Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: B'worth / Marcuse Reverse: B6 / Beechworth Nostalgia / BW - 07 (crossed out)ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

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

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

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

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: Marcuse 74 / Courthouse / Visitor Ned Kelly . B'worth Reverse: BEECHWORTH / COURTHOUSE / B5 / 06 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

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

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

Hugo Wertheim (1854-1919), was a merchant and manufacturer and was born on the 12th July 1854 at Lispenhausen, in the German electorate of Hesse-Kassel, son of Meyer Wertheim and his wife Minna, née Heinemann. Hugo reached Melbourne in October 1875. He soon began advertising, from premises at 39 Flinders Lane East, as agent for his father's cousin Joseph Wertheim, a well-established manufacturer of sewing machines. Hugo returned to Germany where he married Joseph Wertheim's daughter Sophie Emilie (1864-1953) on 30 August 1885 at Frankfurt. the couple then came to Melbourne. In a short time, with extensive advertising, Hugo established a substantial business, selling sewing machines, bicycles, pianos and other mechanical devices, under brands such as Wertheim, Electra, Planet, Griffin and Hapsburg. He also mounted elaborate displays at agricultural shows and in 1901 at the Pan American Exposition, Buffalo, United States of America. O. C. Beale worked with him before setting up his own piano business in New South Wales. Hugo continued to own 25 per cent of one of Beale's companies, which became Wertheim's Queensland business. In 1908 Wertheim opened a large, innovative piano factory at Richmond, Melbourne, intending to produce 2000 pianos and player pianos annually, predominantly using Australian materials. In laying the foundation stone, Prime Minister Alfred Deakin observed that “few men with such opportunities for a life of ease would have embarked on such an enterprise” Hugo died of chronic hepatitis on 11 July 1919 at his home at South Yarra, his wife, two daughters and three sons survived him; Herbert Joseph (1886-1972), the eldest, continued the business. Rupert became a share broker and went on to represent Victoria in inter-State tennis in 1913-27 and Australia in Davis Cup matches against Czechoslovakia in 1922. The piano factory closed in 1935, becoming a Heinz food processing plant and in 1955, GTV Channel 9 studios and offices.Early Australians had to be self-reliant in regards to making and mending their clothes and utensils. This sewing machine was one of many items used that exhibit the skill and craftsmanship of the women in these early families. A sewing machine was a necessary part of each home and this item demonstrates how women of the time managed had to become self-reliant in the repair and making of their families clothes to make their household budgets go further.Sewing machine, Wertheim brand “ Syst 182” hand crank operated machine with folding handle, timber case and carry handle. Metal machine is painted black, with remnants of gold, red and green scrolls and floral decoration. Machine has base with inlaid measuring rule across front and 2 holes drilled through the base (perhaps for mounting machine to a bench). Machine tilts open, hinged on one side, after thumb screw is unwound, revealing machine’s workings and serial number. Base has a fitted round, concave, silver metal pin holder with lid that hinges open, and symbol pressed into lid; several pins are inside. Body of machine has brand name transfer across front and oval metal trademark disc on front. Metal sliding covers over footplates have stamped lettering. Timber machine case or cover includes an accessory box with sliding cover and metal hook and eye latch, and inside the box are 23 metal sewing attachments, a disc and a stick of black crayon with maker’s trademark on it paper cover. Workings of machine have seized up. The crayon wrapper has printed on it “For the wonderful Wertheim new family machine made in Germany ‘Syst. 182’”, and the maker’s symbol with “Trademark” beside it. Made for Hugo Wertheim.“WERTHEIM” transfer across front and back of machine body. Cover of pin holder has symbol ‘Wings above a shield’. Maker’s trademark on gold oval disc, “WERTHEIM / FRANCFURT” and picture of a dwarf with a hammer. Left footplate has script “Syst 182”, right footplate has stamp in oval shape “MANUFACTURED IN - - /SPECIALLY FOR / HUGO WERTHEIM” Serial Number “7501”flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sewing machine, hand crank sewing machine, hugo wertheim, wertheim, clothing manufacturer, sewing, syst 182

BHS CollectionDiggers & mining. Life Of The Selectors. A selector sitting outside his home with his dog smoking a pipe, his jacket lays to his right on a block. He has a bucket with something in it. There is a plant box out side his hut, possible for herbs or some vegetables. Markings; Life Of The Selectors 1860-1890 Set 432 No.11. Sunday at Home - a photograph of painting by J. A. Turner. ''Sunday At Home'' is the title of the picture. Used as a teaching aid.Visual Education Centreeducation, tertiary, goldfields

BHS CollectionDiggers & mining. Life Of The Selectors. Man ploughing a field with 2 horses. A child alongside appears to be playing with the dog as the dog has a stick in its mouth. The home is in the background along with a shed. Markings: Life Of The Selectors Set 432 No. 10. On Our Selection - a photograph of a painting by J. A. Turner. Used as a teaching aid.Visual Education Centreeducation, tertiary, goldfields

Edward (Edmund) de Lacy Evans was really Ellen Tremaye; and in 1856 she married her fellow passenger on her voyage to Australia, Mary Delahunty; under the assumed name of EDMUND De Lacy. In 1859 he/she married Sarah Moore. They were married for eight years when in 1867 she died in childbirth. In 1868 after Sarah had died; Ellen, now known as EDWARD de Lacy Evans married Julia Mary Marquand in Ballarat. From the Melbourne Argus Friday 5th Sept 1879, Page 7 THE EXTRAORDINARY PERSONATION CASE. [BY ELECTRIC TELEGRAPH. FROM OUR OWN CORRESPONDENT.) SANDHURST, THURSDAY. The De Lacy Evans case has created great excitement here. The man-woman having resided in the district for about 20 years, was well known amongst the miners, but no one appeared ever to have supposed that she was other than as she represented herself to be, and the discovery of her sex has caused the greatest astonishment. The police have not yet moved in the matter of the discovery of her antecedents, but from the result of inquiries I have made, there seems to be no room to doubt that the woman is identical with the girl Ellen Tremaye, referred to in yesterday's telegram as having arrived at Melbourne by the ship Ocean Monarch in June, 1857. The nurse at the hospital, Mrs. Holt, is positive she is the same, and says the opinion was held amongst those on board the vessel that Tremaye had been well connected, and that she had left home in consequence of some misconduct. The Ocean Monarch was an immigrant vessel, and on the voyage Tremaye and another young woman, named Rose Kelly, were very intimate, but the latter, being seized with a dangerous illness, was left at Rio Janiero. Mrs. Evans, the wife of the supposed man, states that she frequently heard Evans say that she came out by the Ocean Monarch. But the most satisfactory information of Evans' previous history yet received has been obtained from a Mrs. Thompson, a charwoman at Myers' Creek, who was also a shipmate of the girl Tremaye. At the time she made the voyage she was unmarried, and was accompanied by Miss Mary Ann Delahunty, a young lady who was very well connected, and who came from the same village as herself, named Monakine, on the north bank of the river Suir, in Kilkenny. Miss Delahunty was an orphan and brought with her about £900. After Rose Kelly was taken ill, Tremaye resorted to Miss Delahunty's berth, and the passengers appeared to think there was something strange about the manner in which Tremaye conducted herself, and she had been observed to wear a man's under-clothing. Upon the arrival of the ship in Hobson's Bay, Tremaye declared herself to be a man, and told Mrs. Thompson she intended to marry Miss Delahunty. The next Mrs. Thompson saw of Ellen Tremaye was at Peg-leg Gully, Eaglehawk. Tremaye had just established herself in a house there under the name of Edward de Lacy Evans, and Mrs. Thompson went to serve them with milk. When she went to the house, she saw Evans sitting inside dressed in male attire, and immediately recognised him as her fellow passenger, Ellen Tremaye. Evans had, at this time, married his second wife, Miss Moore, who was then present. Evans re-marked to her—"I think I know you." To which Mrs. Thompson replied—"I know you, too," and added something to the effect that Ellen (referring to Tremaye) was a queer girl." Oh, said Evans, evidently anxious that his then wife should not understand Mrs. Thompson's reference, "It's a good job she is gone back to the old country." Mrs. Thompson inquired as to what had become of Miss Delahunty, and Evans replied, "Oh, my poor wife and boy both died of consumption, and are buried in the North Melbourne cemetery. " In reply to an inquiry as to what had been done with her (Delahunty's) money, Evans said she had sent it home to a nunnery. Evans's then wife had been absent during a portion of this conversation, but at this point she returned, and Evans went outside to the milkwoman, and said, "For your life don't mention my dead wife's name ; call me Mr. Evans. This missus of mine is death on the Roman Catholics, and she can't bear to hear my dead wife's name mentioned." This conversation took place about 12 or 14 years ago, and Mrs. Thompson seems to have quite believed that Evans had personated a woman under the name of Ellen Tremaye on the voyage out and was really a man. She lost sight of Evans soon afterwards, and took no further notice of the affair.Two Photocopies: 1. Marriage Certificates of Edward de Lacy Evans to Julia Mary Marquand 18th Sept 1868 with appropriate marriage details. 2. Marriage Certificate dated 21st Mar 1985 for Edmund de Lacy to Mary Delahunty.ellen tremaye, sarah moore, julia mary marquand, mary delahunty, de lacy evans, de lacy, edward de lacy evans, edmund de lacy

BHS CollectionDiggers & mining. Life Of The Selectors. Show some of the every day activities of a Selectors family; washing dishes, milking the cow, washing clothes, storage, shearing, chasing the pigs, carting water, ploughing, feeding the calf, gardening. Markings: Life Of The Selectors. Set 432 No. 7. The Free Selector at Home ''Illustrated Australian News,'' June 10, 1882. Used as a teaching aid.Visual Education Centreeducation, tertiary, goldfields

BHS CollectionDiggers & mining. Life Of The Selectors. Building appears to be a shed, there are 2 men and a bull at the shed. In the foreground is a woman with an apron on. Markings; Life Of The Selectors 1860-1890. Set 432 No.4. A Free Selector's Home - ''Victoria and its Metropolis,'' 1888. Vol. 1, p444. Used as a teaching aid.Visual Education Centreeducation, tertiary, goldfields

BHS CollectionDiggers & mining. Life Of The Selectors. A Farmer his family in a wagon and a workman to the left of scene working. The home is constructed of vertical timber and a shingled roof. There is another timber building behind it possible for the workman to live in. Cattle, ducks and chooks. Markings; Life Of The Selectors 1860-1890. Set 432 No.3. A Victorian Selector's Homestead - ''The Australasian Sketcher,'' September 25, 1880. Used as a teaching aid.Visual Education Centreeducation, tertiary, goldfields

Edward (Edmund) de Lacy Evans was really Ellen Tremaye; and in 1856 she married her fellow passenger on her voyage to Australia, Mary Delahunty; under the assumed name of EDMUND De Lacy. In 1859 he/she married Sarah Moore. They were married for eight years when in 1867 she died in childbirth. In 1868 after Sarah had died; Ellen, now known as EDWARD de Lacy Evans married Julia Mary Marquand in Ballarat. From the Melbourne Argus Friday 5th Sept 1879, Page 7 THE EXTRAORDINARY PERSONATION CASE. [BY ELECTRIC TELEGRAPH. FROM OUR OWN CORRESPONDENT.) SANDHURST, THURSDAY. The De Lacy Evans case has created great excitement here. The man-woman having resided in the district for about 20 years, was well known amongst the miners, but no one appeared ever to have supposed that she was other than as she represented herself to be, and the discovery of her sex has caused the greatest astonishment. The police have not yet moved in the matter of the discovery of her antecedents, but from the result of inquiries I have made, there seems to be no room to doubt that the woman is identical with the girl Ellen Tremaye, referred to in yesterday's telegram as having arrived at Melbourne by the ship Ocean Monarch in June, 1857. The nurse at the hospital, Mrs. Holt, is positive she is the same, and says the opinion was held amongst those on board the vessel that Tremaye had been well connected, and that she had left home in consequence of some misconduct. The Ocean Monarch was an immigrant vessel, and on the voyage Tremaye and another young woman, named Rose Kelly, were very intimate, but the latter, being seized with a dangerous illness, was left at Rio Janiero. Mrs. Evans, the wife of the supposed man, states that she frequently heard Evans say that she came out by the Ocean Monarch. But the most satisfactory information of Evans' previous history yet received has been obtained from a Mrs. Thompson, a charwoman at Myers' Creek, who was also a shipmate of the girl Tremaye. At the time she made the voyage she was unmarried, and was accompanied by Miss Mary Ann Delahunty, a young lady who was very well connected, and who came from the same village as herself, named Monakine, on the north bank of the river Suir, in Kilkenny. Miss Delahunty was an orphan and brought with her about £900. After Rose Kelly was taken ill, Tremaye resorted to Miss Delahunty's berth, and the passengers appeared to think there was something strange about the manner in which Tremaye conducted herself, and she had been observed to wear a man's under-clothing. Upon the arrival of the ship in Hobson's Bay, Tremaye declared herself to be a man, and told Mrs. Thompson she intended to marry Miss Delahunty. The next Mrs. Thompson saw of Ellen Tremaye was at Peg-leg Gully, Eaglehawk. Tremaye had just established herself in a house there under the name of Edward de Lacy Evans, and Mrs. Thompson went to serve them with milk. When she went to the house, she saw Evans sitting inside dressed in male attire, and immediately recognised him as her fellow passenger, Ellen Tremaye. Evans had, at this time, married his second wife, Miss Moore, who was then present. Evans re-marked to her—"I think I know you." To which Mrs. Thompson replied—"I know you, too," and added something to the effect that Ellen (referring to Tremaye) was a queer girl." Oh, said Evans, evidently anxious that his then wife should not understand Mrs. Thompson's reference, "It's a good job she is gone back to the old country." Mrs. Thompson inquired as to what had become of Miss Delahunty, and Evans replied, "Oh, my poor wife and boy both died of consumption, and are buried in the North Melbourne cemetery. " In reply to an inquiry as to what had been done with her (Delahunty's) money, Evans said she had sent it home to a nunnery. Evans's then wife had been absent during a portion of this conversation, but at this point she returned, and Evans went outside to the milkwoman, and said, "For your life don't mention my dead wife's name ; call me Mr. Evans. This missus of mine is death on the Roman Catholics, and she can't bear to hear my dead wife's name mentioned." This conversation took place about 12 or 14 years ago, and Mrs. Thompson seems to have quite believed that Evans had personated a woman under the name of Ellen Tremaye on the voyage out and was really a man. She lost sight of Evans soon afterwards, and took no further notice of the affair.Ballarat, Information re De Lacy Evans/Ellen Tremaye - various printed accounts of male impersonator, De Lacy Evans and his marriages and life in Bendigo and elsewhere. Filed under 'De Lacy Evans': a.Typescript - 'The strange story of Ellen Tremaye' (2 pp,); b.Newspaper cuttings (newspaper unknown): September 4, 1879 and 23rd July 1879. names mentioned on this report are; Evans, Stewart, The Trumpeter Clock, Mr. J. W. Moody, Edward De Lacy Evans, Samuels, Holdsworth, Dr. Cruikshank, Dr J. Boyd, Mr. Sterry J.P. (mayor), Mr. Osborn J.P. Elizabeth Marchment, Cornish United Company Long Gully, Constable Hayes, Mr. F. J. Duffy, Mr. J. Quick. C.Bendigo Advertiser 4th Sept 1879 (12 pages) - pp, 1-9 ''Extraordinary case of the concealment of sex'' (pp. 10-12) ''Interview with Mrs Evans''. Names on these sheets are; Edward De Lacy Evans, Sandhurst (Bendigo), Mr. Samuels, Mr. Holdsworth, Dr. Cruikshank, Dr. J. Boyd, Bendigo Hospital, Mr. Gundry (Warder), Irish, France, Dr. Poland, Mr. Bayne, Mr. Strickland, Kew Lunatic Asylum, Argus (newspaper), Sandhurst Hospital, Bendigo Hospital, County Kilkenny Ireland, Mrs Holt (Matron), Ellen Tremayne, Treneage, Eaglehawk, Sarah Moore, Mr. John J. Hall, Mr. George Willan, Buick Henderson and Co,. Pall Mall, Miss Julia Marquahand, Ballarat, Presbyterian Church, Rev. W. Henderson, Paris, Ellen McCormick, , Duncan Uquhart, Anne Dora (Welshman), Pleasant Creek, New Chum Extended Company, Julia Mary, Quarry Hill, Constable Bradley, General Sir Charles De Lacy Evans, Francis Bros Drapers of Pall Mall, Stawell, Allingham Drapers, View Grove Cottage Quarry Hill, Mrs Lofts Denmark Cottage Hargreaves Street, Jersey Cottage off Russell Street Quarry Hill, Great Southern Company, Sea Company, d.Single column entry, Bendigo Advertiser Dec 15th 1879: ''De Lacy Evans''. Names in the article; Ellen Tremayne, Sandhurst, Stawell, The Herald, Mr. F. Hilton, Diorama and Mirror of Australia, Horsham, The Horsham Times, Ireland. e. Newspaper article, by David Horsfall, Bendigo Advertiser Jan 10th 1990 (Title??) with photo of De Lacy Evans (standing); f.Newspaper article (poor legibility) Bendigo Advertiser Aug 27th 1901 ''Death of De Lacey Evans''; g.Newspaper article (undated) by Frank Cusack: ''Forgotten Bendigonians - Bendigo Goldfields und…??'' h.Journal article(3 pp.), The Medical Journal of Australia, Aug 26, 1978 by J R B Ball & R Emmerson: ''A case of personation'';i. copy of page #210 from unknown book (heading:'' Mount Royal Hospital'' j.27 pp.headed ''The Man-Woman Mystery'' (from bound book - binding visible - and copy in the Mitchell Library, publisher; W. Marshall, Royal Lane, Melbourne and Record Office, Emerald Hill with page (no page number) referring to two relevant documents ''The originals of these documents can be seen in the Hall'';Bendigo Advertiserjohn baptiste loridan, ellen tremaye, sarah moore, julia mary marquand, mary delahunty, de lacy evans, de lacy, edward de lacy evans, edmund de lacy, bendigo

Edward (Edmund) de Lacy Evans was really Ellen Tremaye; and in 1856 she married her fellow passenger on her voyage to Australia, Mary Delahunty; under the assumed name of EDMUND De Lacy. In 1859 he/she married Sarah Moore. They were married for eight years when in 1867 she died in childbirth. In 1868 after Sarah had died; Ellen, now known as EDWARD de Lacy Evans married Julia Mary Marquand in Ballarat. From the Melbourne Argus Friday 5th Sept 1879, Page 7 THE EXTRAORDINARY PERSONATION CASE. [BY ELECTRIC TELEGRAPH. FROM OUR OWN CORRESPONDENT.) SANDHURST, THURSDAY. The De Lacy Evans case has created great excitement here. The man-woman having resided in the district for about 20 years, was well known amongst the miners, but no one appeared ever to have supposed that she was other than as she represented herself to be, and the discovery of her sex has caused the greatest astonishment. The police have not yet moved in the matter of the discovery of her antecedents, but from the result of inquiries I have made, there seems to be no room to doubt that the woman is identical with the girl Ellen Tremaye, referred to in yesterday's telegram as having arrived at Melbourne by the ship Ocean Monarch in June, 1857. The nurse at the hospital, Mrs. Holt, is positive she is the same, and says the opinion was held amongst those on board the vessel that Tremaye had been well connected, and that she had left home in consequence of some misconduct. The Ocean Monarch was an immigrant vessel, and on the voyage Tremaye and another young woman, named Rose Kelly, were very intimate, but the latter, being seized with a dangerous illness, was left at Rio Janiero. Mrs. Evans, the wife of the supposed man, states that she frequently heard Evans say that she came out by the Ocean Monarch. But the most satisfactory information of Evans' previous history yet received has been obtained from a Mrs. Thompson, a charwoman at Myers' Creek, who was also a shipmate of the girl Tremaye. At the time she made the voyage she was unmarried, and was accompanied by Miss Mary Ann Delahunty, a young lady who was very well connected, and who came from the same village as herself, named Monakine, on the north bank of the river Suir, in Kilkenny. Miss Delahunty was an orphan and brought with her about £900. After Rose Kelly was taken ill, Tremaye resorted to Miss Delahunty's berth, and the passengers appeared to think there was something strange about the manner in which Tremaye conducted herself, and she had been observed to wear a man's under-clothing. Upon the arrival of the ship in Hobson's Bay, Tremaye declared herself to be a man, and told Mrs. Thompson she intended to marry Miss Delahunty. The next Mrs. Thompson saw of Ellen Tremaye was at Peg-leg Gully, Eaglehawk. Tremaye had just established herself in a house there under the name of Edward de Lacy Evans, and Mrs. Thompson went to serve them with milk. When she went to the house, she saw Evans sitting inside dressed in male attire, and immediately recognised him as her fellow passenger, Ellen Tremaye. Evans had, at this time, married his second wife, Miss Moore, who was then present. Evans re-marked to her—"I think I know you." To which Mrs. Thompson replied—"I know you, too," and added something to the effect that Ellen (referring to Tremaye) was a queer girl." Oh, said Evans, evidently anxious that his then wife should not understand Mrs. Thompson's reference, "It's a good job she is gone back to the old country." Mrs. Thompson inquired as to what had become of Miss Delahunty, and Evans replied, "Oh, my poor wife and boy both died of consumption, and are buried in the North Melbourne cemetery. " In reply to an inquiry as to what had been done with her (Delahunty's) money, Evans said she had sent it home to a nunnery. Evans's then wife had been absent during a portion of this conversation, but at this point she returned, and Evans went outside to the milkwoman, and said, "For your life don't mention my dead wife's name ; call me Mr. Evans. This missus of mine is death on the Roman Catholics, and she can't bear to hear my dead wife's name mentioned." This conversation took place about 12 or 14 years ago, and Mrs. Thompson seems to have quite believed that Evans had personated a woman under the name of Ellen Tremaye on the voyage out and was really a man. She lost sight of Evans soon afterwards, and took no further notice of the affair.Certificate (Order) - Admission to Lunacy Ward, Bendigo Hospital 2/7/1879 signed by M Samuel Holdsworth(??) JP. Copy of Order. Other names on these sheets are; Ernst Hayes, Constable Bradley, Elizabeth Marchment, and other names that are unreadable.ellen tremaye, sarah moore, julia mary marquand, mary delahunty, de lacy evans, de lacy, edward de lacy evans, edmund de lacy, bendigo

Set of 6 newspaper cuttings about the redevelopment of the site to apartments and the Hawthorn Tram Museum Depot. .1 - Progress Press - 15/3/1999 - "Tram depot rework fast getting a roll on" - article by George Svigos, photo of depot prior to work commencing by Tony Gough. .2 - Progress Press - 19/4/1999 - "New Life for depot", about the redevelopment of the building, quotes Mike Ryan and Matt Faubel. Article by Nicole Strahan. Also "Engineer at home with the changes" - about memories of the depot by Charlie Booth - has photo of Charlie. .3 - Progress Press - 28/6/1998 - "Tram depot may be part of scheme" - about the rezoning of the tram depot. .4 - Progress Press - 19 July 1999 - "Depot developer to be announced" - quotes the Matt Faubel, lists possible developers and timeline for a decision. Article by Nicole Strahan. .5 - Progress Press - 16/8/1999 - $25m plan to convert tram site" - advised that the Urban Land Authority had selected East Asia Property Group. Article by Nicole Strahan .6 - The Age - 13/9/1999 - "Joint deal puts wheels back on tram plan" - about the redevelopment of the site, who was undertaking the work. Has a photo of Mike Ryan and Matt Faubel by the door of 180 and a photo of the depot.trams, tramways, hawthorn tram depot, tram museum, museums, minister for transport, tram 180

BHS CollectionHanro Autumn-Winter 1960 Catalogue: Red coloured card with black and white print is a scene of the Swiss Alps and two Swiss Chalets on the top half of the Cover with *Autumn - Winter 1960 Catalogue* printed in white. At the centre is a white rectangular banner with *Hanro Quality Knitwear For Men* printed in black. The bottom half is three men one sitting on a chair, two standing in front of a wrought iron balustrade wearing Hanro garments sketched in black ink. The first has a V necked ribbed pullover with raglan sleeve and contrasting stripe on the sleeve, neck and waist band. Next is a Crewe necked, saddle shoulder Pullover with fold over neck, knitted bands on sleeve and waist. The third is a V necked patterned cardigan with four buttons, saddle shoulder and pockets either side. Inside the cover on white card with black print is advertising to the left and the Index is on the right. The first page of the catalogue outlines the qualities of their garments. Inside are sketches of their Pullovers, Slip-on's, Cardigans and Sleeveless Cardigan's along with the Style number, Name of Garment, colour and size. The back has the price list to the left and on the right is a list of advertising materials. At the bottom printed in black is *This year, go along with Hanro - for Handsome Profits in Knitwear! Inside the back cover on white back ground with black, grey print and sketching is *Here Now! The very latest Continental Wool knits Styled in Switzerland*. Sketched is a Swiss Alps and village scene. In the foreground on a balcony are two men and a lady wearing Hanro Knitwear. In the centre printed in black is *Permasized & Mothproofed for life with 'Mitin'. A black Banner with white print is *by Hanro. At the bottom is a sketch of the Liestal Switzerland factory The Home of Hanro* The back cover, red with white and black print. A 5cm black strip vertically from top to bottom of the page. 5cm from the top on a white banner is *Hanro (Aust) Knitting Mills Limited* printed in black. Under that is the address and phone number of the Bendigo and Melbourne Sales offices. Down to the right is the details Representing other states is Queensland, Western Australia, South Australia and Tasmania. At the bottom left in a white box is a sketch of the Hanro Factory in Liestal Switzerland. On the button is *The Home of world-famous Hanro in Liestal, Switzerland. Box 116Abook, magazine, catalogue, hanro. catalogue

Edward (Edmund) de Lacy Evans was really Ellen Tremaye; and in 1856 she married her fellow passenger on her voyage to Australia, Mary Delahunty; under the assumed name of EDMUND De Lacy. In 1859 he/she married Sarah Moore. They were married for eight years when in 1867 she died in childbirth. In 1868 after Sarah had died; Ellen, now known as EDWARD de Lacy Evans married Julia Mary Marquand in Ballarat. From the Melbourne Argus Friday 5th Sept 1879, Page 7 THE EXTRAORDINARY PERSONATION CASE. [BY ELECTRIC TELEGRAPH. FROM OUR OWN CORRESPONDENT.) SANDHURST, THURSDAY. The De Lacy Evans case has created great excitement here. The man-woman having resided in the district for about 20 years, was well known amongst the miners, but no one appeared ever to have supposed that she was other than as she represented herself to be, and the discovery of her sex has caused the greatest astonishment. The police have not yet moved in the matter of the discovery of her antecedents, but from the result of inquiries I have made, there seems to be no room to doubt that the woman is identical with the girl Ellen Tremaye, referred to in yesterday's telegram as having arrived at Melbourne by the ship Ocean Monarch in June, 1857. The nurse at the hospital, Mrs. Holt, is positive she is the same, and says the opinion was held amongst those on board the vessel that Tremaye had been well connected, and that she had left home in consequence of some misconduct. The Ocean Monarch was an immigrant vessel, and on the voyage Tremaye and another young woman, named Rose Kelly, were very intimate, but the latter, being seized with a dangerous illness, was left at Rio Janiero. Mrs. Evans, the wife of the supposed man, states that she frequently heard Evans say that she came out by the Ocean Monarch. But the most satisfactory information of Evans' previous history yet received has been obtained from a Mrs. Thompson, a charwoman at Myers' Creek, who was also a shipmate of the girl Tremaye. At the time she made the voyage she was unmarried, and was accompanied by Miss Mary Ann Delahunty, a young lady who was very well connected, and who came from the same village as herself, named Monakine, on the north bank of the river Suir, in Kilkenny. Miss Delahunty was an orphan and brought with her about £900. After Rose Kelly was taken ill, Tremaye resorted to Miss Delahunty's berth, and the passengers appeared to think there was something strange about the manner in which Tremaye conducted herself, and she had been observed to wear a man's under-clothing. Upon the arrival of the ship in Hobson's Bay, Tremaye declared herself to be a man, and told Mrs. Thompson she intended to marry Miss Delahunty. The next Mrs. Thompson saw of Ellen Tremaye was at Peg-leg Gully, Eaglehawk. Tremaye had just established herself in a house there under the name of Edward de Lacy Evans, and Mrs. Thompson went to serve them with milk. When she went to the house, she saw Evans sitting inside dressed in male attire, and immediately recognised him as her fellow passenger, Ellen Tremaye. Evans had, at this time, married his second wife, Miss Moore, who was then present. Evans re-marked to her—"I think I know you." To which Mrs. Thompson replied—"I know you, too," and added something to the effect that Ellen (referring to Tremaye) was a queer girl." Oh, said Evans, evidently anxious that his then wife should not understand Mrs. Thompson's reference, "It's a good job she is gone back to the old country." Mrs. Thompson inquired as to what had become of Miss Delahunty, and Evans replied, "Oh, my poor wife and boy both died of consumption, and are buried in the North Melbourne cemetery. " In reply to an inquiry as to what had been done with her (Delahunty's) money, Evans said she had sent it home to a nunnery. Evans's then wife had been absent during a portion of this conversation, but at this point she returned, and Evans went outside to the milkwoman, and said, "For your life don't mention my dead wife's name ; call me Mr. Evans. This missus of mine is death on the Roman Catholics, and she can't bear to hear my dead wife's name mentioned." This conversation took place about 12 or 14 years ago, and Mrs. Thompson seems to have quite believed that Evans had personated a woman under the name of Ellen Tremaye on the voyage out and was really a man. She lost sight of Evans soon afterwards, and took no further notice of the affair.Copies of two studio Photographs - De Lacy Evans standing with seated woman: a. De Lacy Evans standing with woman seated; b. De Lacy Evans (handwritten below) with woman of same heighta. A. Flegeltaub b.??de lacy evans., ellen tremaye, sarah moore, julia mary marquand, mary delahunty, de lacy, edward de lacy evans, edmund de lacy

Edward (Edmund) de Lacy Evans was really Ellen Tremaye; and in 1856 she married her fellow passenger on her voyage to Australia, Mary Delahunty; under the assumed name of EDMUND De Lacy. In 1859 he/she married Sarah Moore. They were married for eight years when in 1867 she died in childbirth. In 1868 after Sarah had died; Ellen, now known as EDWARD de Lacy Evans married Julia Mary Marquand in Ballarat. From the Melbourne Argus Friday 5th Sept 1879, Page 7 THE EXTRAORDINARY PERSONATION CASE. [BY ELECTRIC TELEGRAPH. FROM OUR OWN CORRESPONDENT.) SANDHURST, THURSDAY. The De Lacy Evans case has created great excitement here. The man-woman having resided in the district for about 20 years, was well known amongst the miners, but no one appeared ever to have supposed that she was other than as she represented herself to be, and the discovery of her sex has caused the greatest astonishment. The police have not yet moved in the matter of the discovery of her antecedents, but from the result of inquiries I have made, there seems to be no room to doubt that the woman is identical with the girl Ellen Tremaye, referred to in yesterday's telegram as having arrived at Melbourne by the ship Ocean Monarch in June, 1857. The nurse at the hospital, Mrs. Holt, is positive she is the same, and says the opinion was held amongst those on board the vessel that Tremaye had been well connected, and that she had left home in consequence of some misconduct. The Ocean Monarch was an immigrant vessel, and on the voyage Tremaye and another young woman, named Rose Kelly, were very intimate, but the latter, being seized with a dangerous illness, was left at Rio Janiero. Mrs. Evans, the wife of the supposed man, states that she frequently heard Evans say that she came out by the Ocean Monarch. But the most satisfactory information of Evans' previous history yet received has been obtained from a Mrs. Thompson, a charwoman at Myers' Creek, who was also a shipmate of the girl Tremaye. At the time she made the voyage she was unmarried, and was accompanied by Miss Mary Ann Delahunty, a young lady who was very well connected, and who came from the same village as herself, named Monakine, on the north bank of the river Suir, in Kilkenny. Miss Delahunty was an orphan and brought with her about £900. After Rose Kelly was taken ill, Tremaye resorted to Miss Delahunty's berth, and the passengers appeared to think there was something strange about the manner in which Tremaye conducted herself, and she had been observed to wear a man's under-clothing. Upon the arrival of the ship in Hobson's Bay, Tremaye declared herself to be a man, and told Mrs. Thompson she intended to marry Miss Delahunty. The next Mrs. Thompson saw of Ellen Tremaye was at Peg-leg Gully, Eaglehawk. Tremaye had just established herself in a house there under the name of Edward de Lacy Evans, and Mrs. Thompson went to serve them with milk. When she went to the house, she saw Evans sitting inside dressed in male attire, and immediately recognised him as her fellow passenger, Ellen Tremaye. Evans had, at this time, married his second wife, Miss Moore, who was then present. Evans re-marked to her—"I think I know you." To which Mrs. Thompson replied—"I know you, too," and added something to the effect that Ellen (referring to Tremaye) was a queer girl." Oh, said Evans, evidently anxious that his then wife should not understand Mrs. Thompson's reference, "It's a good job she is gone back to the old country." Mrs. Thompson inquired as to what had become of Miss Delahunty, and Evans replied, "Oh, my poor wife and boy both died of consumption, and are buried in the North Melbourne cemetery. " In reply to an inquiry as to what had been done with her (Delahunty's) money, Evans said she had sent it home to a nunnery. Evans's then wife had been absent during a portion of this conversation, but at this point she returned, and Evans went outside to the milkwoman, and said, "For your life don't mention my dead wife's name ; call me Mr. Evans. This missus of mine is death on the Roman Catholics, and she can't bear to hear my dead wife's name mentioned." This conversation took place about 12 or 14 years ago, and Mrs. Thompson seems to have quite believed that Evans had personated a woman under the name of Ellen Tremaye on the voyage out and was really a man. She lost sight of Evans soon afterwards, and took no further notice of the affair.Copies of Photographs of Tombstone - Eliza Jane Ponsford and daughter Matilda and Sarah De Lacy Evans (''who was the sister of Eliza Jane Ponsford''). One photo showing detail of text; the other showing background of cemetery. (De Lacey)eliza jane ponsford, ellen tremaye, sarah moore, julia mary marquand, mary delahunty, de lacy evans, de lacy, edward de lacy evans, edmund de lacy, bendigo

Edward (Edmund) de Lacy Evans was really Ellen Tremaye; and in 1856 she married her fellow passenger on her voyage to Australia, Mary Delahunty; under the assumed name of EDMUND De Lacy. In 1859 he/she married Sarah Moore. They were married for eight years when in 1867 she died in childbirth. In 1868 after Sarah had died; Ellen, now known as EDWARD de Lacy Evans married Julia Mary Marquand in Ballarat. From the Melbourne Argus Friday 5th Sept 1879, Page 7 THE EXTRAORDINARY PERSONATION CASE. [BY ELECTRIC TELEGRAPH. FROM OUR OWN CORRESPONDENT.) SANDHURST, THURSDAY. The De Lacy Evans case has created great excitement here. The man-woman having resided in the district for about 20 years, was well known amongst the miners, but no one appeared ever to have supposed that she was other than as she represented herself to be, and the discovery of her sex has caused the greatest astonishment. The police have not yet moved in the matter of the discovery of her antecedents, but from the result of inquiries I have made, there seems to be no room to doubt that the woman is identical with the girl Ellen Tremaye, referred to in yesterday's telegram as having arrived at Melbourne by the ship Ocean Monarch in June, 1857. The nurse at the hospital, Mrs. Holt, is positive she is the same, and says the opinion was held amongst those on board the vessel that Tremaye had been well connected, and that she had left home in consequence of some misconduct. The Ocean Monarch was an immigrant vessel, and on the voyage Tremaye and another young woman, named Rose Kelly, were very intimate, but the latter, being seized with a dangerous illness, was left at Rio Janiero. Mrs. Evans, the wife of the supposed man, states that she frequently heard Evans say that she came out by the Ocean Monarch. But the most satisfactory information of Evans' previous history yet received has been obtained from a Mrs. Thompson, a charwoman at Myers' Creek, who was also a shipmate of the girl Tremaye. At the time she made the voyage she was unmarried, and was accompanied by Miss Mary Ann Delahunty, a young lady who was very well connected, and who came from the same village as herself, named Monakine, on the north bank of the river Suir, in Kilkenny. Miss Delahunty was an orphan and brought with her about £900. After Rose Kelly was taken ill, Tremaye resorted to Miss Delahunty's berth, and the passengers appeared to think there was something strange about the manner in which Tremaye conducted herself, and she had been observed to wear a man's under-clothing. Upon the arrival of the ship in Hobson's Bay, Tremaye declared herself to be a man, and told Mrs. Thompson she intended to marry Miss Delahunty. The next Mrs. Thompson saw of Ellen Tremaye was at Peg-leg Gully, Eaglehawk. Tremaye had just established herself in a house there under the name of Edward de Lacy Evans, and Mrs. Thompson went to serve them with milk. When she went to the house, she saw Evans sitting inside dressed in male attire, and immediately recognised him as her fellow passenger, Ellen Tremaye. Evans had, at this time, married his second wife, Miss Moore, who was then present. Evans re-marked to her—"I think I know you." To which Mrs. Thompson replied—"I know you, too," and added something to the effect that Ellen (referring to Tremaye) was a queer girl." Oh, said Evans, evidently anxious that his then wife should not understand Mrs. Thompson's reference, "It's a good job she is gone back to the old country." Mrs. Thompson inquired as to what had become of Miss Delahunty, and Evans replied, "Oh, my poor wife and boy both died of consumption, and are buried in the North Melbourne cemetery. " In reply to an inquiry as to what had been done with her (Delahunty's) money, Evans said she had sent it home to a nunnery. Evans's then wife had been absent during a portion of this conversation, but at this point she returned, and Evans went outside to the milkwoman, and said, "For your life don't mention my dead wife's name ; call me Mr. Evans. This missus of mine is death on the Roman Catholics, and she can't bear to hear my dead wife's name mentioned." This conversation took place about 12 or 14 years ago, and Mrs. Thompson seems to have quite believed that Evans had personated a woman under the name of Ellen Tremaye on the voyage out and was really a man. She lost sight of Evans soon afterwards, and took no further notice of the affair.Copy of a newspaper article titled The Impersonator of Peg-leg Gully, The Woman of Many Wives by J P Quaine. Article mentions Edward De Lacy Evans who successfully impersonated a male and was married at least three times. After a head injury Evans was admitted to the Bendigo Hospital as a lunatic and remained for some weeks without arousing any suspicions. The secret was discovered when transferred to a Melbourne Institution. After improvement she returned to the Bendigo Hospital until she was well enough to leave the colony.bendigo, the long gully history group - the impersonator of peg-leg gully, j p quaine, edward de lacey evans, monarch of the ocean, bendigo hospital, ellen tremaye, sarah moore, julia mary marquand, mary delahunty, de lacy evans, de lacy, edward de lacy evans, edmund de lacy

Edward (Edmund) de Lacy Evans was really Ellen Tremaye; and in 1856 she married her fellow passenger on her voyage to Australia, Mary Delahunty; under the assumed name of EDMUND De Lacy. In 1859 he/she married Sarah Moore. They were married for eight years when in 1867 she died in childbirth. In 1868 after Sarah had died; Ellen, now known as EDWARD de Lacy Evans married Julia Mary Marquand in Ballarat. From the Melbourne Argus Friday 5th Sept 1879, Page 7 THE EXTRAORDINARY PERSONATION CASE. [BY ELECTRIC TELEGRAPH. FROM OUR OWN CORRESPONDENT.) SANDHURST, THURSDAY. The De Lacy Evans case has created great excitement here. The man-woman having resided in the district for about 20 years, was well known amongst the miners, but no one appeared ever to have supposed that she was other than as she represented herself to be, and the discovery of her sex has caused the greatest astonishment. The police have not yet moved in the matter of the discovery of her antecedents, but from the result of inquiries I have made, there seems to be no room to doubt that the woman is identical with the girl Ellen Tremaye, referred to in yesterday's telegram as having arrived at Melbourne by the ship Ocean Monarch in June, 1857. The nurse at the hospital, Mrs. Holt, is positive she is the same, and says the opinion was held amongst those on board the vessel that Tremaye had been well connected, and that she had left home in consequence of some misconduct. The Ocean Monarch was an immigrant vessel, and on the voyage Tremaye and another young woman, named Rose Kelly, were very intimate, but the latter, being seized with a dangerous illness, was left at Rio Janiero. Mrs. Evans, the wife of the supposed man, states that she frequently heard Evans say that she came out by the Ocean Monarch. But the most satisfactory information of Evans' previous history yet received has been obtained from a Mrs. Thompson, a charwoman at Myers' Creek, who was also a shipmate of the girl Tremaye. At the time she made the voyage she was unmarried, and was accompanied by Miss Mary Ann Delahunty, a young lady who was very well connected, and who came from the same village as herself, named Monakine, on the north bank of the river Suir, in Kilkenny. Miss Delahunty was an orphan and brought with her about £900. After Rose Kelly was taken ill, Tremaye resorted to Miss Delahunty's berth, and the passengers appeared to think there was something strange about the manner in which Tremaye conducted herself, and she had been observed to wear a man's under-clothing. Upon the arrival of the ship in Hobson's Bay, Tremaye declared herself to be a man, and told Mrs. Thompson she intended to marry Miss Delahunty. The next Mrs. Thompson saw of Ellen Tremaye was at Peg-leg Gully, Eaglehawk. Tremaye had just established herself in a house there under the name of Edward de Lacy Evans, and Mrs. Thompson went to serve them with milk. When she went to the house, she saw Evans sitting inside dressed in male attire, and immediately recognised him as her fellow passenger, Ellen Tremaye. Evans had, at this time, married his second wife, Miss Moore, who was then present. Evans re-marked to her—"I think I know you." To which Mrs. Thompson replied—"I know you, too," and added something to the effect that Ellen (referring to Tremaye) was a queer girl." Oh, said Evans, evidently anxious that his then wife should not understand Mrs. Thompson's reference, "It's a good job she is gone back to the old country." Mrs. Thompson inquired as to what had become of Miss Delahunty, and Evans replied, "Oh, my poor wife and boy both died of consumption, and are buried in the North Melbourne cemetery. " In reply to an inquiry as to what had been done with her (Delahunty's) money, Evans said she had sent it home to a nunnery. Evans's then wife had been absent during a portion of this conversation, but at this point she returned, and Evans went outside to the milkwoman, and said, "For your life don't mention my dead wife's name ; call me Mr. Evans. This missus of mine is death on the Roman Catholics, and she can't bear to hear my dead wife's name mentioned." This conversation took place about 12 or 14 years ago, and Mrs. Thompson seems to have quite believed that Evans had personated a woman under the name of Ellen Tremaye on the voyage out and was really a man. She lost sight of Evans soon afterwards, and took no further notice of the affair.With a card (for exhibition??) entitled '' The only known photograph of the enigmatical De Lacy Evans who for many years impersonated a man and was by occupation a gold miner''. Date 1877 (1880 crossed out). On the reverse side is the name N. White photographer Mitchell St Sandhurst, Opposite St. Paul's Tower.N W White, Mitchell St, Sandhurstperson, individual, male impersonater., ellen tremaye, sarah moore, julia mary marquand, mary delahunty, de lacy evans, de lacy, edward de lacy evans, edmund de lacy

Ida Lewers, the fifth child of Annie and Samuel Lewers, was born at Linton in 1865. During World War I, she moved to Berry, NSW, where she lived with her older brother, Dr Thomas Ross Lewers. In Berry she was Secretary of the local branch of the Red Cross, and was on the management committee of the Red Cross home for convalescent soldiers. When she left Berry she was presented by the "Diggers of Berry" with an 'illuminated address', in appreciation of her services. In 1926, Ida Lewers returned to live at Linton, at first with her brother William Ochiltree Lewers and his family at Mannibadar, and afterwards at the former Bank of New South Wales building where she had lived as a child. Ida Lewers taught Sunday School classes and was deeply involved with the Church of England throughout her life. She died in 1947, age 80.Mounted oval black and white photograph of a young woman.On back, written in ink: "Miss Lewers, one of 5 daughters of Samuel Lewers".ida lewers

A light green hardcover Children's Bible arranged by Arthur Mee and illustrated from the art galleries of the world, contains the Christian story interpreted for the young. There is no dust jacket. The front cover is plain with lined patterns indented around the edges. The spine has the title and the words, arranged by Arthur Mee printed in black lettering on the spine. The green tinged frontispiece shows a picture titled - Jesus Passes By, where Jesus is standing near people outside their home. The title page has full publisher details. Inside Arthur Mee has written a type of preface to this presentation of the bible as a book to be read by or to a child, not as a reference book. A guide to the Contents is listed as well as a guide to the Pictures included. The Old Testament and the New Testament are separated. There are many pictures included - some are green tinged and others are brown or sepia toned. Pp. 474. Included is a red and yellow advertising leaflet for Norwich Union Life Australia Limited, Melbourne - 'For the Best News for Anyone over 50'. There is a large coloured photograph of a family of six having a birthday afternoon tea outdoors.fictionArthur Mee wrote a type of Preface to this presentation of the bible as a book to be read by or to a child, not as a reference book. A guide to the Contents is listed as well as a guide to the Pictures included. The Old Testament and the New Testament are separated.bibles, religious books, religious fiction, children's books

This baker’s wagon or cart transported and delivered bread and other baked goods in the Warrnambool area. It currently has advertising for H.H. Smith & Co. Henry Huntington Smith (1857-1941) owned and operated his Warrnambool bakery in the late 19th and early 20th century. However, the design of the wagon is similar to those used by local bakers in the 1930s and 1940s and probably originated from Stephenson’s Bakery in Warrnambool, which operated around that time. The wagon’s original internal shelves were removed in the early days of Flagstaff Hill so that children could have rides around the village in a horse-driven cart. BAKERS’ HISTORY There were many bakeries in Warrnambool in the 19th to mid-20th century. Each bread bakery made horse and cart deliveries in its allocated zone. SMITH’S BAKERY; – as shown on the wagon’s signage. Henry Huntington Smith (1857-1941) was born and educated in Warrnambool. He worked at Davis’ steam biscuit factory in Timor Street before he began his own bakery business in 1885 near the corner of Fairy and Koroit Streets. A few years later Smith built a new bakery on the corner of Fairy and Lava Street where it still stands today (2025) as Monaghan’s Pharmacy. The building was designed by James McLeod in 1892 as a bakehouse, shop and residence for Smith The address was known locally as Smith’s Corner. Next door to the bakery, at 136 Fairy Street, were stables built by Jobbins and McLeod in 1886 for William Cust. A photograph in the archives of the Warrnambool and District Historical Society shows the 1892 building with four fancy horse-drawn wagons on the street with white-clad drivers and a promotional stand erected with 5 bakers in uniform and the signage “H H Smith & Co, Pastry Cooks and Confectioners”. One of the wagons appears to have “H H Smith” painted on the side. H.H. Smith & Co. placed an Advertisement in the Weekly Times in December 1896 promoting its business as bakers, confectioners and pastry cooks, praising their shop as an ‘ornament to the town’ with ‘neat appointments’ and ‘dainty decorations’. It also boasted of supplying a large number of customers within a twelve-mile radius of Warrnambool. In November 1919 The Warrnambool Standard announced the marriage of Henry H Smith, Mayor of Warrnambool, to Jeannie Samson-Goodman in East Adelaide. In the same newspaper was a notice that Frank Crossley was to open as baker and pastry cook in H.H. Smith’s premises. As well as being the proprietor of the H.H. Smith Bakery, Henry Huntington Smith was a Councillor for the Warrnambool Municipality from 1913 to 1937 and Mayer for two terms. In December 1919 during his first term as Mayor, he was honoured for the work he had done with returning soldiers after World War I, receiving a document in recognition of this work, presented by the Mothers, Wives and Sisters of returned soldiers. Smith was very interested and involved in the community in many roles, including being the Vice President of the first Warrnambool and District Historical Society. STEPHENSON’S BAKERY: – believed to be the past owner of the wagon. The last owner of the bakery was Harold Stephenson. Stephenson was enlisted in the A.I.F. and was invalided home in 1943 before the end of the Second World War. He also served as a Councillor from 1958 to 1976, during which time he served six terms as Mayor for the City of Warrnambool (1966-1973) while he had the bakery. He was very involved in many local organisations including the Warrnambool Surf Life Saving Club and the Road Race Committee. He died in 1985, lauded as being one of Warrnambool’s “most distinguished civic leaders”. It has been said that the baker injured in World War II invented a special contraption to enable him to get up into the wagon and that he alerted his customers that he was in their vicinity by blowing a whistle. The customers would come out and choose their bread from the back of his wagon then pay him for it. However, another account is given by a man who once earned pocket money by helping the baker on his rounds. He says that it was Stephenson, the owner and manager of the bakery, and not the delivery baker who received a significant injury during the war, making him unable to climb the stairs of his upstairs accommodation at the bakery, therefore causing him to sleep downstairs. At this time in the early to late 1940 Stephenson’s bakery had three wagons, one for each of the delivery rounds. The wagons were painted black and yellow. Two of the drivers were Stan Lake and Ali (Alec) Dean who both had wagons with the covered cabin design. The third driver was Bill Lake who had a flat wagon. Stan Lake delivered in the area around Lava and Koroit Streets, Ali Dean had another round and Bill Lake had the Dennington area. Bread continued to be delivered into the 1960s but by this time the delivery vehicles were motorised. The goods produced at Stephenson’s bakery included bread baked in different shaped tins such as High Tin, Sandwich and Vienna. Some shapes were easily divided into half by breaking them apart, therefore the baker could make two-quarter loaves from a half loaf, satisfying different needs. There was the option of white or brown bread, sweet buns, fruit buns and Boston buns. The baker’s assistant was known to take great delight in ‘trimming’ the broken halves of excess bread and crust, enjoying his treat. THE BAKERY PREMISES: – Southeast corner of Fairy and Lava Streets, Warrnambool. The building retains the original cast iron veranda. Above the veranda, a motif of a wheat sheaf in ornamental plaster can be seen. Inside the building, there are still some of the original fittings. The building was classified by the National Trust in August 1979. After the Second World War, an official system of zoning was introduced as a fair way for the baking industry to operate. In 1949 different pricing was introduced by the Government for either delivered or retail purchased bread. Many of the small local bakeries went out of business after the Government banned zoning. The way was made open for the larger bread manufacturers to enter the local market with cheaper prices. Some of those companies were Mc Queens, Tip Top, Twisties, and Sunicrust, (Mc Queens ‘new’ bakery building was where the current Toyworld shop now stands, is, in the Ozone carpark.) O’Grady’s Bakery, later changing hands and known as Burkes Bakery, was on Fairy Street near the Timor Street intersection, on the North West side. There was also a bakery named Almay. The baker’s wagon is significant because of its association with H.H. Smith’s Bakery in Warrnambool.. The H.H. Smith’s Bakery building on the corner of Fairy and Lava Streets, built in 1892, is classified by the National Trust, August 1979. Smith Street Warrnambool was named after Henry Huntington Smith, who was a Warrnambool Councillor 1913 – 1937 and Mayor 1919 – 1921. Baker’s wagon, often referred to as a baker’s cart. Four wheeled horse-drawn delivery wagon, front wheels smaller than rear wheels. Wagon is clad with metal sheets and lined with varnished timber panels. Wheels have metal rims, wooden spokes and rear wheels have wooden brake pads. Horse shaft is timber with metal fittings. Front has a metal lamp holder, brake lever, metal hand grips and decorative metal foot plates. The wagon has suspension leaves on back and sides and double suspension leaves on the front. Driver’s area at front has a roof, glass side windows and wooden box seat with hinged compartment accessing wagon storage area. Door above back of seat has buckled leather handgrip strap attached, door slides open for access to wagon area. Back of wagon has a wooden step and a split door; top door has ventilation louvers, both doors have metal latches. Wagon is painted cream with brown trim and signage and green step. Remnants of red and green paint are visible; underside of seat panel is painted grey. Wagon advertises H.H. Smith & Co. Baker, a Warrnambool business established in 1885, but is of a more modern design seen around 1930’s and 1940’s and most likely belonging to Stephenson's bakery. Brown signwriting on sides of wagon “H.R. SMITH & CO. / BAKER” Brown signwriting across front of wagon “BAKER” warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, great ocean road, baker’s wagon, h.h. smith baker, warrnambool, henry h smith, jeannie samson-goodman, frank crossley, mayor of city of warrnambool, vice president of warrnambool and district historical society, stephenson’s bakery warrnambool, harold stephenson, warrnambool surf life saving club, road race committee, national trust building, stan lake, bill lake, ali dean, 19th and 20th century bakers, davies steam biscuit factory warrnambool, james mcleod building designer, jobbins and mcleod, william cust, h h smith & co, pastry cooks and confectioners, bakery trade, bread delivery wagon

Framed portrait of Bruce Small who was President of the Association for the Blind 1955-1964. It is part of a series of paintings commissioned by the VAF Board to commemorate the work of past presidents of the organisation. Mr Small stands in his Gold Coast mayoral robes, which consist of a dark blue velvet with ermine trim and a white ruffled shirt.. He wears a mayoral chain of office around his neck and glasses, with his hands clasped in front of him. Sir Bruce Small joined the Vision Australia’s General committee in 1944 and became President of the organisation in 1955. He developed an efficient team with Sir Hubert Opperman (for many years the world’s number one cyclist), whom he brought in as Vice President and Mr. Pat Lightfoot, himself president for many years. Sir Bruce had to leave school at an early age after the death of his father in order to support his family. The lessons he learned from this episode in his life created a man of quick wit, with a razor sharp mind and the skills of a gambler - attributes that enabled him to achieve his goal of “aiming for the stars”. This was put into effect when he proposed a plan for 3 new Vision Australia nursing homes in 5 years at Ballarat, Bendigo and Brighton at a cost, which at that time seemed impossible but which was finally achieved between 1957 and 1959, through astute financial management. Sir Bruce also supported the concept of organisational decentralization and made amendments to the constitution, which enabled the associated branches of the Vision Australia (then the Association for the Advancement of the Blind) to form local committees. This was in order to generate local interest in the blind people in the community and engage them in fund raising and running of the nursing homes. Although he resigned in 1964 when he moved to Queensland he still retained an interest in Vision Australia. Sir Bruce had always pushed for a symbol for Vision Australia which would be recognized by the public and serve a useful purpose. This took the form of a beacon which was erected at Brighton, overlooking the sea, having a twofold purpose – a reference point and guiding light for small craft, and symbolically for blind people a guiding light to direct them to a safe harbour. Sir Bruce switched on the guiding light at in 1969 having already donated the cost of $3000. Prior to joining Vision Australia, Sir Bruce had operated the Malvern Star bicycle business in Glenferrie Rd. He promoted and expanded the business making Malvern Star the industry leader in Australia. This was aided by his friendship with Sir Hubert Oppermen, who promoted Malvern Star bikes through his role as world’s number one cyclist. In 1967 he became Mayor of the Gold Coast and, in 1972 he was elected to the Queensland Parliament representing the seat of Surfers Paradise. 1 art original in gold frameThe plaque at the base of the painting reads 'Mr Bruce Small / President 1955 - 1964 / Association for the Blind'.association for the blind, bruce small