Showing 964 items
matching drawing book
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Eltham District Historical Society Inc
Photograph, Study of man chopping a tree
... Pencil drawing from a sketch book by Walter Withers. ... of pencil sketch Pencil drawing from a sketch book by Walter Withers ...Pencil drawing from a sketch book by Walter Withers. Photograph of pencil sketchwalter withers, walter withers sketch -
Eltham District Historical Society Inc
Photograph, Sketchbook notes
... Pencil drawing from a sketch book by Walter Withers. ... Pencil drawing from a sketch book by Walter Withers. walter ...Pencil drawing from a sketch book by Walter Withers. Photograph of pencil sketchwalter withers, walter withers sketch -
Eltham District Historical Society Inc
Photograph, Sketch study of street scene
... Pencil drawing from a sketch book by Walter Withers. ... of pencil sketch Pencil drawing from a sketch book by Walter Withers ...Pencil drawing from a sketch book by Walter Withers. Photograph of pencil sketchwalter withers, walter withers sketch -
Eltham District Historical Society Inc
Photograph, Sketch study of farmer with two horses
... Pencil drawing from a sketch book by Walter Withers. ... Photograph of pencil sketch Pencil drawing from a sketch book ...Pencil drawing from a sketch book by Walter Withers. Photograph of pencil sketchwalter withers, walter withers sketch -
Eltham District Historical Society Inc
Photograph, Sketch study of log cabin
... Pencil drawing from a sketch book by Walter Withers. ... sketch Pencil drawing from a sketch book by Walter Withers ...Pencil drawing from a sketch book by Walter Withers. Photograph of pencil sketchwalter withers, walter withers sketch -
Eltham District Historical Society Inc
Photograph, Figure study of boy with billy
... Pencil drawing from a sketch book by Walter Withers. ... of pencil sketch Pencil drawing from a sketch book by Walter Withers ...Pencil drawing from a sketch book by Walter Withers. Photograph of pencil sketchwalter withers, walter withers sketch -
Eltham District Historical Society Inc
Photograph, Study of cows
... Pencil drawing from a sketch book by Walter Withers. ... Pencil drawing from a sketch book by Walter Withers. walter ...Pencil drawing from a sketch book by Walter Withers. Photograph of pencil sketchwalter withers, walter withers sketch -
Eltham District Historical Society Inc
Photograph, Study of cows
... Pencil drawing from a sketch book by Walter Withers. ... Pencil drawing from a sketch book by Walter Withers. walter ...Pencil drawing from a sketch book by Walter Withers. Photograph of pencil sketchwalter withers, walter withers sketch -
Bendigo Military Museum
Book - NOTEBOOK, c1943
... . Includes some drawings of mechanisms. Book was stapled, had green.... Includes some drawings of mechanisms. Book was stapled, had green ...Relates to A.A.O.C. Armourers Course for "Sgt P.L. James". Refer Cat No 7446 for his service details.Standard lined note book full of handwritten notes in relation to the maintenance and use of various weapons in WW2. Includes some drawings of mechanisms. Book was stapled, had green cover and white paper. Type of front "Official use only" - "Department of the Army"a.a.o.c., armourers course -
Whitehorse Historical Society Inc.
Book - Social Studies Reader, c1960
... Red covered book with drawing of the world globe and two... Mitcham melbourne Social Studies Reader Book Red covered book ...Used by Chris Gray at Balwyn State School 1960sRed covered book with drawing of the world globe and two chickens and a ''swaggie'' animal--''Life and Legends of Many Lands''. Whitcombe's Social Studies Reader Book 1.books, school/educational, school, equipment -
Bendigo Historical Society Inc.
Book - Nunee An Aboriginal Folk Story, 1952
... . There are drawing throughout the book also by Johanne Alsop. On the back... aboriginal boy. There are drawing throughout the book also by Johanne ...A forty-four pages book titled: Nunee an Aboriginal folk story by Johanne Alsop. On the cover a drawing of a boomerang, emu, kangaroo, platypus and the face of a young aboriginal boy. There are drawing throughout the book also by Johanne Alsop. On the back drawing of a hippogriff and the words: With compliments of the Vacuum oil company Aileen and John Ellison Collection.On the front cover in black pen L. J. Ellison.aboriginal folklore, literature, mythology -
Tatura Irrigation & Wartime Camps Museum
Book - Bookmark, London Stores Household Year Book
... Small soft covered tan book with drawing of a large... Small soft covered tan book with drawing of a large department ...A book put out by London Stores Ltd., which contains advertisements for their products, home notes, recipes, sport records, gardening, first aid and laundry hints, beauty notes and sick room hints.Small soft covered tan book with drawing of a large department store, a book and a cartoon person pointing at the store. Also Contents at right bottom corner. All done in black and orange. Back cover has advertisement for men's hats "Tailsworth".as abovelondon stores ltd, household year book, household hints, gardening hints, beauty notes, sick room hints, laundry hints, first aid hints, recipes, 1940's -
Bendigo Historical Society Inc.
Document - The Mechanics Institute and Its Successors - Technical Education in Bendigo, 2/11/2023
... it provided classes in drawing, arithmetic and book-keeping. The MI... in drawing, arithmetic and book-keeping. The MI supported ...The Mechanics Institute movement began in Scotland in the early 1800's with the goal of providing classes for the working classes. In 1854 a group was formed in Bendigo to establish a Mechanics Institute. By 1856 the first permanent building was established in McCrae Street and included a free library. Initially it provided classes in drawing, arithmetic and book-keeping. The MI supported the establishment of a School of Design in 1871. A separate School of Mines began classes in 1873 initially using the MI building. In 1904 the School of Mines took over the MI including the library and developed further into what is now Bendigo TAFE.A 5 page document on the history of modern technical education and the Bendigo Mechanics Institutebendigo mechanical insitute, history, bendigo tafe -
Bendigo Historical Society Inc.
Document - LUDERMAN COLLECTION: SPRING GULLY, MANDURANG DOCUMENTS
... Document. Pastel Drawing Book, 'Bulldog' Series No. 589... Co. Knowlton Credgington Document. Pastel Drawing Book ...Document. Pastel Drawing Book, 'Bulldog' Series No. 589, containing series of invoices and documents relating to the Hargreaves family. Items stuck in book in order includes: invoices from J.R. Hoskin, Bendigo Timber and Iron Yards relating to construction of residence in Spring Gully (1896); Certificate of Registration of Residence Area for Thomas Snowdon, adjoining Hargreaves residence 200 yards from Reservoir; Elector's Right for John Billman Hargreaves of Mandurang, Tanner; handwritten note (Bairnsdale 24.1.34) on John Billman Hargreaves born 1861 on 14 June on Sheepwash Creek in Mandurang riding Shire of Strathfieldsaye near Bendigo possibly registered at Strathfieldsaye, Kangaroo Flat or Bendigo. Father's name John Hargreaves (English) mother's name Hosannah Hargreaves nee Billman'; 2 scrip certificates issued by 'Tanners Gold Mining Compagnie Pipers Hill, Sheepwash' overwritten on top of document ( underneath North Lord Warden Tribute Co., ) scrip certificate issued to John B. Hargreaves on 25 September 1882; invoice Jas. Knowlton, late J. Moody, watchmaker and jeweller, No. 1 Bath Corner, Bendigo 3.8.1895 for Diamond brooch; invoice H. Credginton watchmaker and jeweller and optician for 1 gem ring. Loose document inside contains written advice re taking wool off sheep skins and curing hides.person, individual, hargreaves, hoskins, hargreaves, snowdon, elector's right, tanner's gold mining compagnie, north lord warden tribute co., knowlton, credgington -
Flagstaff Hill Maritime Museum and Village
Book - Ledger Book, Warrnambool Harbour Board, Ships' Report Inward, ca. 1877 plus scrapbook entries to ca. 1953
... of the Warrnambool Harbour Board. The book has also been used as football... of the Warrnambool Harbour Board. The book has also been used as football ...The Ship's Report Inward contains entries from 1877 to 1917. It is a record of vessels that visited the Port of Warrnambool during that time and was filled in by the Harbour Master on behalf of the Warrnambool Harbour Board. The book has also been used as football scrapbook for both the Australian and Victorian Leagues, with articles and photographs from the early 20th century events and photos of players in 1953. A child has also used the book for drawing and writing.It appears that this historic ledger was once regarded as insignificant and used for other purposes such as a scrapbook and spare paper for drawing. However, the ledger is now considered to be of important locall significant for its accurate reports of all vessels inward bound to the Port of Warrnambool, giving a summary of activities during the forty year period from 1877 to 1917. It is also a reference to early Australian and Victorian football media.Ledger of the Warrnambool Harbour Board, containing the handwritten Ships Report Inwards for the Port of Warrnambool. First entry 1877. Last entry 1917. The book has also been used for a football scrapbook and contains newspaper cuttings of early 20th century AFL (Australian Football League) and VFL (Victorian Football League) events and photographs. There are several lose clippings between the pages throughout the book. The cover's spine has a gold embossed title and a pasted title, and the pasted front cover has figures relate to the scrapbook. There are also child's writing and drawings in pencil on some pages. A white label inside the back cover has a blue pen inscription. Embossed title "SHIPS' / REPORT / INWARDS" Pasted title "LEAGUE / GAMES" Label inside back cover: "R 759"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, book, warrnambool harbour board, ships' report inward, port of warrnambool, warrnambool harbour, harbour master, afl, vfl, australian football league, victorian football league, early 20th century, newspaper cuttings, maritime record, maritime history, 1877-1917, 1953 -
Kiewa Valley Historical Society
Book - Religious Education, The Books of the Bible
... Very small thin yellowish book with drawing, in black... book with drawing, in black, of a gate on which is the title ...Students attended Sunday School classes at the Kergunyah Presbyterian Church. Sunday school was held in a little 16 foot square wooden building which came from rocky Valley after it was no longer needed there. Ewen Wallace's father initiated and organised the move. C2011 the building was knocked down because of white ants. The Presbyterian Church will be 125 years old in 2015.Historical: Religious Education: This book was used by students who attended the Sunday School classes at Kergunyah Presbyterian Church. Religion: Presbyterian Church at Kergunyah, in the Kiewa Valley, celebrates its 125th anniversary in 2015 after being handed over to the Uniting Church in the 1970s.Very small thin yellowish book with drawing, in black, of a gate on which is the title at the top, 'Old Testament' on the next 'shelf'. Then 3 shelves of books with titles (of the Old Testament) then 'New Testament on the next 'shelf'. Then 1 shelf with lots of books with titles (of the New Testament). Underneath the 'gate' are the words, also in black, "Memorise Them"In pencil on cover top left '118mx', top right 3 (pence)religion, old testament, new testament, bible, ewen wallaace, kergunyah, sunday school, presbyterian church -
Ballarat Tramway Museum
Manual, Bell Punch Co, "The Perfect System of Fare Collection and Control - The Automaticket Bell Punch System", c1935
... of traffic tickets pasted in the book, diagrams, drawings, gives... of traffic tickets pasted in the book, diagrams, drawings, gives ...Twelve page book printed on heavy light brown paper, stapled with an oversize folded card cover titled "The Perfect System of Fare Collection and Control - The Automaticket Bell Punch System". Describes the Automaticket system, has samples of traffic tickets pasted in the book, diagrams, drawings, gives details of the components and method of operation. Published by the Bell Punch Company of London early to mid 1930's. On top right hand corner in pencil "Mr Turner 17-11-36" and bottom of cover "Bell Punch (A/Sia) Limited" and on bottom of page 1 "Bell Punch (A/Sia) Limited / 340 Collins Street / F2218 Melbourne".trams, tramways, tickets, ticket machines, buses -
Mont De Lancey
Book, Louise Wetenhall, A Laundry-Work Note Book, 1925
... is a small pencil drawing. Included in the book is a beige paper...Book A Laundry-Work Note Book A damaged faded grey ...A thin paperback work-book intended as a general guide and ready reminder for those taking a course in laundry work.A damaged faded grey paperback book titled A Laundry-Work Note Book by Louise Wetenhall printed in dark blue letters at the top of the front cover, with the Sir Isaac Pitman emblem below and Pitman printed at the bottom. There are 49p. with black and white photographs and diagrams throughout with blank pages for the student or teacher to write notes. It is intended as a general guide and ready reminder for those taking a course in laundry work. Some pencil notes are written on p 50 and on the last inside endpaper is a small pencil drawing. Included in the book is a beige paper sheet decorated with coloured leaves around the edges with the inscription as to it's history as written below. A small white card has the donation facts written by the owner.A thin paperback work-book intended as a general guide and ready reminder for those taking a course in laundry work. ironing machines, domestic equipment, laundry equipment, laundry irons -
Melbourne Legacy
Book, From the Australian Front. Xmas 1917, 1917
... A book of drawings and photos published about the trenches... ink. A book of drawings and photos published about ...A book of drawings and photos published about the trenches in Europe in 1917. Put together by the Australian Commonwealth Military Forces and published by a British publisher. Reproductions of official photographs and cartoons and sketches by members of the A.I.F. Photos show life in the trenches and the war zones, including Ypres, Hill 60, Hindenburg line, Bapaume, Menin Road, Zonnebeke and more. Plus conducting battle operations, Boche prisoners, ruined towns and churches, and the wounded awaiting transport. Most of the drawings are humorous. It is incomplete, the back cover is missing and the pages are only from Page 1 to 24 and 57 to 127. Information from the Australian War Memorial archives says it should have been 157 pages long. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving Portsea in 1920.A record that photos from the trenches were published as a memento of Christmas in 1917, presumably for the troops.A book of black and white photos and drawings published for the troops in World War 1.Title page has 'JB McLean / Maffra' handwritten in blue ink.world war one, souvenir -
Ballarat Tramway Museum
Manual, Bell Punch Co, "The Automaticket Bell Punch System of Fare Collection and Control", c1935
... Thirty page book printed on heavy light brown paper... samples of traffic tickets pasted in the book, diagrams, drawings ...Yields information about the method that the State Electricity Commission of Vic undertook interviews for staff appointments. Gave advice of the era for such interviews and objectives of the interview.Thirty page book printed on heavy light brown paper, stapled with an folded card cover titled "The Automaticket Bell Punch System of Fare Collection and Control". Describes the Automaticket system, has samples of traffic tickets pasted in the book, diagrams, drawings, gives details of the components and method of operation in particular ticket inspection, ticket and checking back office functions. Published by the Bell Punch Company of London early to mid 1930's? Cover and each page headed "Confidential Information for Executives". Has a photo of South Western Roadlines double deck bus with a conductor. See also Reg. Item 3629 for another version of the pamphlet for this machine. In the rear cover of the book, folded and stapled to give a pocket, are listed three forms that would have been provided with the book - not with the collected copy. -However in the pocket were eleven 11 "Ticket Issue Machine" or "TIM" tickets - eg City of South Melbourne library fine, packing slips, sample meal tickets, Army canteen beer tickets, and sample bus tickets - including one pinned to a business card - John Bolland of Eastern Suburbs Omnibus Service who were the agents for the TIM machines. (image btm3645i3) Card has date of "4-1-50". Also three sample Bell punch tickets and one ultimate machine ticket - two 1d tickets. As well at the time of acquisition were a SEC Special Pass - to Reg Item 3648 and a SEC Staff Pass ticket - to Reg item 3649. Full scan of document added as a pdf file 5/6/2019. trams, tramways, tickets, ticket machines, buses, bell punch -
Bendigo Military Museum
Literary work - BOOK SET, Australian War Memorial Set of 20, 1) 1919; .2) & .6) 1942; .3) & .12) 1943; .4), .7), 8), &.16) 1953; .5), .9) & .14) 1945; .10) 1941; .11) & .20) 1954. .13) & .14) 1944;
... , drawings & maps. .2) These Eagles. Story of the RAAF at War. Book..., drawings & maps. .2) These Eagles. Story of the RAAF at War. Book ...Set of Books commonly called 'As You Were' from WW1 and WW2. Green cloth. .1) Australia in Palestine (WWI) Book, hard cover, cardboard in centre of cover is silhouette of a Light Horseman & horse. Print is black ink, 153 pages. Illustrated with photos, drawings & maps. .2) These Eagles. Story of the RAAF at War. Book, green hard buckram cover, 200 pages. Front cover has black print with outline drawing of an eagle. Illustrated with photos, drawings. .3) RAAF Log - The RAAF at War. Book, green buckram hard cover. Front has profile of a pilot, black print, 200 pages, illustrated with photos, maps. paintings & drawings. .4) RAAF SAAG - The RAAF at War. Front cover has drawing of 2 Fighter Pilots in black ink, black print. 200 pages, illustrated with photos, drawings & paintings. Book, green buckram hard cover. Front cover has drawing of 2 Fighter pilots, black print, 200 pages, photos, drawings & paintings. .5) Victory Roll - The RAAF at War. Book, green buckram, black print, 200 pages, photos, drawings & charts. .6) HMAS Green buckram hard cloth cover, cloth cover with black text. 200 pages, black & white print, black text on white paper. .7) HMAS Mk II. Book, green buckram hard cover, black & white text on white paper. 200 pages, illustrated colour prints. .8) HMAS Mk III Book , green buckram hard cover, black text on white paper. 200 pages, illustrated colour prints. .9) HMAS Mk IV Book, green buckram hard cover, black text on white paper. Illustrated colour prints. .10) Active Service with Australia in the Middle East. Book, green buckram hard cover, black text on white paper, 129 pages. .11) Soldering on the Australian Army at Home & Overseas. Book, green buckram hard cover, black text on white paper, 200 pages. Rising Sun badge at bottom right hand corner. Illustrated with black & white photos, paintings, maps & drawings. .12) Khaki & Green with the Australian Army at Home & Overseas. Book, green buckram hard cover, black text on white paper, 204 pages. Front cover has a layout of words khaki & green, 2nd tone in light yellow. Illustrated with black & white photos, paintings, & drawings. .13) Jungle Warfare with the Australian Army in the South West Pacific. Book, brown buckram hard cover, light brown ink. Image at bottom of Australian soldier in jungle, 208 pages. Illustrated with photos, paintings, maps & drawings. .14) Stand Easy. After the Defeat of Japan, 1945. Book, light green buckram hard cover, black text on white paper, 208 pages. Image of soldier, both arms outstretched, smiling. Illustrated with photos, maps, paintings, & drawings. .15 On Guard with the Volunteer Defence Corps. Book, green & black buckram hard cover, black text on white paper, 172 pages. Illustrated with colour prints, & black & white photos. .16) As You Were. A Cavalcade of Events with The Australian Services from 1788 to 1946. Book, green buckram hard cover, tan & black text on white paper, 202 pages. Illustrated with black & white photos & colour prints. .17) As You Were. A Cavalcade of Events with The Australian Services from 1788 to 1947. Book, green buckram hard cover, black text on white paper, 202 pages. Illustrated with black & white photos & colour prints. .18) As You Were. A Cavalcade of Events with The Australian Services from 1788 to 1948. Book, green buckram hard cover, black text on white paper, 202 pages. Illustrated with black & white photos & colour prints. .19) As You Were. A Cavalcade of Events with The Australian Services from 1788 to 1949. Book, green buckram hard cover, green text on white paper, red & green diagram, 194 pages. Illustrated with black & white photos & colour prints. .20) Signals. Story of the Australian Corps of Signals. Book, green buckram hard cover, black text on white paper, 196 pages. In the corner of the front cover is the badge with motif of the Australian Corps of Signals. Illustrated with photos & drawings..1) 4214 TPR J E Neilson Year 1919 F E Addlem 1962 .books-military, museums, history -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Booklet, Phrenological Chart, Rev,J.J.Brown c1928, Physiological and Phrenological Chart Rev,J.J.Brown c1928, c1928
George Reed was a draftsman who lived in Bentleigh , City of Moorabbin in mid 20th C Phrenology is a process that involves observing and/or feeling the skull to determine an individual's psychological attributes. Franz Joseph Gall believed that the brain was made up of 27 individual organs that determined personality, the first 19 of these 'organs' he believed to exist in other animal species. Rev. Brown acknowledges that this printed delineation for self assessment is only approximate and proper analysis would cost time and money for personal consultation.After Charles Darwin, 1809 - 1882, English naturalist whose scientific theory of evolution by natural selection became the foundation of modern evolutionary studies. His nonreligious biology appealed to the rising class of professional scientists and the general public. Phrenology became a popular interest.A paper booklet with diagrams, charts and photos explaining Phrenology in 54 pages by Rev. J.J. Brown Coloured front and back covers have a drawing of a model of the human skull divided into 36 sections Front Cover ; SEVENTEENTH EDITION/ PHYSIOLOGICAL AND PHRENOLOGICAL / CHART / ( IN BOOK FORM) /BY / REV. J.J. BROWN/ Illustrated with 70 Engravingson Wood by S. Calvertgall franz joseph, phrenology, darwin charles, naturalists, jewellers, ezard & clark company moorabbin, early settlers, moorabbin shire, mechanics institute cheltenham, ormond choral society, postworld war 11 settlers,housing estates moorabbin 1950, bentleigh, ormond, moorabbin, cheltenham, drama societies, musical society cheltenham, clark judy, reed gladys, reed george, draftsman, architect, -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth I, c1972-1976
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: MARCUSE / B.worth (in pen) Reverse: BEECHWORTH NOSTALGIA / BW – 01 (crossed out) / B2 / CORNER CAMP + FORD STREET / (on masking tape) 001 (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 -
The Beechworth Burke Museum
Book - 1875 Catalogue, William Detmold, RULES / CATALOGUE OF BOOKS / INVENTORY OF PICTURES, DRAWINGS, / MAPS, CHARTS, FURNITURE, SPECIMENS / OF THE / PUBLIC LIBRARY AND BURKE MUSEUM / BEECHWORTH, 1875
This large, leather bound journal was made for the Public Library and Burke Museum in Beechworth by book manufacturer, William Detmold in 1875. It was commissioned by the President of the Library and Burke Museum committee, Dr Antoine Mousse, for the purpose of cataloguing all the items in the collection. The cataloguer was the curator at that time, William Morton, whose hand-writing appears in the journal today. When William Morton first started recording in this journal in 1875, there were already a number of existing items in the institution. The Public Library and Burke Museum in Beechworth had actually been operating since the 1850s; first as a Young Men’s Association in 1856, then as Beechworth Athenaeum in 1858, then as the Beechworth Public Library in 1860. Then in 1861 when news of the death of Beechworth’s former police superintended, Robert O’Hara Burke, reached the town, it was agreed that the Public Library would also become a museum to tribute his legacy, renaming it as the ‘Public Library and Robert O’Hara Burke Memorial Museum, Beechworth’. Many of the items from the early institutions would have been used to form the nucleus of this new organisation. Plus, the additional items that were either collected or donated to develop it into a museum. The catalogue is extensive. There are exactly 461 pages of recorded items, each page detailing the various collections the museum acquired in the late 19th century. Collections recorded in this catalogue include a large collection of geological specimens, that were given to the museum in 1868 by the Geological Survey Department of Victoria. A large collection of taxidermy mounts, that were given to the museum as skins by the Museum of Australia in 1865. An extensive collection of Aboriginal artefacts that were purchased from amateur anthropologist R. E . Johns in 1868. As well as artworks, charts, photographs, machinery, maps etc., all of which have been held in the museum since. This catalogue also details the governance and management of the organisation. There were originally 30 rules that governed the actions for the management committee and, while anyone could read in the free library, only subscribers could borrow two books and one periodical. At first, subscriptions rates were 7/6 a quarter. This was later changed to £1 per annum, paid quarterly in advance. This was a considerable amount; 7/6 per quarter meant that the annual fee was £1.10. This was equivalent to about £650.00 or about $1,182.00AUD today, while the reduced subscription fee of £1 a year was the equivalent to £450.00 or about $818.00AUD today. Membership of the athenaeum would have been the reserve of the town's notable citizens. The vale of the catalogue lies not only in its historical connect with the establishment of the Athenaeum and the current museum, but also in its record of the names and positions of all members of the institution's committees of management from 1875-1876. This is a unique object that contains important records for a notable country town. Large brown leather bound book made in 1875 for the Beechworth library and museum by William Detmond. Inside is a comprehensive and detailed itemised listing of the paintings, drawings, charts, photographs, specimens and books that entered the institution from 1850 -1882. non-fictionCover: RULES / CATALOGUE OF BOOKS / INVENTORY OF PICTURES, DRAWINGS, / MAPS, CHARTS, FURNITURE, SPECIMENS / OF THE / PUBLIC LIBRARY AND BURKE MUSEUM / BEECHWORTHburke museum, beechworth, catalogue, museum catalogue, 1875, william morton, william detmold, exposition universelle, ferdinand von mueller, public library, collection, book, leather bound, restored, digitised, robert o'hara burke, hand-written -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Yackandandah I, 1983
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: MILLS / DISPENSARY / MARCUSE 83 / YACKANDANDAH Reverse: Y 12 / 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, yackandandah -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth III, c1972-1976
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and 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 -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth – Opposite Crown Hotel (Tanswell Hotel), 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 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 -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth – Old Court House, 1972
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: Marcuse / Beechworth Old Courthouse / Reverse: B4 / BEECHWORTH OLD COURTHOUSE / BW - 09 (on masking tape) COURTHOUSE / BEECHWORTH / VICTORIA / NATIONAL TRUST / CLASS (A) ERNEST MARCUSE / 17 CADDOCK AVE / CAUFIELD / VIC / 53-7374 001 (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 -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Courthouse - Beechworth, 1974
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: Marcuse 74 / Courthouse / Visitor Ned Kelly . B'worth Reverse: BEECHWORTH / COURTHOUSE / B5 / 06 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth Carriage Museum IV, c1972-1976
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: B'worth / Marcuse Reverse: B6 / Beechworth Nostalgia / BW - 07 (crossed out)ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program