This pencil is a souvenir of the Fun 4 Kids Festival, a children’s festival run by Warrnambool City Council from 1999 to 2018. It was held during a week in winter on the Civic Green at the corner of Timor and Liebig Streets with the site including temporary buildings as well as the adjoining permanent buildings. The festival was highly regarded and won the 2015 Gold Australian Tourism Award. Declining numbers and increasing costs led to its demise in 2018.This pencil is a memento of Fun 4 Kids, a children’s festival run by the Warrnambool City Council. Existing for 19 years, it was one of the longest surviving children’s festivals in Australia.This is a round wooden pencil containing a thin sliver of graphite. The pencil has a metal band and a rubber at one end and is sharpened at the other end. The pencil has an orange covering, black lettering and an image of a child and a sun.Fun 4 Kids Festivalfun 4 kids warrnambool

Neville Mirvane BUNNING (1902-1990) During World War Two he served with the RAAF. He was an Art Teacher at the Ballarat School of Mines from 05 February 1946 to 22 September 1964. Neville Bunning formed the Ballarat Artist's Society (later the Ballarat Society of Artists), a group that sponsored art and which invited modernist artists to speak to students and to the public of Ballarat. He also wrote a weekly column in the Ballarat Courier. Bunning produced a bust of Australian Prime Minister, The Right Honourable J.A. Lyons from Tasmania, who died in office. Bunning died in Subiaco, Western Australia on 29 April 1990. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed watercolour and pencil on paperLR Neville M Bunning signature in pencilart, artwork, neville bunning, campsite, camping, washing, available, holiday, ballarat technical art school staffmember

George Reed was a draftsman who lived in Bentleigh , City of Moorabbin in mid 20th C and used this pencil for his work. Eversharp is an American brand of writing implements founded by Charles Rood Keeran in 1913 and marketed by Keeran & Co., based in Chicago. Keeran commercialised Eversharp mechanical pencils (manufactured by two companies, Heath and Wahl) then expanding to fountain pens when the company was acquired by the Wahl Adding Machine Co. in 1916 and it was named "Wahl-Eversharp". In 1941 the company renamed itself, this time as Eversharp. The company continued until 1957 when it was acquired by Parker Pen, which continued to use the Eversharp brand for a time. In 1993 Parker was purchased by the Gillette Company, which already owned the 'Paper Mate' brand - the best-selling disposable ballpoint pen. In 2000 Gillette sold its writing instruments division to the company Newell Rubbermaid, USA, and In 2011 the Parker factory at Newhaven, East Sussex, England, was closed, and its production transferred to Nantes, France.An 'Eversharp' propelling pencil manufactured prior to to the development of the ball point penA gold plated propelling pencil c1941engraved : G. . Reed Made in Eversharpwriting implements, pencils, pens , propelling pencil, fountain pen, biro, ballpoint pen, keeran & company chicago, parker pen pty ltd, gillette pty ltd, eversharp, paper mate, bic pty ltd,

As the title suggests, Boyd explores the concept of Functionalism and questions the decline in popularity of the movement when Functionalism is still intertwined in contemporary design. Boyd challenges R.A.I.A.'s publication 'Australia Outrange' (a book that captures the unaesthetic aspects of Functionalism)The annotations indicate this was a lecture with slides.Typewritten, pencil edits / notes, quarto, 5 pages"Lewis?" Mitchell penciled on top left corner of first page, pencil notes on the left marginfunctionalism, r.a.i.a., australian outrage, max harris, robin boyd, manuscript

This pencil was used as an advertising medium for the Warrnambool firm of Archie Graham and Sons. It was given to customers of the firm. Archie Graham (1906-1992) commenced a building business in Warrnambool in the 1930s and was well-known for his many building projects in the city and his innovation in the industry. Archie Graham was a prominent member of the Uniting Church and a tireless worker in community affairs in Warrnambool for sixty years. He planned and organized the street decorations for the Warrnambool Centenary in 1947, was chairman of the committee that developed Albert Park and the Reid Oval and was active in Rotary Club and Cricket Club affairs. He was also a member of the Warrnambool Technical School Council. Today the building in Timor Street for senior citizens and other community use is named after Archie Graham. This pencil is of interest as a memento of the type of complimentary article given to customers of businesses in Warrnambool in the mid 20th century. It is also a memento of Archie Graham, an important businessman and community worker in Warrnambool in the 20th century. This is a large six-sided wooden pencil sharpened at one end. The pencil is painted green with a white band near the top and a black-colored end rounded at the top. The paint on the pencil is slightly chipped. The inside of the pencil contains graphite for writing or drawing. The business name on the side of the pencil is inscribed in gold lettering. ‘With Compliments ARCHIE GRAHAM & SONS WARRNAMBOOL – 4422’ archie graham, warrnambool, history of warrnambool

Documents relating to Holmbush 1267 Burke Road (corner of Burke Rd and Stokes Ave). 00375.1 Appears to be notes of a meeting with 4 main action points. 1. Offer Thompson list price for furniture. 2. Sewerage work needs to be done now. 3. Number of beds required and to approach Henry Palmer (see separate item). 4. re McVilly -obscure reference. 00375.2 "Inventory of Furniture etc." with prices (currently in the house, for purchase from W.G.Thompson). Broken down room by room. Included items such as curtains, vacuum cleaner, roller for the tennis court and a stepladder. 00375.3 "Schedule of Equipment" with numbers required to be acquired. Notes in pencil alongside some items.A record of prices and quantities of furniture and items required for the first hostel established by Legacy in 1943.00375.1 White quarto copy paper, handwritten notes in pencil, two hole punched. 00375.2 White foolscap paper, black type, two hole punched. 00375.3 White foolscap paper, black type, two hole punched.00375.1 Numbered items of actions required. 00375.2 Pencil marks and numbers tallying costs 00375.3 Tick marks and notes in pencil alongside some itemsholmbush administration, residences

In this article, requested by Architecture in Australia, Boyd condemns the lack of development in the shaping the identity of Australian architecture, similar to the contents of Texas Quarterly 'Architecture in Australia' Vol.5 (see D092), Boyd writes about the need for designers and architects to create a new design language rather than recycling and reminiscing on old British aesthetics despite wanting to gain international recognition.Original manuscript of an article published in Architecture in Australia, Vol.56, No.3, June 1967 pp.454-465.Typewritten (c copy), pencil edits, quarto, 26 pagesPencil corrections and edits in textaustralian architecture, sydney school, architecture in australia, robin boyd, manuscript

This pencil was a quality item that would have been carried on the person in times past.This item has no known provenance and is retained for display purposes.The pencil is made of brown composite material set in silver coloured metal. The top section has a propelling mechanism with a writing tip. The end part screws open for refilling the writing tube.warrnambool history, vintage personal item

Used by Alfred Ziebell at the Thomastown State Schoolpaper exercise book, lined into squares. Pencil arithmetic exercises completed on all pages, some with red pencil marks. 8 leaves.exercises done in lead pencil, 'Alfred Ziebell' on inside pagebooks, school/educational, arithmetic, exercise, maths, arthur ziebell

Photograph shows interior saloon of W2 class 537 with upholstered longitudinal seats and looks through the drop-centre to the saloon at the other end. The advertising above the saloon windows is for "Venus College of Hairdressing & Beauty". Yields information about interior of W@ class tramcar. Black and white photograph with penciled note on rearPencil writing reads "W2 537 Now in USA" w2 class, tram 537, upholstered longitudinal seats, drop-cente, saloon, venus college

This pencil was found in 1946 by Mr Jim Pelling when an old wall was being pulled down in Warrnambool. This type of pen would have been used in the 19th century and apparently produced good legible writing and the lead point never wore out. No information is available on Jim Pelling or the location of the wall.Although this pencil has no known provenance it is of considerable interest because of its finding in an old wall in Warrnambool and because of its antiquarian value. It is a good example of a writing tool of the past and the ivory handle is of particular interest. This is a pencil with a handle made of ivory with a sharpened point of metallic lead screwed on the end of it. The end of the handle has an ornamental column shape. The lead at the end is slightly bent. Accompanying the pencil is an extract from a 1946 Warrnambool Standard detailing the finding of the pencil and some handwriting from a later date. The newspaper extract is pasted on to a piece of cardboard (a piece of a Rice Bubbles packet).In blue handwriting: ‘Extract from 1946 Warrnambool Standard’ and ‘Given to Warrnambool Historical Society by Mr J. Pelling 1970’jim pelling, metallic lead pencil, warrnambool history

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: BEECHWORTH / VIC. / MARCUSE Reverse: BEECHWORTH NOSTALGIA / BW – 03 (on masking tape) 003 (pencil) ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Dated 'Xmas 1932'. Pages headed 'Camp Savige, Tuesday' indicate that it was created for a camp at Stan Savige's property. It recounts the cricket competition between the Dark Blues, Light Blues, Green and Orange teams. Written and illustrated by Pat Hanna in a satirical style it was clearly intended to entertain as much as to inform, but the humour would be seen to be heavy handed or not funny at all today. Nevertheless it demonstrates that campers enjoyed their stay at Somers. See also 01289 and 01291. In the early years, Legacy organised outings to the property of Legacy founder, Legatee Stan Savige, who had a place in Balnarring close to the beach. Permanent camp buildings were built in 1930. In 1930 Lord Somers (Governor of Victoria) also started a camp at a nearby property and the area was renamed Somers. Legacy Somers Camps continued intermittently at Stan's property until it was decided in 1951 to make other arrangements for holidays.Illustrates the sort of activities considered appropriate to occupy camp participants, and the amateur enthusiasm of the newsletter producers in the early half of the twentieth century.Foolscap sheets x 3 pages, black on cream, penciled drawings, corrections and linesLegacy symbol hand drawn in pencil. Penciled 'please return ARB'newsletter, camp savige, legacy somers camp, savige property

Excerpt labelled page 10. Boyd criticises vulgar mess in the streets and irrelevant ornament. He asks if all externalities were swept aside, which architects, faced only functional and structural challenges of a building, what shape would we like architecture to take?Typewritten, pencil edits, foolscap, 1 page. Untitled single page (10)Two handwritten pencil editsfunctionalism, ornament, robin boyd, manuscript

Undated but stapled to a further copy of 00130 which was dated 'Xmas 1932'. Pages headed 'Camp Savige, Monday' indicate that it was created for a camp at Stan Savige's property. It recounts the cricket competition between the Dark Blues, Light Blues, Green and Orange teams. Written and illustrated by Pat Hanna in a satirical style it was clearly intended to entertain as much as to inform, but the humour would be seen to be heavy handed or not funny at all today. Nevertheless it demonstrates that campers enjoyed their stay at Somers. See also 01290 and 01291. In the early years, Legacy organised outings to the property of Legacy founder, Legatee Stan Savige, who had a place in Balnarring close to the beach. Permanent camp buildings were built in 1930. In 1930 Lord Somers (Governor of Victoria) also started a camp at a nearby property and the area was renamed Somers. Legacy Somers Camps continued intermittently at Stan's property until it was decided in 1951 to make other arrangements for holidays.Illustrates the sort of activities considered appropriate to occupy camp participants, and the amateur enthusiasm of the newsletter producers in the early half of the twentieth century.3 typed foolscap sheets black on cream, pencilled corrections and linesLegacy symbol hand drawn in pencilnewsletter, savige property, legacy somers camp, camps

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: Opposite Crown Hotel / Tanswell Hotel / BEECHWORTH / (on tape) Reverse: BEECHWORTH NOSTALGIA / BW – 05 (on masking tape) 004 (pencil) ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Photograph shows W class 307 standing on slightly curved track displaying destination "Victoria Bridge" and no route number box attached. The uniformed motorman and conductor stand on the roadway next to the front driver's cab where the trolley pole has been tied down. The conductor wears his coin bag and the driver is holding the tram's key and air brake handle. An elderly male passenger with coat stands at the drop-centre doorway and other passengers are inside. The car body of W 307 was built by Holden Motor Body Builders in South Australia in 1924 as part of a large contract to build W class trams. Victoria Bridge was the termini of both the Collins Street and Victoria Parade cable tram that closed in 1929 and the Mont Albert electric tram from Union Road, via Whitehorse Road and Kew Junction. Perhaps this photograph is of the Mont Albert terminus although the curved track suggests otherwise.Yields information about early W class tramcars . Black and white photograph with penciled dates on rearPencil writing reads "Between 2/9/24 & 19/3/28" trolley pole, drop-centre, w class, tram 307, victoria bridge, route number box, key, air brake handle, car body, holden motor body builders, mont albert, termini

Hand drawn sketch in pencil of grave site with cross belonging to J.T. TOBIN NX 73062 2/15 Field Regiment WW2 who died from illness on 12/9/1943 in BURMA/MYANMARHand drawn sketch in pencil of grave with cross on cream coloured paper Rear side - black square with three rows of dots coming to a pointNX73062 J.T.TOBIN 12.9.43 Rear side - Tavoy Golden Temple at Night - Korselj.t. tobin, 2/15 field regiment, ww2, burma

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: MARCUSE / B.worth (in pen) Reverse: BEECHWORTH NOSTALGIA / BW – 01 (crossed out) / B2 / CORNER CAMP + FORD STREET / (on masking tape) 001 (pencil) ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Mounted watercolour and pencil on paper.Handwritten (LL): "Pali Schwarz 1944 Terezin" On reverse, handwritten in pencil: "Theresienstadt: Im Schatten des Kastanien" [Under the Shade of the Chestnut Tree]second world war, 1939-1945, jewish history & people, holocaust, czech republic

Cardboard pencil box containing remains of pencils and crayons. Label and decorations printed on white paper and glued to top of box. Body of box is blue card glued over cardboard base.Front: (see photograph) "Cumberland "Censor" Finest Quality Coloured Pencils"

Corporal Francis John Papworth (VX66806) served in the 2/4 Australian Commando Squadron in Timor, New Guinea and Borneo, Tarakan during World War II. His pencil drawn images of the Tarakan camp during May 1945 give an insight into the conditions at that time.Brown cardboard, spiral bound 'The Empire Sketch Book' with five pencil drawings on art paper by Corporal F. J. Papworth during his Commando service at Tarakan Hill, Borneo during World War II. Three of the drawings depict the army camp at Tarakan Hill during May 1945; the fourth drawing shows a young boy from Tarakan sitting on an army jeep and the last is a rough sketch of a baby drawn in 1947. Sketch Book of Corporal Francis John Papworth during World War IIOn front cover in handwritten in ink "PIC of Geo-Wallace/INSIDE". On first drawing handwritten in pencil on top righthand corner "TARAKAN HILL/looking NNE from machine shop section of Tarakan Oilfield/May 15 1945". On second drawing handwritten in pencil at bottom righthand corner "TARAKAN HILL looking from BANK pill box right centre -/15 May 45". On third drawing handwritten in pencil at top righthand corner "TARAKAN HILL and DUTCH/MACHINE SHOPS-Looking from KINGS CROSS/The morning of the 4th May 1945-/0745 hrs-/The Quiet before the storm". On fourth drawing handwritten in top in pencil "Salamit - Peace or Peaceful[l] Used as a Greeting/Salamit-/ORONG LAKI LAKI/TARAKAN. BORNEO/19 MAY 45." All four sketches are signed "John Papworth/Tarakan 1945".On fifth sketch handwritten in pencil "Michael/Signed by/2 Feb 1947".book, world war ii, military, sketch, tarakan, borneo, commando, papworth, may 1945, pencil drawings, wwii, world war 2

Discusses the exploitation of architecture in commercial signage; the use of architecture as signage can prove disturbing and a threat to curating an architectural style; argument reads like a reflection on Scott Brown and Venturi's Duck and the Decorated Shed.This is the original manuscript of a presentation to Victorian Employers Federation Franchising Seminar. Discussion of Fishbowl, 11.3.1971. It includes notes for slides.Typewritten. Major pencil and pen edits and additions (in one copy), quarto, 7 pages. (Two copies)One copy with annotations in pen and pencilfranchises, franchise buildings, advertising architecture, signage, fishbowl, colonel sanders, robin boyd, manuscript

BHS CollectionSmall pencil sketch of a young person asleep. Untitled. William Delecca collectionSigned by the artist in pencil at bottom right: W.A Delecca '61william delecca, pencil sketch

Photographs of the infant welfare and pre-school centre under construction at Petrie Park Montmorency. Builder Peter Graham.Photos by Peter Graham, former Shire of Eltham councillor.Three black and white photographs mounted on card, with pencilled insciption"Our Monty Kinder being built, 1961" and "Builder Peter Graham" in purple pencilpetrie park montmorency, kindergartens

Photograph of Dalgety and Company employees standing outside Dalgety Wool Stores at the corner of Victoria Terrace and Gheringhap Street, 1913-1928? The name H.G. Nicol is written in pencil on the back of the photograph.H.G.Nicol (pencil)dalgety and company limited

Original document produced by Ian McDonald (Eltham Shire Council) 1970. During the period 1969-1971 photos were being collected for a proposed publication on the history of the Shire of Eltham as part of its centenary celebrations in 1971 (managed by the Shire of Eltham Historical Society and Alan Marshall). The publication was Pioneers & Painters (1971), edited by Alan Marshall. The document titled "Shows area sold to Woolworths" consisted of a panorama of three B&W photo prints creating a panorama of the frontage along Main Road (SEPP_0744) and a single B&W photo print of the Shire of Eltham offices and Hall on the corner of Arthur Street and Main Road (SEPP_0737) along with typed and hand written notes by Ian McDonald. The panorama (SEPP_0744) was captioned in typewritten text "Old Shire Office and Hall, etc - Frontage of 285 feet along Main Road" and in pencil the date "4-1-68" The single image of the shire offices (SEPP_0737) was captioned in typewritten text "Main Road and Arthur Street Corner" In addition, the following handwritten notes in pencil: " I took these photos from the new fire station - the building in the middle is the old fire station - Moved to Research for the Scouts 1970" and signed "IMcD"This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Paper with four photos adhered in two groups with notes in typewritten text and handwritten in pencilsepp, shire of eltham pioneers photograph collection, eltham, main road, arthur street, dudley street, barber shop, cinema, commercial bank of australia, eltham fire brigade, eltham hall, eltham shire hall, eltham shire office, fire station, hardware shop, municipal offices, photographer shop, pph, produce paint and hardware centre, shire hall, shire offices, woolworths

Nancy Gaudion AdeneyWooden pencil case with compartments. Hinged wooden lid wiht Japanese style illustration of Mt Fuji."Made in Japan" stamped on the rear of the pencil casepencil cases

Extols the virtues of Waikiki as a holiday destination/escape machine, the less-than-Good Taste of the resort combined with its virtues/religious dogma of American middle-class vacation standards. Boyd describes a day of the typical young American hotel occupant, and Honolulu's uniform air of confidence attracting American tourists. This manuscript was published in 'The Sunday Australian' with the title ‘Why I love Waikiki’ on 23/05/1971.Original manuscript of ‘Why I love Waikiki’ published in 'The Sunday Australian', 23/05/1971.Typewritten (1 c copy and 1 p/copy), pencil edits, quarto, 11 pagesSent 12 May 71 - in pencil on front pagewaikiki, honolulu, american tourism, second rate californian architecture, american middle-class vacation standards, robin boyd, manuscript, ohm2022, ohm2022_16

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: Marcuse / Beechworth Old Courthouse / Reverse: B4 / BEECHWORTH OLD COURTHOUSE / BW - 09 (on masking tape) COURTHOUSE / BEECHWORTH / VICTORIA / NATIONAL TRUST / CLASS (A) ERNEST MARCUSE / 17 CADDOCK AVE / CAUFIELD / VIC / 53-7374 001 (pencil) ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program