See Item 4533The diary is still a significant witness to the cruel persecution of Jews and attempted extermination of Jewry by Hitler and his adherents. The Frank family's hiding place at Prinsengracht 263 Amsterdam, is a much visited museum. Translations, plays and movies have followed the diary's publication. Travelling exhibitions have included one in the Melbourne Jewish Museum. The diary is often used as teaching material in secondary schools.A 269p. soft cover edition of this famous WWII diary of a Jewish teenager in hiding. Apart from the text it contains a number of photos of Anne in the pre-war years. These had not yet been published in the earlier editions (see Item 4533). A secondary titile reads: "Dagboek brieven 14Juni 1942 - 1 Augustus 1944". (Diary Letters 14th June 1942 - 1st August 1944)

Dr.Fischer-Dückelmann wrote numerous books and papers in 13 languages. She believed female and family health, emotional as well as physical would counteract the evils of war.The popularity of this early 20th century publication (half a million copies printed) points to a desire among Dutch women to become more educated about their own bodies and their role in the family.A 216pp hardcover book describing female sexuality. It includes a fold-out colour plate of the female body and numerous other illustrations.

Anne Frank was one of a group of eight Jews in hiding from the Nazis. After their betrayal and transportation only her father Otto Frank survived. Her diary was saved by one of the helpers who brought them food and news during the 2 years in hiding. The diary bears witness to Anne's budding talent as a writer. It is also an invaluable record of a Jewish family in hiding during WWII. It has been translated into over 70 languages and formed the inspiration for several movies and plays. The house on the Prinsengracht quickly became a major Amsterdam tourist destination and is the home of the Anne Frank Foundation.120pp hard cover book about the world-wide reactions to Anne Frank's diary. Hence the title "Echo". It describes a stage play and quotes many reactions from readers worldwide. Some of these are in the form of poetry. Authors are Otto Frank and Henri van Praag, President of the Anne Frank Foundation."For my daughter Bettina Christina - to remember her Mam. Jan.1976."

The postcard has a drawing of a traditional landscape of The Netherlands represented by a lake, house with mills, a boat and a child dressed in a colourful, traditional costume. The handwriten text is a letter home and describes the writer Peter's visit with his cousin. Other items addressed to Mrs Elsum are in the archive (see 00180 a postcard from 1915). The connection to Legacy is not known.This postcard has a historical significance for the family involved and remind them the time when Peter was at Holland. Postcard with a drawing of the Netherlands.Handwritten text in blue pen: "10-10-80, Hello There, greetings from Holland. Spending a couple of days with my cousin & his wife at Leiden, which is very old city with narrow cobble stone streets. Last night Paul & I did a 'pub crawl' on bikes which was good fun. Everyone rides bikes here, they even have part of the road reserved for them! All are well at Takerton, [?], send their best wishes & thanks for your gifts. Mum is writing to you. Thanks for keeping my girl company. See you soon. Love. Peter. Addressed to: Mr & Mrs John Elsum, 52 Davey Street, Mordialloc Vic 3195, Australia." Printed on postcard: gebr.spanjersberg / Rotterdam - antwerpen / Cobas y Cia. Barna. Printed in Spain / [Symbol] 7013 [Air mail stamp] LUCHPOST PAR AVION / P 4579 / PTT / [Postage Stamp] JULIANA NEDERLAND REGINA 55csouvenir, postcard

The Hume & Iser Story five generations of a family, author Mike butcher contains 122 pages with black & white and colour photographs, published by Holland House Publishing Kennington, soft cover with a pull out family tree in back.Mike Butcherbook, bendigo, hume & iser

Booklet produced in 1940 for members of the 2nd AIF by the Australian Comforts Fund Victorian Division. The 128-page pocket-sized book could be carried everywhere and provided Australian soldiers with a wide range of useful information about the requirements of war service and many other important details such as: The Laws and Customs of War - including Geneva Convention guidelines, notes on spies and insignia of rank; Things a Soldier should Know - including over 60 points; Signaling - including flags, morse code, shipboard bell times and time zone; Decorations Awarded to Australians in the Great War; Arabic and Japanese words; First Aid for gas injuries etc.; Australian Historical Events, facts and figures etc.; and Conduct Overseas - including expectations of behaviour when representing Australia. non-fictionaustralian comforts fund (victoria), second world war 1939-1945, hugh george ferguson

Hugh George Ferguson was born in June 1900 in Williamstown. After his family moved to Kew, they lived in Fernhurst Grove while his future wife’s family lived in Fellows Street. He married in 1940 and subsequently joined the Second AIF. In 1945, he was reported to be the ACF (Australian Comforts Fund) Commissioner in Borneo [Kalimantan]. After the Second World War, he worked as a Billeting Affairs Organiser for the Dutch Government, resettling migrants in Australia. He also worked in advertising as an account manager, and as campaign director for Arthur Rylah in Victorian politics. He directed the first major trade fairs at the Royal Exhibition Buildings after the Second World War, including ‘Australia Makes It Exhibition’ in 1947, the ‘Australian Industrial Fair’ in 1949 and 1950, the ‘Modern Home Exhibition’ in 1949, and ‘Made in Australia’ in 1952. The funds raised during the latter were earmarked for a ‘bankrupt’ Queen Victoria Hospital. He built a home in Brougham Street and represented North Ward on Kew Council from 1952 to 1968. He was elected Mayor in 1959. Hugh Ferguson died in 1975, aged 75. He was buried on 2 September in Grave 201, Special (Non- Denominational) Compartment A, Boroondara General Cemetery.A gold plated bar brooch with suspended medallion having a blue enamelled ring surrounding the City of Kew crest in reliefFront: City of Kew, above the city of Kew crest with Council below Rear: Mrs H. G. Ferguson, Mayoress, 1959-60city of kew, mayoresses - kew (vic), mrs hg ferguson

Hugh George Ferguson was born in June 1900 in Williamstown. After his family moved to Kew, they lived in Fernhurst Grove while his future wife’s family lived in Fellows Street. He married in 1940 and subsequently joined the Second AIF. In 1945, he was reported to be the ACF (Australian Comforts Fund) Commissioner in Borneo [Kalimantan]. After the Second World War, he worked as a Billeting Affairs Organiser for the Dutch Government, resettling migrants in Australia. He also worked in advertising as an account manager, and as campaign director for Arthur Rylah in Victorian politics. He directed the first major trade fairs at the Royal Exhibition Buildings after the Second World War, including ‘Australia Makes It Exhibition’ in 1947, the ‘Australian Industrial Fair’ in 1949 and 1950, the ‘Modern Home Exhibition’ in 1949, and ‘Made in Australia’ in 1952. The funds raised during the latter were earmarked for a ‘bankrupt’ Queen Victoria Hospital. He built a home in Brougham Street and represented North Ward on Kew Council from 1952 to 1968. He was elected Mayor in 1959. Hugh Ferguson died in 1975, aged 75. He was buried on 2 September in Grave 201, Special (Non- Denominational) Compartment A, Boroondara General Cemetery.City of Kew identification badge issued to sitting councillors. The City of Kew cost is surrounded by a blue enamel band with City of Kew Council picked out in gold cloisonné.Front: City of Kew to top, Crest in middle with Council below Rear: Cr H. G. Ferguson 27-8-1955mayors of kew - cr hg ferguson, kew council, city of kew

The furriers Keitel were established in Australia early in the Twentieth Century. The business was initially in Port Melbourne in Beach Street and later in Lt Collins Street, Melbourne. In 1916, 1918, 1924, and 1927 there were newspaper reports of robberies at the business; an indication of the monetary value of furs in the past. There was an interesting connection to Jewish refugees to Australia reported in Australian newspapers in 1939, which relates to the Keitel family. OFFICER'S WIDOW A REFUGEE MELBOURNE, Wednesday. - A widow, whose husband was killed in action while a German officer in the Great, War, reached Melbourne in the Marella, a refugee from Nazi Germany. She is Mrs L. Fuchs, and on the wharf she met her, brother, Mr K. Feitel, a Melbourne furrier, for the first time in 40 years. Another, brother, Mr I. Feitel, travelled with her from Vienna. Mr I Feitel is a watchmaker, and has been in the business in Australia for about 50 years. He has brought with him an agency to establish here, for the well-known Swiss watchmaking company, Chaux-de-fonds. ESCAPED INTO HOLLAND. Having escaped from Germany into Holland, 80 refugees brought to Australia in the Marella were taken by Dutch ships to Batavia, where they Joined the Marella. Seven landed in Brisbane, 40 in Sydney, and 33 in Melbourne. There was only a few British subjects in the ship. The Jewish refugees include a cattle breeder, a lawyer for a Viennese bank, dentists, clothing , manu facturers, machinery experts, and general merchants. (Source: Evening New (Rockhampton, 4 May1939, p. 4) In 1947, Mr Kallman Feitel died and the business was carried on by his family.A fashionable fur stole created by a major furriers in Melbourne.Large brown lined mink fur stole. Label: K. Feitel, Furrier, 290 Lt Collins Street, Melbourne.furs, costume accessories, women's clothing, fur stoles

The original Kew Town Hall offices were located in Walpole Street, Kew. Before 1960, even though it had been much discussed over a number of decades, Kew did not have a 'civic hall'. When required, events such as balls, exhibitions or theatrical events were held in the Kew Recreation Hall in Walpole Street. A new City Hall was to be opened by Sir Robert Menzies in 1960. It was located beside the Alexandra Gardens in Cotham Road. It is now used as the Kew Library. Cr Hugh George Ferguson (at right) was born in June 1900 in Williamstown. After his family moved to Kew, they lived in Fernhurst Grove while his future wife’s family lived in Fellows Street. He married in 1940 and subsequently joined the Australian Imperial Forces. After the war he worked as a Billeting Affairs Organiser for the Dutch Government, resettling migrants in Australia. He also worked in advertising as an account manager, and was campaign director for Arthur Rylah is Victorian politics. He organised the first major trade fairs at the Royal Exhibition Buildings after the Second World War, including a World Trade Fair. He built a home in Brougham Street and represented North Ward on Kew Council from 1952 to 1968. He was elected Mayor for the 1959-60 term. He died in 1975, aged 75, and is buried in Boroondara Cemetery.An item of historical interest donated by members of the Dods family in 2006. The Dods-Ferguson Collection includes a number of items once in the possession of the families related to or descended from two mayors of Kew: Cr. Hugh Ferguson and Cr. Frederick Dods.Publicity photograph of two men and a woman inspecting architectural models for a new Kew City Hall. The man at the right of the photograph is Cr Hugh George Ferguson, Mayor of Kew 1959-60. The Hall, now occupied by the Kew Library, was opened by The Hon H.E. Bolte MLA, Premier of Victoria in 1960.Herald Sun Feature Service / Hugh G. Ferguson & Associates / New Kew City Hall. kew city hall, hugh g. ferguson & asociates, architectural models - kew, cr hugh george ferguson

From information written on the back of the image, this was 'a Dutch camp in township' which was there in 1900. There is no indication as to where the camp actually was.A dark sepia photograph of a campsite in on open are with tens and some large horse-drawn vehicles set up.

The interview is one of a series recorded in 2013-2014 to document memories and experiences of the Williamstown Botanic GardensA primary source of information on memories of the Gardens. Anne moved to Williamstown as a small child in 1952, lived in Williamstown until her marriage and has been witness to changes in the Gardens over those years. CD and transcript of interview with Anne Cocks and her memories of the Gardens from her childhood through to adulthood. Anne’s family migrated from Holland in 1952 when she was three years old. The family lived in Lyons Street for a short while before moving to Altona. Her parents, Kees and Betts Huisman bought the Old Royal Hotel in Nelson Place, which was a boarding house for men in 1958. They stayed there until 1971 when they sold it.anne-cocks, old-royal-hotel, nelson-place, boarding-house, holland, dutch-migrants, huisman, nellie-street, civic-parade, alma-cocks, eddie-cocks, 34-schutt-street, newport, 27-schutt-street, palms, williamstown-botanic-gardens, hobsons-bay-city-council, nordini

Ernest Lance Young was born 24 March 1915 in Surrey Hills, the son of Ernest Augustus Young and Ruby Nichell Whitty. He married Beryl Mair in 1939 and died on 5 October 1999 at Mont Albert. Beryl Mair (1916-1976) was the daughter of David Miller (Dave) Mair and Lily Vipond Deakin. Dave Mair (1879-1938) was founder of the Kangaroo Cricket Club based at the MCG. The logo or emblem of the club was a kangaroo facing forward. From this one can assume that Mr Holland was a member of the club. The card was most probably sent prior in 1939 or soon after as following Dave Mair's death, as a mark of respect, the emblem was changed to a kangaroo facing to the left but with its head turned back. (Information from the donor).This is part of a large donation of material relating to the Deakin, Mair and Young families, all of whom had connections with Surrey Hills / Mont Albert. The donor is the daughter of Ernest Lance and Beryl Young.A light green card on thin paper with a total size slightly smaller than A4, folded into four. The lower edge of the front is folded back to reveal an embossed figure of a kangaroo facing forward in burnished gold. Inside are printed greetings personalised from Mr Holland and Marion to Mr and Mrs Young.On the folded triangle of the front in blue biro is the later addition of the number one within a circle. This mark was made by the donor. Inside in blue ink, inner LH side: "To / Mr. & Mrs. Young"; signed below the printed standard greeting in the same hand " Mr. Holland / & / Marion"christmas card, dave mair, david miller mair, ernest lance young, beryl mair, beryl young, mr. - holland, kangaroo club

Location is now 3 Beatty Street, Mont Albert although electoral entries for the Lodewyckx family in the 1930s give the address as 1 Beatty Street. This address is a more contemporary house and part of the original garden was subdivided off at some stage. The property's original address was 1 Victoria Street, renamed in 1917. The house was built c 1891 and from then until 1905 it was home to Leopold A Carter (dentist of Collins Street); followed by James J Hempill (broker) from 1905 -1907. he called it 'Manchling'. There were several other owners or tenants before the Lodewyckx family moved into it in 1920. They named the property 'Huize Eikenbosch' (Dutch meaning House of Oaks). It was set in 1/3 hectare with a formal garden, vegetable garden, orchard and chicken run. Augustin had a life-long interest in growing vegetables and planted many European trees, especially oaks. Augustin Lodewyckx was born and educated in Belgium, was appointed Professor of Modern Languages at Stellenbosch, South Africa and later joined the Belgium Colonial Service. In 1915 he commenced as lecturer in German at Melbourne, becoming Associate Professor in 1923. He had married Anna Sophia Hansen* in South Africa in 1910. They had 2 children Karel Axel, librarian of the University of Melbourne, and daughter Hilma Dymphna, translator, editor and wife of Manning Clark, historian. In 1942 Augustin introduced a university course in Dutch and also undertook research into German immigration to Australia. He retired in 1946 and died in 1964. (*Thought to be nick-named Mina.) A black and white photograph of a corner of a house with a large palm tree in front. There is decorative wooden balustrading on the verandah.beatty street, mont albert, mina lodewyckx (mrs), augustin lodewyckx (mr), karel axel lodewyckx (mr), axel lodewyckx (mr), anna sophia lodewyckx (mrs), hilma dymphna lodewyckx (miss), dymphna lodewyckx (miss), hilma dymphna clark (mrs), dymphna clark (mrs), architectural features

p.485.non-fictionAmerican historian John Lothrop Motley (1814–77) graduated from Harvard in 1831. During 1832 and 1833 he studied in Göttingen before returning to the United States. Already the author of two novels and numerous essays, he began to plan a history of the Netherlands, but, unable to find all the source material he needed in America, he returned to Europe in 1851, this time with his family. The next few years he spent researching in Dresden, The Hague and Brussels. The result was this famous account of the foundation of the Dutch Republic, first published in 1855. Volume 2 starts with the end of Margaret of Parma's governorship and then describes the start of the Eighty Years' War, covering the period 1567–76, including the governorship of the duke of Alva and the so-called Council of Blood by which he attempted to quash the movement for Dutch independence from Spain. neterlands - history, netherlands - wars of independence

p.527.non-fictionAmerican historian John Lothrop Motley (1814–77) graduated from Harvard in 1831. During 1832 and 1833 he studied in Göttingen before returning to the United States. Already the author of two novels and numerous essays, he began to plan a history of the Netherlands, but, unable to find all the source material he needed in America, he returned to Europe in 1851, this time with his family. The next few years he spent researching in Dresden, The Hague and Brussels. The result was this famous account of the foundation of the Dutch Republic, first published in 1855. Volume 2 starts with the end of Margaret of Parma's governorship and then describes the start of the Eighty Years' War, covering the period 1567–76, including the governorship of the duke of Alva and the so-called Council of Blood by which he attempted to quash the movement for Dutch independence from Spain. neterlands - history, netherlands - wars of independence

Index, p.481.non-fictionAmerican historian John Lothrop Motley (1814–77) graduated from Harvard in 1831. During 1832 and 1833 he studied in Göttingen before returning to the United States. Already the author of two novels and numerous essays, he began to plan a history of the Netherlands, but, unable to find all the source material he needed in America, he returned to Europe in 1851, this time with his family. The next few years he spent researching in Dresden, The Hague and Brussels. The result was this famous account of the foundation of the Dutch Republic, first published in 1855. Volume 2 starts with the end of Margaret of Parma's governorship and then describes the start of the Eighty Years' War, covering the period 1567–76, including the governorship of the duke of Alva and the so-called Council of Blood by which he attempted to quash the movement for Dutch independence from Spain. neterlands - history, netherlands - wars of independence

BHS CollectionBendigo Advertiser ''The way we were'' from 2003. All aboard: the Mennen family arrived in Australia by ship from Holland in August 50 years ago with seven children. The youngest, Leonie was born in Bendigo and two more generations now call Australia home. The clip is in Australia.newspaper, bendigo advertiser, the way we were

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: B'WORTH NEWTOWN / OLD HOUSE / E MARCUSE Reverse: B 11/ 023 / BEECHWORTH NOSTALGIA / BW - 04 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: Reverse: CHILTERN ? / (SAME (illegible), SAME PAPER + COLOURS AS CHILTERN PHARMACY / BOTH MAY HAVE BEEN 1981 WHEN IN YACKANDANDAH? / ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: YACKANDANDAH / MARCUSE / 83 Reverse: YACKANDANDAH / Y 911/ 022 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: Reverse: YACKANDANDAH / Y 9 / 021 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: Marcuse / YACKANDANDAH / Reverse: YACKANDANDAH / Y 8 / 020 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: CHILTERN PHARMACY / Reverse: 025 / ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: Marcuse / YACKANDANDAH / 83 Reverse: YACKANDANDAH / Y 7 / 019 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program