalgamator, f.m. krause, photography, ludovico hart, pyrites works, ballarat school of mines puries works, pyrities roaster, ballarat east school of art, art gallery association technical art school, hannay electro-cyanide process, x-ray, roetgen x-rays, xray, bairnesdale school of mines, technical education in germany, ballarat amateur photographic club, moonta, moonta excursion, moonta visit, broken hill visit, broken hill excursion, wallaroo excursion, ballarat west election, ballarat mechanics' institute, dr kenworthy, james oddie, william b. withers, william collard smith, duncan gillies, john phillips, james long, ballarat industrial institute -
Federation University Historical Collection
Medal - Numismatics, 'Dead Man's Penny' for Edwin Joseph 'Ted' Cannon, c1919
The Dead Man’s Penny is a commemorative medallion which was presented to the next-of-kin of the men and women from England and the Empire who died during World War One. The Dead Man’s Penny was accompanied by a letter from King George V, stating ‘I join with my grateful people in sending you this memorial of a brave life given for others in the Great War’.[http://nma.gov.au/blogs/education/2010/11/14/dead-mans-penny/] Popularly known as the "Dead Man’s Penny", because of the similarity in appearance to the somewhat smaller penny coin. 1,355,000 plaques were issued, which used a total of 450 tonnes of bronze, and continued to be issued into the 1930s to commemorate people who died as a consequence of the war. [http://en.wikipedia.org/wiki/Memorial_Plaque_(medallion)] It was decided that the design of the plaque was to be picked from submissions made in a public competition. Over 800 designs were submitted and the competition was won by the sculptor and medallist Edward Carter Preston with his design called Pyramus, receiving a first place prize of £250.[http://en.wikipedia.org/wiki/Memorial_Plaque_(medallion)] They were initially made at the Memorial Plaque Factory, 54/56 Church Road, Acton, W3, London from 1919. Early plaques did not have a number stamped on them but later ones have a number stamped behind the lion's back leg. [http://en.wikipedia.org/wiki/Memorial_Plaque_(medallion)] Ted Cannon's plaquette does not have a stamped number. Ted Cannon was a gifted artist and cartoonist who studied at the Ballarat School of Mines Technical Art School. During the Battle of Pozieres on the Western Front Ted Cannon worked with the Scout Platoon sketching the enemy's gun emplacements. Ted proved invaluable to the Brigade and brought he came under the attention of the Australian High Command. On 13 September 1916 Ted was given a special assignment for General C.B.B. White. Ted was sent out forward of the Old Mill at Verbrandenmolen (in the Ypres Salient) to draw a panorama of the German lines in the area from Hill 60 to The Bluff. It was a hazardous task and Ted was warned to be careful. Tragically he was sniped by an enemy machine-gunner and sustained severe abdominal wounds. Stretcher-bearers rushed him to the 17th Casualty Clearing Station where he was operated on by the doctors at 8.30 that night. With little chance of success, but ever resilient, Ted remained conscious almost to the end. He died early in the morning of the 14 September 1916. His body was buried in the large Military Cemetery at Lijssenthoek. The effects of the late Ted Cannon were returned to his parents. These were an autograph book, three brushes, prayer book, housewife, whistle, book, hymn book, curios. Another listing gives his effects as "identity disc, letters, photos, wallet, 2 books, Mexican Dollar, 1 cent (Ceylon), 3 German Straps, Fountain Pen, Cigarette-holder, Franc Note, 50 centimes Note, devotional book, mirror, rosary, scapula, metal ring, two combs, book of views, nail clippers, badges, tie clip, Egyptian stamp.[http://recordsearch.naa.gov.au/scripts/Imagine.asp?B=3202589] Ted Cannon was an only child. It is not known how the 'Dead Man's Penny' came into the ownership of the donor, but it is thought that it may have been left in a house owned by the donor's mother. Further information on Ted Cannon can be found at http://bih.ballarat.edu.au/index.php/Edwin_J._Cannon and http://www.ballarat.edu.au/about-ub/history/art-and-historical-collection/ub-honour-roll/c/edwin-joseph-ted-cannon-1895-1916Large bronze medallion or plaquette featuring an image of Lady Britannia surrounded by two dolphins (representing Britain’s sea power) and a lion (representing Britain) standing over a defeated eagle (symbolising Germany). Around the outer edge of the medallion are the words ‘He died for freedom and honour’. Next to Lady Britannia is the deceased solider’s name, with no rank provided to show equality in their sacrifice. (http://nma.gov.au/blogs/education/2010/11/14/dead-mans-penny) The plaque was distributed throughout the British Empire, and the first plaques were distributed in Australia in 1922 "Returned home" by W. & O. Mayne, 2013. ted cannon, edwin joseph cannon, cannon, world war 1, world war -
Federation University Historical Collection
Book, Bennett H. Brough, A treatise on Mine-Surveying, 1904
The author, Bennett H. Brough was an associate of theRoyal School of Mines, a member of the COuncil of the Institution of Mining Engineers, a fellow of the geological society and of the Institute of Chemistry, a member of the Mining Institute of Cornwall, and a former instructor of mine-surveying at the Royal School of MinesRed had covered book 372 pages - part of Griffin's Mining Series. Contents include general explanatinos of surveying, an historical sketch, mineral deposits, mining terms, measures of length, measurement distances, the chain, rods, steel bands, measuring wheel, Miner's Dial, Magnetic needle, Fixed needle, German Dial, theodolite, traversing underground. Surface-surveys. plotting the survey, calculation of area, leveling, Telescope, Setting out, Mine-Surveying Problems, Mine Plans, Photographic Surveying, examination Surveying. Illustrations include: Whitelaw's Dial (Fig 22), Theodolite of the American Type with Hoffman tripod head, (fig 37a)mining, surveying, miner's dial, chain, survey, theodolite, scientific instruments -
Federation University Historical Collection
Book, Allgemeine und chemische geologie, 1) 1879; .2) 1887
Maroon leather spine with gold print. Purple fabric cover. Vol 1: 633 pages - 408.1 Vol 2: 695 pages - 408.2non-fictionjustus roth, wilhelm hertz, chemistry, f.w. niven & co., bookplate, library plate, ballarat school of mines library, binder's label, seller's plate -
Federation University Historical Collection
Book, Practical treatise of chemical analysis including tables for calculations of analysis: Vol 2, Quantitative, 1849
The book was presented to the Ballarat School of Mines Library in 1873 by Dr Richard Bunce. Bunce was born in 1816 and died in 1885. He was in practice in Ballarat East and at times acted as Coroner. His was buried in the Ballarat Old Cemetery. The book has been translated from the French and from the fourth German edition. Green cloth (embossed) hard covered book, 857 pages.Signed 'Richard Bunce' Stamped "Ballarat School of MInes Student's Library" Sticker - Presented by Dr Bunce, October 1st 1873 Thomas Jones, Medical Booksellerdr richard bunce, ballarat school of mines library, ballarat east, ballarat old cemetery, chemical analysis, tables for calculations, h rose, a normandy, author, translation, dr bunce -
Federation University Historical Collection
Book, Education Gazette, 1930s
10 hard covered, black books with red spine. The books contain the bound Victoria Education Gazettes for the 1930s. .4) Handwork in rural schools, Young Farmers' Clubs, Domestic Arts, Arbour Day, LEague of Youth of Australia. Health Education, Metal Trades, Industrial Studies, HOrticulture, Hinkler Memoria Trees, Musical Appreciation, British Breeds of Sheep. Train Journey Through Germany, History Handwork - Roman Times, Claude Seareby (photo), Norsemen, Techncical Schools Exhibition, Knots, Balllarat Junior Technical School Terraced Gardenseducation gazette, ballarat junior technical school terrace gardens -
Federation University Historical Collection
Equipment - Object, Otto Waschatz, Cast of Hand, Plaster Cast Drawing Prop
The Ballarat Technical Art School boasted a well-stocked Antique Room replete with plaster copies of classical, Renaissance and Gothic sculptural examples, which were used as drawing props by students. The school inherited some casts from its predecessor institutions, and further consignments were purchased during the 1920s, including full length, bust and relief figures, as well as dozens of ornamental and architectural casts. Unfortunately, much of the collection was lost or destroyed in the late 1950s. This is one of the few surviving pieces, with TAFE students reportedly drawing from it into the twenty-first century. This plaster hand is inscribed “Waschatz, Modeller, Melbourne.” Otto Waschatz was a German plasterer who opened a plaster business in the Melbourne suburb of Richmond, and was responsible for the invention of the first true fibrous plaster - using a layer of hemp laid between plaster to create light and strong panels. By 1912 Waschatz's Lottoid Pty Ltd was a thriving and creative business, and possessed over 5,000 moulds for all kinds of plasterwork. The business closed in 1915, as the result of anti-German sentiment during World War One. Plaster cast of a hand used as a teaching aid at the Ballarat Technical Art School. The Victorian Education Department courses required art students to create studies based on ancient sculptures so copies of famous works were purchased as teaching aids. Among these courses were 'Drawing the Human Figure from Cast' and ‘Drawing from the Antique’. Waschatz, Modeller, Melbourneballarat school of mines, art, arts academy, ballarat technical art school, vikki nash, plaster cast, otto waschatz, lattoid pty ltd, school of mines, plaster copy, drawing from the antique, drawing the human figure from cast -
Ringwood and District Historical Society
Photograph, Ringwood State School - Choir, 1964
Black and white photograph - Choir, 1964."Attached to photograph" Back Row- L to R: ?, ?, ?, Norman Pearson, Malcom Pearson, Craig Rawson, Graham Adamson, ?, ?, ?, John McCaulin. 2nd Row- L to R: ?, ?, Margaret Findlay, Lorraine Tann, Annette Smeaton, Jennifer Flaherty, ?, ?< ?, Lynette Costello. 3rd Row-L to R: ?, Linda (?), Cheryl (?), ?, Jane Walker, Laurie Simpson, Ann Downey, Barbara Donald, Ghristine Schraum, Julie Hall, Jocelyn Cole, Ros Wigley, Judy Parker.? Front Row- L to R: ?, Debbie Monk, Sally Shaw, Jenny Buchanan, Lyn German, Leanne Thorpe, Rosemary Evans, Jennifer Johnson, ?, Robyn Henry, Joanne Fly, Susan Baxendall, ?, Kerry Marsh, ?. On ground- L to R: ?, Brian Proud, ?. Teacher: -
Ringwood and District Historical Society
Photograph, Ringwood State School - Grade 6C, 1964
Black and white photograph - Grade 6C, 1964."Attached to photograph" Back Row- L to R: Greg Peters, David Pumpa, Norman Pearson, Liz Allen, Robyn Henry, Grace King, Deb Lawrence, Jenny Johnson, Linda Chegwiden, Erica Seffers. 2nd Row- L to R: Chris Eastwood, Graham Haglan, Gary Ladegashes, Gary Morgan, ?, Paul Wilson, Wayne Walton, Stephen Foster, Gavin Philips, Barry McDonald. 3rd Row- L to R: Philip Bates, Michael Craddock, Michael Williams, Stephen Cross, Ron Saines, Neil Dawe, ?, Bruce Barber, Robin Hagar, Paul Martin. Front Row- L to R: Lynette German, Lorraine Tann, Linda Willis, Debby Silvy, Judy Parker, Pam Williams, Julie Cook, Glenda Cooper, Jenny Buchanan, Ann Dowling, Sally Shaw. On Ground: Robert Silvie, ?, Graeme Cleator, David Kennely, Dale Ryan. Teacher: Miss Norman -
Ringwood and District Historical Society
Photograph, Ringwood State School - Grade 3C, 1964
Black and white photograph - Grade 3C, 1964."Attached to photograph" Back Row- L to R: No names 2nd Row- L to R: Lon Maher, ?, ?, ?, Lynden Ryan, Peter German, Michael Walters, ?, ?, ?, ?. 3rd Row- L to R: ?, ?, ?, ?, ?, ?, ?, ?, Janet East, ?. Front Row- L to R: ?, Lynda McCubbin, ?, Judith(?), ?, ?, Lynne Taylor, Shannon Finlay, ?, ?, Esther Kramer. On Ground: ?. Teacher: -
Flagstaff Hill Maritime Museum and Village
Ceramic - Beer Stein, Reinhold Merkelbach, 1945 to 1964
This mug was made by Reinhold Merkelbach. Reinhold Merkelbach was founded in 1845 by Wilhelm Merkelbach, a descendent of a long line of German potters, and the company eventually took the name of his son Wilhelm Reinhold Merkelbach, who left school early to get involved with the family business. The company became a major name in German ceramics, especially in the Jugendstil style. The company produced a large number of collectable beer steins in the late 18th and early 19th centuries, including a number of so-called “character steins.” In 1882, the firm began producing art pottery, which at that time was enjoying a revival and new appreciation in Europe in general and in Germany in particular. Reinhold Merkelbach produced ceramic objects both with and without pewter hardware but rarely altered its manufacturing techniques. Many of its products were destined for use at pubs, bars, or breweries as well as in the homes of Germany’s beer-drinking populace. It had a retail location in Munich and also sold products through its factory warehouse. In 1971, half of the company’s ownership was sold to W. Goebel KG and the firm’s name changed officially to Merkelbach Manufaktur GmbH & Co. KG. Goebel ultimately purchased the other half of the business before members of the Merkelbach family, along with a handful of collectors and former staff members, repurchased the factory in 1988. In 2007, Judith Merkelbach Engelmann decided to close the firm; demand for ceramics had been decreasing and the next generation of the family had no interest in maintaining the business. Luckily, Reinhold Merkelbach transferred its moulds to Töpferei Girmscheid Höhr-Grenzhausen to ensure that its best-known pieces of Jugendstil art pottery and steins would continue to be available to interested consumers and collectors.This beer stein was made around the mid-20th century by a popular German maker. It fits in with the context of maritime village life. At this current time, there is no particular connection with people, places and events. The German beer stein is made from ceramic ironstone. It has a bell-shaped hinged pewter lid with a leaf-shaped thumb lever. The lid has a pattern stamped on it. The design on the mug includes a woman in bright colours, a man holding a musket, and buildings in mountain settings. There are inscriptions on the mug. Marked "Made in Germany" "RM" "4070" (underside of mug) "05" to the side of mug flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, beer stein, ceramic beer stein, reinhold merkelbach, drinking vessel -
Flagstaff Hill Maritime Museum and Village
Artwork, other - Card, 1890s
Quote is from the Bible John 6:20, these cards were often sent as gifts or used in bible studies at Sunday schools around the 1890s to teach religion. They were produced by various companies at this time and known as "Heidelberg cards" from the Heidelberger Druckmaschinen company in Germany that produces catalogues, calendars, posters, and labels to this day.Item is significant as it shows an early example of religious teaching aid from the late Victorian era and gives a snapshot into social life of the time.Card with Bible quotation 'It Is I' Be Not Afraid' with a picture of a roseflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, card, bible verse -
Bendigo Military Museum
Book - BOOK WW2, Sun Books, Swastika at War, 1975
Book, paperback, page numbers not shown. Illustrated with colour & black & white photos. Front cover illustrated with a swastiker, white printing & a montage of 5 German photos with stylised torn edges.Kym Levett, C/- Peterborough Primary School, Peterboroughbooks, swastika, -
Bendigo Military Museum
Book - BOOKS, RAAF, Queen City Printers Pty Ltd, 1942
W. C. ATKINSON RAAF No. 147081.1. Book - Heavy khaki coloured cardboard covers with black tape on left side and tied together with black shoe laces. 235 pages of cream paper. 2. Book - Grey, black, green, cream print on light cardboard cover. 64 pages, cream paper.1. RAAF 21324 FITTERS 11.A, Carpenter Riggers, Flight Riggers, Course Notes, Engineering School. Issue 4, 1942. 2. German Monoplanes, Aircraft Identification. Part Two 2nd Ed. 2/-.books, raaf, aircraft identification, course notes fitters -
Orbost & District Historical Society
cloth, Gilbert, Penuel (Mrs Frank Richardson), 1914
Pen Richardson (nee Gilbert) was sewing this set when her headmaster came to tell the class (4th August 1914) that they were at war with Germany. She was in 3rd grade and her teacher was Leila Perry.This item is an example of the needlework taught in primary schools in the early 20th century.White linen cloth with "Brush & Comb" embroidered onto the front in white thread.cloth manchester table-linen hancrafts needlework orbost-state-school -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Yackandandah XI, c1972-1976
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: YACKANDANDAH / ERNEST MARCUSE Reverse: Y 1 / 012 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Bank of Victoria – Yackandandah III, c1983
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: ERNEST MARCUSE / BANK OF VICTORIA / YACKANDANDAH Reverse: Y 2 / 013 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Yackandandah VIII, c1983
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: MARCUSE / YACKANDANDAH / Reverse: Y 3 / 014 / ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Bank of Victoria – Yackandandah II, c1982
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 -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Yackandandah VII, c1983
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: ERNEST MARCUSE / 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