The item commemorates the war in Vietnam (1962 - 1972). This medal was issued to Staff Sergeant D W Blackford who served in the Royal Australian Army Medical Corps in 4RAR from May 1968 until January 1969.Miniature Australian Active Service Medal presented in a black presentation box with both ribbons and bars.Australian/Active/Service/Media/1945-1975medals, active service, blackford 33034, vietnam, medical corps, 4rar, campaign medal

Bradford Kendall was established in 1922 by Lesley Bradford and Jim Kendall, investing their winnings on a race horse. They both previously worked at the BHP Steel Works. They gained contracts with the railways and mining industry. During World War II they also manufactured armaments. During the boom of the 1950s they established several foundries in South Australia, Western Australia, Queensland and Victoria. Bradford Kendall Ltd Wodonga foundry was established in 1954. It melted down old railway wheels, rails and redundant machinery to produce a range of low-alloy steel products, especially for earth-moving vehicles, railways, oil rigs and sugar factories. Wodonga was ideally placed as a change point between the different rail gauges of Victoria and New South Wales, close to the Hume Highway and the Snowy Mountain Scheme. The first sod for the site was turned on 2nd June 1954 and the first melt and pour of molten metal at Wodonga took place on 7th July 1954. Bradford Kendall Plant No.5 in Wodonga became one of the most profitable foundries in the Bradford Kendall group. Bill Black became the first plant Manager, a position he held for 30 years. Another long term employee was Pat Gooding who began work at a 15 year old and retired for the position of Bradken foundry Manufacturing Manager 51 years later. In the early 1980s, Australian National Industries Ltd bought Bradford Kendall and other heavy engineering companies. The Wodonga foundry with its (then) 170 or so staff became part of Bradken Consolidated along with nine other foundries in Australia and New Zealand. In 1989, Kerry Packer’s Consolidated Press Holdings Ltd took control of ANI. In January 1999, Smorgon Steel Group acquired ANI, which included the Bradken business. The company changed hands again in 2001 when Smorgon Steel Group sold Bradken to Castle Harlan Australian Mezzanine Partners (CHAMP). In 2016 negotiations began for Bradken to be taken over by Hitachi Construction for A$689 million. In April 2017 Bradken became a wholly owned subsidiary of Hitachi Construction Machinery Co. Limited.A collection of black and white images and advertising for Bradford Kendall (Bradken) Wodonga.bradford kendall, wodonga industries, wodonga businesses

Leggings were known to be worn by the Australian Light Horse and other units such as ArtilleryPair black leather leggings. Has long leather strap that winds around leg from calf to ankle. Has another strap at top of calf. Both leather straps have buckles.Nillight horse, light horse leggings, world war 2, world war 1

Leggings were known to be worn by the Australian Light Horse and other units such as ArtilleryPair of tan leather leggings. Has one long leather strap from calf to ankle which winds around the leg. Buckle at top of calf is missing on both.Nillight horse, light horse leggings, world war 2, world war 1

In March 1967, HMAS Hobart became the first Royal Australian Navy combat ship deployed to fight in the Vietnam War. The Latin motto Sic fortis Hobartia crevit ( meaning 'thus in strength did Hobart grow") features on both the Coat of Arms and the earlier Crest of the city of Hobart.Red wooden plaque with metal insignia featuring a crown above the word HOBART, a gold rope circle around a red lion, with a shovel and pick under s raised paw. Beneath that is a boomerang, a nulla nulla, and a woomera over a Latin motto. HOBART/ SIC FORTIS HOBARTIA CREVIThobart, sic fortis hobartia crevit, plaque

World War 1 Open Scroll: Watermark of Australia.Wooden Frame with Glass over Coloured Certificate. Shield with Australian Flag, Two Soldiers, Flags of Allies, Wattle, Troopsembarking on Troop Ship.To Private G. A Hodges Borough and Shire of Stawell. For Liberty, empire, For Justice. Seals of both Bourogh and Shire of Stawell. world war 1

The Lockheed P-38 Lightning is an American single seated, piston-engined fighter aircraft that was used during World War II. Trench Art is the name given to objects manufactured by both soldiers and civilians from shell casings, bullets, shrapnel and miscellaneous battlefield debris, and is predominantly associated with World War I (1914 – 18)Brass shell castings in form of P38 Lockheed lightning planeNiltrench art, plane, p38, lightning plane, world war 2

A4 format bound text, with green front and back covers and gold writing on front page.non-fictionAn exploration of the intersections between the practices of community engagement, academia and history, the thesis responds to the challenges thrown up by the History Wars and the Churchill Island Project by making a history of settlement that is both academically critical and publicly accepted.saunders, churchill island, settlement, land use, heritage site, thesis 2015

High Street Charlton from west end c. 1950. From left - CBC Bank, garage, Trenchards Stock & Station Agents, Tippetts, Ike Richards shop, Procters, Nulty's Pictures, Dene's Gagarge, furniture storeBlack & white postcard of High St Charlton taken from the west end. Shows part of War Memorial, one car travelling toward photographer and a dark truck travelling away from photographer. Cars parked along both sides of the street.cbc bank, trenchards, tippetts, ike richards, procters, nulty's pictures, denes garage, charlton, high street

Basket weaving and brush making was a source of income for those who worked in the workshops at RVIB and other institutions in New South Wales and Queensland. A diverse range products could be produced with cane, such as cane chairs, cots, washing baskets and trolleys, and the Institution sought to highlight these in the annual report. Over time the demand for, and supply of, cane changed - particularly during World War 2 when Asian sources were under attack or destroyed. At home, other materials such as plastics as well as the ability to import cheaper pre-produced products further reduced the demand for workshop pieces. This laundry basket was reinforced with a solid heavy base that gave it both strength and the ability to remain upright as clothing items were placed inside. This cane laundry basket made in the basket shop of RVIB for use in the organisation possibly between 1930-1940, not for sale. Held with staff in the Enterprises section since the move to 201 High Street in the early 1990s.1 cane basket with lidroyal victorian institute for the blind, employment

The Battle of Sunda Strait was a naval battle which occurred during World War II in the Sunda Strait between the islands of Java, and Sumatra. On the night of 28 February – 1 March 1942, the Australian light cruiser HMAS Perth and the American heavy cruiser USS Houston faced a major Imperial Japanese Navy task force. After a fierce battle of several hours duration, both Allied ships were sunk. The sinking of HMAS Perth at the Battle of Sunda Strait 28 February -1 March 1942 cost 357 Australian lives. A further 324 crewmen fell into enemy hands. Two and a half years of brutal captivity claimed the lives of 106 of these men - 53 on the Thai Burma Railway alone.Framed cuttings of newspaper articles,13 photographs and 7 flags As Portrayed to the Australian Public 1942-1945 BATTLE OF JAVA SEA & SUNDA STRAIT 27 FEB - 1 MAR 1942 The first and only battle fought by a combined American Australian British and Dutch Naval Force against the Japanesesunda strait, hmas perth

BHS CollectionPhoto of 3 trams on Pall Mall passing War Memorial, large crowd lining both sides of Pall Mall.basil miller, bendigo trams

This portrait, taken at Ainar Studios during the First World War, captures a soldier stationed at Broadmeadows Camp, Victoria—one of Australia’s primary military training facilities during the early 20th century. Broadmeadows Camp played a pivotal role in preparing thousands of recruits for overseas service, particularly during WWI. Studios like Ainar and Kitchener, often operating near or within the camp, provided soldiers with the opportunity to send formal portraits home to loved ones—a cherished tradition that blended personal memory with national service. These images now serve as poignant historical records of Australia’s wartime experience and the individuals who served.This portrait of a soldier from Broadmeadows Camp, captured by Ainar Studios during the First World War, holds enduring historical and cultural value. It represents a deeply personal yet widely shared wartime ritual—soldiers commissioning studio portraits before deployment, often to send home as keepsakes. Broadmeadows Camp was a major training ground for Australian troops, and such images document not only individual service but also the broader national experience of mobilisation and sacrifice. The photograph is significant for its ability to humanise the war effort, offering a visual connection to the identities, emotions, and stories of those who served. As both a personal memento and a historical artifact, it contributes to our understanding of Australia’s military and social history during the early 20th century.Black and white portrait pasted onto cardboard. Portrait of a soldier from Broadmeadows Camp.Below Photo Front: The Kitchener Studio/Broadmeadows Camp/Under Vice-Regal Patronage/The Ainair Studio/571 Burwood Road/Auburn, Victoria Back: Soldier posing for Portrait/from Broadmeadows/Army Camp/Taken/Ainair Studiobroadmeadows |army camp, the ainair studio, auburn

Thomas Robin Hilson No 2088 38th Bn, Refer Cat No 1516P for his service details.Set of two WW1 medals brass plate mounted. 1. British War Medal 1914 - 18 2. Victory Medal 1914 - 19On both, “2088 T - Cpl T.R. Hilson 38th BN A.I.F.”awards, medals, 38th bn

Items relate to Henry Victor Rooke VX47141, enlisted 16.7 1940 age 36 years. he was a POW of the Japanese, he served in the 2/29th Batt AIF. discharged from the Army 19.3.1946.1)White silk pad with two medals, 1939 - 45 Star & Aust Service medal 1939 - 45 and Rising Sun Hat Badge. .2) White silk pad with two medals, Pacific Star medal, British War medal and 1 set of service ribbons, Rising Sun Hat Badge. Both pads items are sewn on with red and white cotton.On medals, " VX47141 H.V.Rooke"badges, medals, awards, ribbons, 2/29th

This is a photo Constantine Black (Mavrokefalos) who was from the village of Exoghi arrived in Melbourne 18 years of age in the early 1902. He returned to Greece for the Balkan War and the photo depicts him in the army uniform of the time. It was at this time that on a visit to Ithaca he met Efstathia (Toula) Raftopoulos. They married and in 1914 Constantine returned to Melbourne with Toula. Constantine had trained as an accountant, but his qualifications were not recognised in Australia. Changing his surname to the Anglicised "Black", he started off working in his older brother Dionysios's cafés before going into business on his own. In 1917 he opened the Paris Residential Café at 54-56 Swanston Street, which offered both dining and accommodation. The business saw some years of success, but did not survive the Great Depression. Constantine died in 1944. Two of his children, Nina Black and Olga Black, were very active and well known in the Ithacan and Greek community's cultural life.A studio black and white photograph of a man wearing the traditional Greek soldier's uniform. He is standing beside a wall and holding a gun upright.

Many young men, both Ithacan born and Australian born of Ithacan descent joined the Australian Defence Forces in various capacities during World War 2. Pictured is a group of army recruits to the Civilian Military Forces with a young Stathi Raftopoulos seated in the centre - he is the only one not wearing a cap.Ithacans who were not naturalised were recruited to the Civilian Military Forces as 'Allied Aliens'.A black and white photograph of thirteen men inn army uniform sitting and relaxing in a shed.

A copy of the marriage certificate of Constas (Costas) and Joyia Raftopoulos nee Karanze, who were married at the Greek Orthodox Church 'Evangelismos' in East Melbourne on 12 October 1924. The priest who conducted the service was Father Irineos Cassimatis. Costas was a fruiterer and Joyia was a 'tailoress'.Constas Raftopoulos and Joyia Grarange both migrated to Australia from Ithaca in the 1920s and like many other Ithacans settled in Melbourne where they eventually married. During the years between the two world wars chain migration saw many Ithacans sponsored by family members to come to Melbourne.A photograph of a marriage certificate.

Vasiliki Raftopoulosi is pictured crocheting a very fine border in a traditional design. Vasiliki was the mother of Efstathia (Toula) Mavrokefalos (Black) and the grandmother of Nina and Olga Black, both well known in Melbourne's Greek community for their contribution to Greek language and culture. Vasiliki and her family left Ithaca for Romania when Toula was only six months old. As a child while growing up in the Romanian village of Brila, Toula also learned sewing and developed her skills making lace and embroidering items for her trousseau. Some of the linen she embroidered had been woven from flax on Ithaca by her own grandmother. On a visit to Ithaca Toula happened to be on the island at the very time that Constantine arrived, fresh from the war. Like many Ithacans Constantine had returned to Greece from Australia for the Balkan wars. Within three weeks they were married, and when Constantine returned to Melbourne in 1914 his new bride came with him. Many Greek women were skilled in the making of fine lace and crochet articles which they used and displayed in their homes. Finely stitched and woven linen items were an essential part of a young woman's dowry when she married.A black and white photograph in an oval frame of a lady crocheting a lace band.

Jacana Primary School was established in 1959 during a period of rapid suburban expansion in Melbourne’s northern corridor. Located in the suburb of Jacana, the school was part of a broader post-war effort to provide accessible public education to growing communities shaped by migration, industrial development, and housing initiatives. Throughout its operation, Jacana Primary reflected the evolving social fabric of the area. By the 1990s, the school had become a microcosm of Melbourne’s increasing cultural diversity, welcoming students from a wide range of ethnic and socio-economic backgrounds. This diversity was not only embraced but actively celebrated through inclusive teaching practices, multicultural events, and student leadership programs such as the junior student council. The 1997 photograph captures a moment in this dynamic environment, showcasing both staff and students engaged in a shared educational mission. It represents a time when schools were not only places of learning but also key sites of community building, civic engagement, and social support. Jacana Primary closed in the early 2000s as part of broader changes in educational policy and demographic shifts. However, its legacy lives on through archival materials like this photograph, which offer valuable insights into the role of public schools in shaping community identity and fostering social cohesion during a transformative period in Melbourne’s suburban history. This 1997 photograph of staff and students at Jacana Primary School marks a poignant moment in the history of a community-centred educational institution that served Melbourne’s northern suburbs from 1959 until its closure in the early 2000s. More than a conventional group portrait, the image stands as a historical artifact that encapsulates the spirit and values of a school deeply embedded in its local community. Jacana Primary School was distinguished by its commitment to educational equity, inclusivity, and a strong sense of belonging—principles that were actively lived and practiced within its classrooms and broader school culture. The photograph offers insight into the educational ethos and staff dynamics of the time, while also reflecting the broader social and cultural shifts occurring in suburban Melbourne at the close of the 20th century. As part of the school’s visual archive, this image contributes to a richer understanding of how public education shaped community identity, supported diverse student populations, and left a lasting legacy in the lives of generations of children and families.A colour photograph mounted on white card with a black border, is laminated. Back: (Blue Label Top) (Right Corner): PH -2157, Front: (Bottom Left Corner): Fotek School Portraitsjacana primary school, education, photograph, group photograph, 1997

Ill, maps, index, p.654.non-fictionIn 1939, Ray Parkin was serving on the Australian light cruiser HMAS Perth. At first glance he looked every inch the archetypal petty officer that he was - tough, practical and a model of naval discipline. Yet Ray was no ordinary sailor. Despite a lack of formal education, he had the soul of an artist and a philosopher's enquiring mind. As HMAS Perth was embroiled in war - in the Mediterranean and then in South-East Asia - Ray became both a witness and a chronicler of the conflict through his meticulous diaries and his minutely observed watercolours and sketches. When Perth was sunk off the coast of Java, Ray was one of the survivors. After a valiant attempt to sail back to Australia in a lifeboat, he surrendered and spent the rest of the war as a prisoner of the Japanese, first building the Thai-Burma Railway and then working as a slave labourer in a Japanese coalmine. The horrors and privations of those years saw some of his most memorable artwork - documenting both the beauty of the natural world and the savageries and humiliations of the POW ordealprisoners of war - japan - death railway, ex prisoners of war - biography

Index, ill, p.286.non-fictions Australia's largest veterans' organization, the R.S.L. has been the subject of bitter controversy. The League has often been attacked, and as frequently defended, but it has never been examined in depth by an impartial observer. This book is the first detailed and dispassionate examination. It is not an 'official', or even an authorized account of the R.S.L.'s pressure group activities - while the League provided unrestricted access to its files and records, the organization's leaders exercised no censorship or control over the final results. The author examines the R.S.L.'s attempts to influence the Commonwealth government against a background of continual internal conflict over tactics. He describes the constant approaches to the government on pensions, medical benefits, war service homes, soldier settlement, employment preference, and gratuities, as well as on such controversial subjects as defence and anti-communism, all of which serve to mark the R.S.L. as one of Australia’s most active pressure groups. The book also points to the danger implicit in the R.S.L.'s attempt to monopolize the virtues which it claims are uniquely Australian. In its rigid enforcement of the exclusiveness of Anzac Day, it is argued, lie both the League's peculiar strength and its greatest problems. australia - politics and government, pressure groups - australia

Ill, maps, p.331.non-fictionIn June 1940, following the Nazi invasion of France, Ivor Paech, an ordinary primary school teacher from South Australia, enlisted in the Second AIF - the all-volunteer fighting component of the Australian Army in World War II. The unit he was assigned to would become Australia's most highly decorated infantry battalion of the conflict - the 2/48th Infantry Battalion. Ivor served in the front lines in North Africa during the Siege of Tobruk, both battles of Alamein, and bore witness to some of the most violent fighting undertaken by Australian soldiers during the war. This is Ivor's story, compiled by his grandson who is a former Army officer, based on the diary he kept during the conflict, background research and interviews with surviving members of the unitworld war 1939 – 1945 – campaigns – north africa – syria, world war 1939-1945 - personal narratives - australia

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

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

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

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

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

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

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: YACKANDANDAH / 80 Reverse: Y 5 / 018 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