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Bendigo Military Museum
Literary work - LETTERS WW1, 1914-18 (exact)
Letters written by Thomas Magee No 1444 enlisted in F.A.Brigade 2 Ammunition Colunm AIF on 20.8.1914 age 26 years. Embark for Egypt 20.10.1914, embark for Gallipoli 4.5.1915, hospital with Mumps 19.2.1916, transfer to 4th Div Artillery 27.2.1916, embark for France 1.4.1916, promoted Bombadier 2.2.1917, promoted Cpl 30.9.1917, awarded the Military Medal (MM) at Westhoek 4.10.1917, promoted T/Sgt 23.10.1917, WIA Gassed 3.11.1917, rejoins unit 13.3.1918, promoted Sgt 7.5.1918, to No 2 Army Field rest Camp 16.7.1918 to 2.8.1918, to England 13.10.1918 special leave 1914 men, hospital with Influenza then Pnuemonia and dies in England on 25.10.1918.Series of letters, 32 in total written by Thomas Magee MM to his sister & mother. All letters are either pencil, red & black ink. Some are parts of letters with no dates or who to. The letters begin Tues 25th 1914 possibly August and continue through to Sept 1918. Letters are various sizes, some on blue paper, some on note pad size & graph paper.documents, letters, mm, -
Bendigo Military Museum
Work on paper - LETTER, PHOTO ENVELOPE, 1) - .3) 21.2.1955
Items were in the collection belonging to Athur George Holley No 13556 RAN. Refer 2134 for service history also 2135.3, 2137, 2147. .1) - .3) Letter in ink on ruled paper, 3 pages. Letter writer is unknown, possibly A.G Holley to a Navy mate, only nicknames are used. Letter is from Box 155 Kempsey. .4) Photo envelope, light and dark brown, Kodak, no photos inside.letters, personal -
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;
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 -
Bendigo Military Museum
Literary work - DIARY, 3/3/16-16/11/16
The diary is part of the Grinton collection which included hundreds of negatives and developed photos that he took during the War. Refer Cat No 1280 for service history. Refer 1317P, 1320P. Black fabric covered diary with ruled lines Re. Jack Grinton. Writing is in ink, starting on 3 March 1916, ends 16 November 1916. Detailed accounts of enlistment, journey to England, and training until embarkation."Pte JW Grinton No 16 Section, No 12 Platoon, C Company 10th Brigade AIF, On Active Service Abroad"documents-diaries, military history -
Bendigo Military Museum
Work on paper - LETTER & ENVELOPE, 1) & .2) 30.5.16
LEO HARRIS No 3132, KIA 9.8.16. Refer 2478 for service history also 2476, 2477P, 2479.3..1) Small, yellowed envelope addressed to L HARRIS. .2) - .4) 3 page yellowed letter on ruled lines dated 30.5.16. Addressed to L HARRIS & written in blue ink & was in .1). Letter is from CARRIE LUCK, ALMA 15 Wigton Street, Ascot Vale, Melbourne.letters, envelopes -
Bendigo Military Museum
Literary work - DIARY, Post August 1942
Arthur George Holley No 13556 RAN HMAS Hobart. This is the 3rd part of a diary relating to 2147. Refer also 2134 for service history, 2135.3, 2137. Diary, A.G Holley RAN. Seven page typed in blue ink with heading "Solomon Islands Landings" which began on 7th August 1942. There are no clear dates, detailed account of the action.diaries, naval, personal -
Bendigo Military Museum
Literary work - DIARY, 23.10.41-17.3.42
Diary written by Arthur George Holley No 13556 while serving on HMAS Hobart. This section of diary is part 2 and relates to 2417. Refer also 2134 for service history, 2135.3, 2137.Diary"A.G Holley RAN" Pink ruled paper written in ink, no front or rear covers, 21 pages of near day by day description of events beginning on 23 Oct 1941-17.3.1942 of HMAS Hobart.diaries, ran, personal -
Bendigo Military Museum
Memorabilia - RAIL SECTION AND CERTIFICATE, 1) est 1941-43, .2) 1984
The items were presented to Alfred Robert Maskell VX25221, 4th Anti Tank Regt in May 1984. Alf worked on the Railway during 1942-43 as a Prisoner of war in horrendous conditions. Refer 2485 for medals and service history also 1076, 2484P..1) A section of the "Thai-Burma Railway Line". A small brass plaque is attached to one edge. .2) Certificate of "Authenticity Thai- Burma Railway memento". Yellow parchment paper with gold surround with blue print. A space for "Presented to and date, signed by". A brief story on the Railway Line. On the rear in one corner in ink "Slice No 131"..1) "Rail slice Thai-Burma Railway 1942-43 Australian Thai Chamber of Commerce"memorabilia, history, railways -
Kiewa Valley Historical Society
Book - Technical on Telephones / Switchboards, The Practical Telephone Handbook by J. Poole, 1912
This book includes "Guide to the Telephone Exchange". As the State Electricity Commission of Victoria had a telephone exchange on the Kiewa Hydro Electric Scheme at Mt Beauty, this book is of interest. The first telephone exchange was established in the U.S.A. in 1877. In 1912 most civilised countries had one. Improvements continued as outlined in the book explaining how they work.The State Electricity Commission of Victoria constructed the Kiewa Hydro Electric Scheme and communicated using a switchboard based in Mt Beauty. This book belonged Roy F. Leibig, the grandfather of a local electrician.Black hard cover book with gold embossing of title, author and emblem "The Specialists Series" on the front cover. 630 pages with some black and white diagramsInside: "W. Kerr Newmann / 89 Moreland Grove / Coburg" written in pencil "S. Dunkerton / 8 Horne St / E. Brunswick / Oct. 7th 1913" crossed out with pencil (over handwriting with pen) "R.F. Leibig / "Orama" / Stafford St / West Preston" written in inkinstructional book; technical; telephones; switchboards; telephone exchange; state electricity commission of victoria -
Kiewa Valley Historical Society
Photograph - Mt Beauty Camp, Estimated 1950-1951
This photo is of the very newly constructed State Electricity Commission town of Mt. Beauty. The houses up to Nelse street were erected from 1946 onward and then the township was extended beyond Nelse Street in 1950 which places this photograph about 1950/51. There is no evidence of work being commenced on the regulating pondage but the tail race canal can be seen on the centre right of photo. The workmen's camp was enlarged in 1950 to the extent of providing accommodation for a total of 1,200. There are a number of dwellings on Simmonds Creek and the road to Falls Creek can clearly be seen. Snow capped Mt. Bogong is in the upper left of the photo with Mt. Beauty behind the township rising to Big Hill beyond that.Shows the newly constructed town of Mt. Beauty surrounded by farmland and before the regulating pondage was built to discharge water from the power stations via the West Kiewa tail race tunnel into the Kiewa River. Copy of black and white photograph of Mt Beauty CampWritten on the back in black ink - A Campenmt beauty camp, secv, construction town -
Kiewa Valley Historical Society
3 X photographs of early residents of the Kiewa Valley, 1. 1949-1950
The 3 photographs are of early residents of the Kiewa Valley who have pursued varying careers. Pictorial history of early residents of the Kiewa Valley giving an insight into the accomplishments of some local residents ie: R Nicholls and T Hotter travelled from New Zealand to work in the Kiewa Valley. J.H. Thompson pursued a career as a police officer. W.M. Sloan and his father built the water wheel at Junction Creek.1. Black and white photograph of Rod Nicholls and Tom Hotter, both of Mt Egmont New Zealand 2. Black and white photograph of J.H Thompson Former pupil of Mongan’s Bridge School 3. Black and white photograph of W M Sloan taken in 1880’s. Photograph is an oval within a larger rectangle 1. Handwritten in black pen on back of photo – Rod Nicholls (wearing hat) & Tom Hotter Both of Hawera (Mt Egmont) New Zealand 1949 – 1950 2. Handwritten on the back of photograph in ink J H Thompson, A fond memory for Mrs. Fisher, Everil & Paddy. Former pupil of Mongan’s Bridge school 3. Handwritten on back of photograph in blue ink – W M Sloan. He and his father built the water wheel 1880’s on Junction Creek (Bakers) j h thompson, fisher family, mongan's bridge, w m sloan, kiewa valley -
Kiewa Valley Historical Society
Photograph x 2 of pioneer gravesites, 11th January, 1985
Pictorial record of the graves of early pioneers Mrs Elizabeth Eyre who died in 1879 located at Tawonga Homestead and Mary Hollands , located at Mullagong in TawongaRecord of early history of Kiewa Valley pioneers Gwen Hobbs and Rob Hollands are descendants of pioneer farmers. Hobbs and Hollands families have lived and worked in the Kiewa Valley for many years.1. Colour photograph of 2 Kiewa Valley residents visiting gravesites of pioneer Elizabeth Eyre who died in 1879. Grave located at Tawonga Homestead. 2. Colour photograph of Kiewa Valley residents visiting the gravesite of Mrs Mary Hollands, pioneer of the area. Gravesite located at Mullagong property in Tawonga.1. Handwritten in ink on back of photograph: Gwen Hobbs and Rob Hollands - Tawonga Homestead grave 2. Handwritten in ink on back of photograph: Gwen Hobbs and Barbara, Rob and Margaret Hollands at Mullagong graveselisabeth eyre, mary hollonds, tawonga, graves -
Kiewa Valley Historical Society
11 Black and White photographs of the Rocky Valley area, c1948
In October 1947 construction was commenced on the erection of the workmen's camp at Rocky Valley. Also in 1947 construction of a stream diversion was commenced to allow excavation to commence for the dam wall. In the summer of 1948/49, stripping of the foundation area on both sides of the river was carried out. Weather conditions were not always favourable during the construction, particularly 1955/56 summer, and work would have to cease each year for the winter season due to the severe conditions. The dam is a earth and rock fill structure with a height of about 30.5 metres and crest length 518.16 metres and was completed in March, 1959.These photographs show the type of terrain in the area prior to the construction and filling of Rocky Valley Dam. Also of interest is the type of accommodation provided for those working on the construction and the early cranes available in the 1940/50's. Of historical importance to understand the conditions in the early construction of the Kiewa Hydro Electric SchemeEleven small black and white photographsPhoto No. 1 - on the back, printed in ink"Rocky Valley - New Mess & offices Dec. 1948". In pencil '14 on the back Photo No. 2 - on the back, printed in ink "Rocky Valley Camp. October 1948". Also stamped on the back "998L" Photo No. 3 -on the back, printed in ink "Rocky Valley Hostel October 1948". Also stamped on the back '998L' Photo No. 4 - on the back, printed in ink "Spion Kopje from bedroom window. October 1948". Stamped on the back '998L'. Photo No. 5 - on the back, printed in ink "Rocky Valley Basin Dec. 1948." In pencil on back, 14. Photo No. 6 - on the back, printed in ink "Site of Wall for Rocky Valley Dam Dec. 1948". In pencil on back, 14. Photo No. 7 - On the back, printed in ink "Commencing of Diversion Tunnel Rocky Valley December 1948". In pencil on back, 14. Photo No. 8 - on the back, printed in ink "One of the two electric cranes at Rocky Valley December 1948". In pencil on back, 14. Photo No. 9 - on the back, printed in ink "'Rapier' (H.Y.) electric crane Rocky Valley December 1948". In pencil on back, 14 . Photo No. 10 - on the back, printed in ink " Pretty Valley Pump line construction Mt. Cope in Background Nov 1948. Circular stamp with the words 'print by Wilson White Albury' in the circle. Photo No. 11 - on the back, printed in ink "Stringing cable on Ruined Castle October 1948. Same stamp as No. 10. In pencil '31'. rocky valley; pretty valley; ruined castle; bogong high plains; kiewa hydro electric scheme -
Kiewa Valley Historical Society
7 small black and white photographs of Pretty Valley, c1948
In 1947 it was proposed to construct a dam on the Pretty Valley branch of the East Kiewa River. This was part of the initial planning in 1937. The Pretty Valley Reservoir was to be part of a pumped-storage scheme with a pumping station located immediately below the main structure. Preparatory work was commenced in 1946 with erection of staff accommodation. Between 1947 and 1950 the main camp was erected, access roads, constructed and banks and benches at the dam site undertaken. Following the financial crisis in 1951, a review of the scheme was carried out and work ceased in June 1951. Construction of the dam was deleted from the programme of works and all buildings removed.A pictorial history of part of the initial planning in 1937 for a dam to be constructed at Pretty Valley as part of the Kiewa Hydro Electric Scheme.7 small black and white photographs of Pretty ValleyAll photos have a circular stamp on the back with 'Print by Willson White Albury' enclosed. Photo 1 - on the back, handwritten in ink 'New 22Kv pump line - Pretty Valley Nov. 1948'. In pencil '18'. Photo 2 - On the back, handwritten in ink 'Pretty Valley - Staff mess on right Nov. 1948'. In pencil '18'. Photo 3 - On the back, handwritten in ink 'Pretty Valley Basin - looking S.E. Nov. 1948'. In pencil '5'. Photo 4 - On the back, handwritten in ink 'New pump 22Kv line, Pretty Valley - looking towards Mt. Mackie. Nov. 1948'. In pencil '5'. Photo 5 - On the back, handwritten in ink 'Pretty Valley. Mt. Cope just out of picture extreme right. Nov. 1948'. In pencil '78'. Photo 6 - on the back, handwritten in ink 'View from Pretty Valley Ruined Castle in Background Nov. 1948'. In pencil '78'. Photo 7 - on the back, handwritten in ink 'Pretty Valley Pump line (Nov. 1948)'. In pencil'78'.construct, dam, pretty valley -
Kiewa Valley Historical Society
5 small black and white photos of Clover Dam and Power Station, c1948
The construction of Clover Power Station was commenced in October 1942 and the power station building was completed in May, 1943. The first machine was placed in service August, 1944 and the second machine in May, 1945. The water discharges directly into Clover Dam and re-used in West Kiewa Station. Clover Dam - stripping of foundation area commenced in January 1948 but the final concrete pour was not until 14th August, 1954.Pictorial history of the early construction undertaken in the building of the Kiewa Hydro Electric Scheme. Clover power station (No. 3 Development) was the first power station to be built .5 small black and white photographsPhoto No. 1 - handwritten in ink on back ' No. 3 Power Station Clover Flat Nov. 1948 Photo No. 2 - handwritten in ink on back 'No. 3 Power Station Clover Flat Nov. 1948 Photo No. 3- handwritten in ink 'Clover Flat looking towards work area of Clover Dam. Taken near #3 PS. Nov. 1948 Photo No 4 - Handwritten in ink 'Preparation for wall of Clover Dam Dec. 1948 Photo No.5 - handwritten in ink 'Preparation for wall o f Clover Dam Dec. 1948. Photo Nos. 1,2 3, on the back have circular stamp with 'Print by Willson White Albury'. In pencil is the number '78'. Photo Nos. 4, 5, have written on the back in pencil, number '14'. construction, clover power station, clover dam, -
Kiewa Valley Historical Society
18 small black and white photographs of the Bogong High Plains, 1948
These photos of the Bogong High Plains were all taken by Ronald George Thorn who was a cadet engineer with the State Electricity Commission. He worked on the Kiewa scheme from 1948 to 1950 doing overhead line construction and maintenance plus electrical design and drawing work. They are from his personal collection and a record of his time in the Kiewa area.Pictorial history of personal involvement in the the early days of the Kiewa Scheme.18 small black and white photographs all taken on the Bogong High Plains.Photo 1 Wallace's Hut. Photo 2 Ruined Castle - Looking towards Pretty Valley December 1948. Photo 3 Ruined Castle - Looking towards Pretty Valley December 1948. Photo 4 Ruined Castle - Looking Down Valley December 1948. Photo 5 - Mt. McKay from Ruined Castle October 1948. Photo 6 View from Rocky Valley Camp October 1948. Photo 7 Mt. Feather Top from Ruined Castle October 1948. Photo 8 View from Ruined Castle looking downwards towards Beauty October 1948. Photo 9 Rocky River from gauging station October 1948. Photo 10 Rocky Valley River from main road October 1948. Photo 11 View along little Arthur Fire Track October 1948. Photo 12 View along main road. Looking towards Beauty Valley October 1948. Photo 13 View from Little Arthur Fire Track October 1948. Photo 14 Frying Pan Spur from Rocky Valley Road October 1948. Photo 15 Mt. Bogong from Big Hill Fire Track October 1948. Photo 16 View from Big Hill Fire Track October 1948. Photo 17 Mt. Feathertop from Ruined Castle October 1948. Photo 18 Mt. Fainter from Ruined Castle October 1948. (All of the above is hand written on the back of photos in ink). bogong high plains; r g thorn; secv; kiewa hydro electric scheme; pictorial history -
Kiewa Valley Historical Society
Sheet 1 - nine small black and white photos. Sheet 2 - eight small black and white photographs, c 1948 and early 1950's
These photos are a pictorial and historical record of the early construction days of the Kiewa Scheme and a personal record of the photographer, Ronald George Thorn, of his days as an engineer with the SECV. He worked in the Kiewa area as a cadet engineer from 1948 to 1950 and then in 1953 - 56 as an electrical engineer grade 2.These photographs tell the story of one man's involvement in the construction of the Kiewa hydro electric scheme during his employment with the SECV.A foolscap sized sheet of light weight cardboard with nine small black and white photographs pasted on side 1 and eight same sized black and white photographs pasted onto side 2. The number 1 is handwritten in ink on a small square of white paper and adhered to the top of the sheet. On the other side of the sheet is number 2, handwritten in ink on white paper and adhered to the top of the sheet with sticky tape. secv, engineer, kiewa -
Kiewa Valley Historical Society
Pages 3 and 4 - photographs of Kiewa, 1948 - 1950's
These photographs are a pictorial and historical record of the photographer, Ronald George Thorn, of his days as an engineer with the SECV. He worked in the Kiewa area as a cadet engineer from 1948 to 1950 and then in 1953 to 1956 as an electrical engineer grade 2.The photographs tell the story of one man's involvement in the construction of the Kiewa Hydro Electric Scheme during his employment with the State Electrical Commission of Victoria.A foolscap sized sheet of lightweight cardboard with 10 small black and white photographs on both sidesNumber 3 is handwritten in ink on a small square of white paper and adhered to the top centre of the sheet. On the reverse side, the number 4 is handwritten in ink and adhered to the top of the sheet.photographs, secv, engineer -
Kiewa Valley Historical Society
Sheets 5 and 6 of a set of 10 sheets of photographs of Kiewa, 1948 - 1950's
These photographs are a pictorial and historical record of the photographer, Ronal George Thorn, of his days as an engineer with the SECV. He worked in the Kiewa area as a cadet engineer from 1948 to 1950 and then in 1953 to 1956 as an electrical engineer grade 2.The photographs tell the story of one man's involvement in the construction of the Kiewa Hydro Electric scheme during employment with the State Electricity Commission of Victoria.A foolscap sized sheet of lightweight cardboard with 8 small black and white photographs adhered to sheet 5 and on the reverse side (sheet 6) there are 7 small black and white photographs.Number 5 is handwritten in ink on a small square of white paper and adhered to the sheet with sticky tape. On the reverse side is the number 6, also handwritten in ink and adhered with sticky tape.engineer, kiewa, secv -
Kiewa Valley Historical Society
Sheets 7 and 8 of a set of 10 sheets of photographs of the Kiewa area, 1948 - 1950's
These photographs are a pictorial and historical record of the photographer, Ronald George Thorn, of his days as an engineer with SECV. He worked in the Kiewa area as a cadet engineer from 1948 to 1950 and then in 1953 to 1956 as an electrical engineer grade 2.The photographs tell the story of one mans involvement in the construction of the Kiewa Hydro Electric Scheme during his employment with the State Electricity Commission of Victoria.A foolscap sized sheet of light weight cardboard with 3 photographs (black and white) adhered to sheet 7 and 8 black and white photos adhered to sheet 8. Number 7 is handwritten in ink on a small square of white paper and adhered to the page by sticky tape. Number 8 is also written as above and adhered to reverse side.engineer, kiewa, secv -
Kiewa Valley Historical Society
Sheets 9 and 10 of set of 10 sheets/ black and white photographs of the Kiewa area, 1948 - 1950's
These photographs are a pictorial and historical record of the photographer, Ronald George Thorn, of his days as an engineer with SECV. He worked in the Kiewa area as a cadet engineer from 1948 to 1950 and then in 1953 to 1956 as an electrical engineer grade 2.The photographs tell the story of one man's involvement in the construction of the Kiewa Hydro Electric Scheme during his employment with the state Electrical Commission of Victoria.A foolscap sized sheet of lightweight cardboard, brown in colour, with 8 small black and white photographs on page 9 and 4 small photos on page 10.Number 9 is written in ink on a small square of white paper and adhered to the page with sticky tape. The number 10 is also written on a small square of white paper and adhered to the reverse side with sticky tape. kiewa area, engineer, photographs -
Kiewa Valley Historical Society
Ink Rolls - Labelling Cartridges for Addressograph Machine
The ink rolls were used in an addressograph machine. The addressograph machine used plates that contained names, addresses and classifications of each State Electricity Commission of Victoria employee working on the Kiewa Hydro Electric Scheme. The plates were put through the machine stamped in ink onto pay envelopes. See also: KVHS 0848, KVHS 1233The State Electricity Commission of Victoria employed many people on the Kiewa Hydro Electric Scheme and used the latest technology of the time to pay each of them including providing each one with a pay slip.2 large cardboard boxes, with lids, containing 3 by 4 rows of small white cardboard boxes. Inside the small boxes is a roll of ink covered by aluminium foil. Ref. KVHS 0848 which is the Addressograph MachineOn the end of one of the large boxes "For Addressograph / Purple / 1-1 and a quarter inches" / Class 22,000" Also a white label stuck on with '583' On each of the small boxes - For Addressograph / Purple / 1-1 and a quarter inches / Class 22,000 On the end of one of the lids handwritten in ink. "SF 125.7.0"addressograph machine; payroll; state electric commission of victoria; kiewa hydro electric scheme; office work; -
Kiewa Valley Historical Society
Typing Plate and Carbon with Backing Sheet
Typists used carbon paper to make copies of letters and documents.These stencils were used in the SECV office on the Kiewa Hydro Electric Scheme where Jan Burnett worked.Large cream and red cardboard box with 10 Gestetner Typing Plate with carbon and backing sheets. Each group of papers is attached to a single paper with green stripes with random looking holes. On cover of box in red 'Durotype 62'Side of box in blue ink 'stencils'gestetner. typist. carbon paper. stencils. -
Kiewa Valley Historical Society
Ink Well - Mt Beauty Post Office
This inkwell was used by the staff of the Mount Beauty Post Office, from the late 1940's until the change from pen and ink to the use of fountain pens and then ball-point pens. The last Post Master at Mount Beauty rescued this item when the Mt Beauty Post Office was privatised in the 1990's. Ian Mc Kendrick worked at the Mt Beauty post office.Clear glass rectangular shaped set of two ink wells with a pen holder in front. Each ink well has a glass lid. Between the ink wells there is an open area for storing items such as paper clips etc. In addition it Includes a red and a black pen handle.mt beauty post office. inkwell. pen. writing equipment. -
Australian Commando Association - Victoria
Work on paper - Sketch, Corporal Francis John Papworth, Some Independent Attitudes - Katherine 1942, June-July 1942
Drawing done on location by Francis John 'Curly' Papworth whilst serving in Katherine, Northern Territory during World War Two. This work of soldiers is significant as a work produced by a serving soldier on location during WWII and is a unique example of an artistic work showing the men and their surroundings at the time. Strong provenance as part of the family collection. Pencil sketch on white paper of three bare chested male figures, two left profile and one rear view. All attired in shorts and boots. Information relating to the figures and location are written on the work. Signature right hand corner: Papworth 42. Written in pencil at top of page: Some Independent Attitudes/Katherine N.T. 1942, June/July Working in the Q Store. Beneath each figure written in pencil and ink left to right: Figure 1: Maj Percy Black Adamsom Esq. (in blue ink below: Perc Adamson Dec) Figure 2: Reg Moggins, working on his Birthday too! (in blue ink below: ?) Figure 3: You can't mistake this one either! (in blue ink below: Con Nugent, Dec)soldiers, wwii, world war 2, second world war, artists, wartime, francis john papworth -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Yackandandah XI, c1972-1976
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: YACKANDANDAH / ERNEST MARCUSE Reverse: Y 1 / 012 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Bank of Victoria – Yackandandah III, c1983
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: ERNEST MARCUSE / BANK OF VICTORIA / YACKANDANDAH Reverse: Y 2 / 013 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Yackandandah VIII, c1983
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: MARCUSE / YACKANDANDAH / Reverse: Y 3 / 014 / ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Bank of Victoria – Yackandandah II, c1982
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: BANK OF VICTORIA / YACKANDANDAH / ERNEST MARCUSE / Reverse: Y 4 / 015 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Yackandandah VII, c1983
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: ERNEST MARCUSE / YACKANDANDAH / Reverse: Y 10 / 016 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program