The date is approximate.Black and white photo of a large eucalyptus tree which appears to have had its canopy pruned. A woman in a cloche hat, identified as Mrs Mabel Carter, is leaning against it as if reading. In the background is a paling fence, beyond which is a weatherboard house and (?) a later brick house. The area between the foreground and the paling fence is roughly grassed without a footpath. About 10 feet up the trunk of the tree a wooden sign can just be distinguished. This is the street sign for Everton Grove. Norman and Mabel Carter lived at 21 Everton Grove. Norman took many photos of Surrey Hills and Mont Albert from the 1920s, in particular of events and activities of the Church of England.everton grove, trees, norman brodley carter, mrs mabel annie carter, miss mabel annie moore

A talk given to Horsham District Historical Society about Walter Zumstein Pioneer, by O.V. Carter. on the 17th May 1967. This is the story of Walter Zumstein, as i knew him from 1906- 1963.Card with green picture of memorial and title underneathTitle "Walter Zemstein Pioneer" Price 35 Cents Published by the Horsham District Historical Society.stawell

Photo was taken in 1924 when the land was subdivided. Black's dairy farm occupied the area just east of Hamilton Street to near Elgar Road. It was subdivided into 88 house allotments along Churchill Street, Bruce Street, Black Street, Proudfoot Street and View Street. The solicitors were Proudfoot & Horton, 360 Collins Street; estate agents were Duncan & Weller, 29 Queen Street. The real estate subdivision notice on the SLV website states that Neil Black had been the owner for 50 years. To date no trace of a Neil Black has been found. Box Hill rate books simply give BLACK as the owner in 1877 (no first name); the entry for 1878-1884 states Robert Black. The 1909 electoral roll has entries for Mont Albert Road for Robert Black (farmer), Thomas Black (carter) & Elizabeth Black (HD). The 1912 electoral roll has entries for Mont Albert Road for Robert Black (farmer), Thomas Black (labourer), John Arthur Black (carter) & Elizabeth Black (HD). Robert Black died in 1920 (b. 1836) and is buried in Box Hill Cemetery (CE-*-0057). His parents were John and Margaret Black. He married Lizzie Foley in 1878. She was the daughter of Margaret & John Foley, born in 1859. She died in 1902 aged 43 years and is buried in the same grave, although the cemetery records record her age as 0 years (presumably as no age or date of birth were given at the time of burial). Children: 1. James Hughbert (1880-1954) 2. John Arthur (1881-1959) 3. Alice (1882-1883) - died aged 6 months 4. Laura Elizabeth (1883-1951) 5. Thomas (1885-1965) 6. Isabella (1887-1963) 7. Eleanor (1889-1963) 8. Ada Maud (1890-1968) 9. Robert (1892-1930). BDM Victoria states places of birth as Box Hill, Surrey Hills or Mont Albert. Many of the family are buried in Box Hill Cemetery. None of the girls appear to have married. Communication from a descendant of John Arthur Black gives the following: "John Arthur Black, son of Robert & Lizzie Foley, married Gladys Anne Layton had 4 children, Robert, Elenore, Marion (Follett) & Annie; they had farm on Stud Road, Dandenong where they milked 30 cows that he retired to after being a earth-moving contractor with draft horses and dug irrigation ditches around Shepparton." This is important as documentation of the area's transformation from farming land to residential land use.Black and white photo of a large 3-poled tent in an area of flat land with eucalypts in the background. There is a large crowd of people, mainly men but also women and children. There are also 3 cars to the RHS.black's dairy farm, dairying, farms, churchill street, black street, proudfoot street, bruce street, view street, neil black, proudfoot & horton, duncan & weller, robert black, lizzie black, lizzie foley, james hubert black, john arthur black, alice black, laura elizabeth black, thomas black, isabella black, eleanor black, ada maud black, robert black jnr, box hill cemetery, land sales

Photo is likely to have been taken pre-1924 when the land was subdivided. Donor information is that this was taken from a home in Churchill Street, Mont Albert; it would be looking south towards Mont Albert Road. Black's dairy farm occupied the area just east of Hamilton Street to near Elgar Road. It was subdivided into 88 house allotments along Churchill Street, Bruce Street, Black Street, Proudfoot Street and View Street. The solicitors were Proudfoot & Horton, 360 Collins Street; estate agents were Duncan & Weller, 29 Queen Street. The real estate subdivision notice on the SLV website states that Neil Black had been the owner for 50 years. To date no trace of a Neil Black has been found. Box Hill rate books simply give BLACK as the owner in 1877 (no first name); the entry for 1878-1884 states Robert Black. The 1909 electoral roll has entries for Mont Albert Road for Robert Black (farmer), Thomas Black (carter) & Elizabeth Black (HD). The 1912 electoral roll has entries for Mont Albert Road for Robert Black (farmer), Thomas Black (labourer), John Arthur Black (carter) & Elizabeth Black (HD). Robert Black died in 1920 (b. 1836) and is buried in Box Hill Cemetery (CE-*-0057). His parents were John and Margaret Black. He married Lizzie Foley in 1878. She was the daughter of Margaret & John Foley, born in 1859. She died in 1902 aged 43 years and is probably buried in the same grave, although the cemetery records record her age as 0 years. Children: 1. James Hughbert (1880-1954) 2. John Arthur (1881-1959) 3. Alice (1882-1883) - died aged 6 months 4. Laura Elizabeth (1883-1951) 5. Thomas (1885-1965) 6. Isabella (1887-1963) 7. Eleanor (1889-1963) 8. Ada Maud (1890-1968) 9. Robert (1892-1930). BDM Victoria states places of birth as Box Hill, Surrey Hills or Mont Albert. Many of the family are buried in Box Hill Cemetery. None of the girls appear to have married. Communication from a descendant of John Arthur Black gives the following: "John Arthur Black, son of Robert & Lizzie Foley, married Gladys Anne Layton had 4 children, Robert, Elenore, Marion (Follett) & Annie; they had farm on Stud Road, Dandenong where they milked 30 cows that he retired to after being a earth-moving contractor with draft horses and dug irrigation ditches around Shepparton." This is important as documentation of the area's early farming land use.Black and white photo of a paddock with cows and sheep grazing. On the horizon is a simple cottage with a small veranda and 2 chimneys and scattered trees.black's dairy farm, dairying, farms, churchill street, black street, proudfoot street, bruce street, view street, neil black, proudfoot & horton, duncan & weller, robert black, lizzie black, lizzie foley, james hubert black, john arthur black, alice black, laura elizabeth black, thomas black, isabella black, eleanor black, ada maud black, robert black jnr, box hill cemetery

Ernest James Andrew was the son of William Bravery and Ellen Andrew. The Andrews moved to Eltham in the 1850s and opened a produce store on "Policeman's Hill", at the corner of Maria Street (now Main Road) and Franklin Street. William took a lively interest in the public affairs of the town and district, and with his wife Ellen continued to run the store for some fifty years. He died in 1907 and is buried with his wife in Eltham Cemetery. Ernest took over the business, which became a general store and newsagency. Later, it shifted to the main Eltham shopping centre as a combined newsagency and haberdashery/clothing shop. The original weatherboard building at the corner of Franklin Street was replaced around 1940 by a brick structure, which is now a cafe called Zen Den. Ernie too was married to an Ellen and they lived in Arthur Street at so-called "Cook's Cottage" (due to its resemblance to Captain Cook's Cottage in Fitzroy Gardens). He was an Eltham Shire Councillor between 1920 and 1950 and was Shire President for 1930 and 1947 as well as a Trustee for the Eltham (Public) Hall in Henry Street from the time it was purchased in 1922 until 1940. Andrew House at Eltham High School and Andrew Oval in Diamond Street are named after him. Ernie died in 1950 and is buried with Ellen in Eltham Cemetery. In his Will he made provision to the Eltham War Memorial Trust for funding of the Eltham War Memorial Gates – “These Memorial Gates were donated by the Late Cr. And Mrs E.J. Andrew”. In Memory Of Ellen Beloved Wife of E.J. Andrew Died 13th July 1946 Faithfull Always Also the Above Ernest James Andrew Died 29th March 1950 Councillor Shire of Eltham 30 YearsRoll of 35mm colour negative film, 6 stripsKodak GC 400-9eltham cemetery, gravestones, councillors, ellen andrew, ernest james andrew, shire of eltham

The Memorial Cross was unveiled by the Governor of Victoria, the Earl of Stradbroke on 11 September 1921. Norman Carter took many photos of Surrey Hills and Mont Albert from the 1920s, in particular of events and activities associated with the Church of England. Black and white photo of a crowd gathered around a central figure dressed in a morning suit and top coat and identified as the Governor of Victoria, the Earl of Stradbroke. Mature trees, part of the Surrey Gardens, are in the background.surrey gardens, monuments and memorials, governors, memorial cross, earl of stradbroke

The Memorial Cross was unveiled by the Governor of Victoria, the Earl of Stradbroke on 11 September 1921. Norman Carter took many photos of Surrey Hills and Mont Albert from the 1920s; in particular of events and activities associated with the Church of England.Black and white photo of a large crowd gathered in part of Surrey Gardens. The Memorial Cross is the focus of the photo. The Surrey Shrine can be seen in the background.surrey gardens, monuments and memorials, surrey shrine, governors, earl of stradbroke, norman carter

George was the first soldier from the Shire of Eltham to be killed in the Second World War. He was engaged to Miss Jean Simonson of Montmorency. Sapper George Ernest Castledine (1914-1941), son of Arthur Frederick (dec.) and Annie Castledine, enlisted 23 January 1940 at Lower Plenty and was assigned to the 2/2 Field Company. He is buried in the Phaleron War Cemetery, Athens, Greece and is remembered on the Roll of Honour located in the Eltham War Memorial Hall.Sapper George Ernest Castledine VX10044 was the first soldier from the Eltham District to be killed in the Second World War, an event that ultimately resulted in the women and men of the district raising funds to create the Eltham War Memorial to benefit the children of the district as a living memorial in memory of the fallen soldiers of the district in that war.Digital file only created from scan of print on loanannie castledine, arthur frederick castledine, athens, eltham, eltham war memorial, eltham war memorial hall, emily beckett, george ernest castledine, greece, jean simonson, montmorency, phaleron war cemetery, roll of honour, second word war

Yields information about the people involved in the retirement of a particular tram driver in 1954, gives names of people in positions at the time, music providers, the style of retirements at the time and a brief history of Ballarat Tramways.Typed copy with handwritten corrections of a report on the retirement ceremony of Mr Herb Preston November 1954, written by T.E. Carter - dated 21/11/1954. Herb Preston retired after 42 years service as a Motorman. Other people noted are: Mr. Roy Courtney - President of the Tramway Social Club Les Denmead - Superintendent Mr. Geo Hall of the Tramways Employees Association Alf Ellis - Motorman Arthur Hugo - Senior Traffic Inspector Don McLachlan Mr. M.H. Pinkard, President of the Employees Association Mr. O.Dwyer Mr. T. Brittian Mr. G. Allen 2nd page dated 28/6/1954 written by T.E. Carter - short one page history of Ballarat Tramways. Written for a publication - SEC magazine or local newspaper? Various corrections in ink.trams, tramways, crews, sec, ballarat, retirements

This scrapbook contains newspaper cuttings, mainly about football, and other written material from the late 19th century. It belonged to Martin Carter ((1870-1943), a Warrnambool saddler who worked for many years in the saddlery business established by his father, Samuel. Martin Carter was very active in community affairs - President of the Warrnambool Bowling Club, a member of the local Volunteer Militia, Secretary of the Progress Association, a football player and umpire and a local cricketer. He was the Secretary of the Warrnambool Town (later City) Band for fifty years and a memorial plaque in his honour was erected at the Band headquarters in Warrnambool. He was also a Warrnambool Councillor (1917-1925) and Warrnambool Mayor (1922-24). His interest in football can be seen from the great number of football newspaper cuttings in this notebook.This little notebook is most interesting as it provides us with details on football in the Warrnambool district in the late 19th century and gives us an indication of the popularity of the game at that time. It is a valuable research tool.This is a small notebook with a black cover. The pages contain ruled red lines over which have been pasted newspaper cuttings. Some pages have handwritten material and some pages are blank. There are also several loose cuttings. The notebook has been stapled but the staples have been removed.M.L.Carter Warrnambool June 13th 1887 S.Carter Saddler Warrnambool (stamp)warrnambool town band, martin carter warrnambool, football in the warrnambool district, sydney giddings warrnambool saddler

There are 2 copies: the original donated print and an enlargement. The original is mounted on card with photo mounts along with 897, 898, 899 and 900. It measures 13 cm x 9 cm. Norman Carter took many photos of Surrey Hills and Mont Albert in the 1920s; many associated with events and activities of the Church of England. Black and white photo inside the church hall with a stand set up with jams and other produce and another with a variety of handcrafts.churches, holy trinity church, anglican church, fetes, norman carter

The church was opened in 1947. Andrew Ward wrote a history of it in 1987. Title: " St Theodore's Anglican Church Wattle Park - A History of a Small Parish: 1947-1987." (Not in our collection) Norman Carter took many photos of Surrey Hills and Mont Albert from the 1920s; many were associated with events and activities of the Church of England.Black and white photo of a large group of people gathered around the exterior of a simple, light coloured timber building with a porch with a side door and 3 sash hung windows. The surrounding ground is crudely landscaped.On back in ink: "Opening / St Theodores Wattle Park / prob. 1953"st theodore's church, churches, anglican churches, wattle park, norman carter

Ernest Scott was a Professor in History at the University of Melbourne.Red hard covered book of 922 pages with 67 illustrationsworld war, world war one, aif, anzac, censorship, germans, internment, spying, war correspondents, official photographers, propaganda, equipment, munitions, conscription, conscription referendum, recruiting, horses, patriotic funds, red cross, australian comforts fund, junior red cross, peace conference, treaty, repatriation, soldier settlement, andrew fisher, legacy

Decorative object made by silversmith Ernest Leviny.Silver mounted emu egg goblet with detachable silver lid decorated with a kneeling Aboriginal figure holding weapons (spear is missing). Emu egg is mounted on a silver base with filigree acanthus leaf designwork on the stem, leading to four sprays on the egg surface with a rose, thistle and shamrock design. The inner egg is lined with a gold wash.Noneernest leviny, silversmithing, colonial silverware, castlemaine, emu egg goblet, buda, c 1859

The Bostock, Manifold and Aitkin families were all pioneering families in the Western District of Victoria almost from the time of settlement. They leased and owned vast tracts of land and operated businesses around the district, often associated with the farming industry. This document is dated 5th July 1865 and is an assignment of stock by way of mortgage. Augustus Bostock is the mortgagor with James William Manifold Aitkin and Ernest Bostock as mortgagees. At various times they were involved in running businesses together, in particular the Aitkin and Bostock store and flour mill. Three of the Bostock men were married to three of the Aitkin sisters. The amount in question is £2157/3/2 and surety is 8000 sheep and their increase, presently running at Coomete. The penciled in details on the document refer to Robert Brand Paterson who was later in business with Aitkin This is one of a number of documents which relate to the Bostock family who were one of the most important pioneering families of the Western District. They owned and leased various properties around Warrnambool and were involved in many aspects of social and business life. The document itself is indicative of its time and provides an insight into the details and terms of such documents at the time.Large grey coloured, lined hand written document over four pages. Folded in four with date and details on one section. Red wax seal on page 3. There are extra entries written in black lead pencil in areas relating to the money and surety of the agreement.Signed by the following George Barber Warrnambool, Thomas Sunderland Deputy Registrar General, and Augustus Bostock. Hingston & Co, Chancery Lane Melbourne hand written in top left hand corner. warrnambool, bostock,augustus bostock james william manifold aitkin,robert brand paterson, coomete,

The "Ammoniaphone" was developed by Dr. Carter Moffat in 1870 as an instrument to replicate the fresh Italian air and its qualities that seemed to assist with Italian vocalists. The Ammoniaphone was filled at both ends with a mixture of ammonia, hydrogen peroxide and peppermint oil, and the user inhaled the chemicals from the small tube in the centre. According to Dr. Moffatt, the Ammoniaphone was benefical to public speakers, Parliamentarians, vocalists, as well as assisting with bronchitis and consumption.Important to the collection due to its rarity and historical significance, as well as medical research capability.A long metal tube into which ammonia, hydrogen peroxide and peppermint oil were placed. The user inhaled the chemicals through the small tube in the centre of the object. It was thought to improve the voice through the inhalation of "artificial Italian air". Comes with the original box and instruction booklet."Medical Battery Co. 52 Oxford Street, London W"medical, quackery, voice alteration, consumption, ammoniaphone

Set of two small pamphlets celebrating 100 years for Ballarat trams 18 and 40. Provides details of the trams, owners of the trams, their history and some photos of each tram. .1 - "Tram No. 40 is 100 years old this year" .2 - "Tram No. 18 is 100 years old this year" Written by Richard Gilbert, designed by Reece Carter. Produced for the 100th anniversary of 18 - 2 November 2013. Two copies of each held.trams, tramways, btm, handouts, passengers, pamphlets, 100 years of electric trams

Ernest Butcher served as No 56 8th Light Horse Regiment. He died of wounds sustained during the August 1915 offensive at Gallipoli. He is buried at Ari Burnu Cemetery Gallipoli. The death medallion was mounted on a wooden panel by his nephew Arthur Butcher and presented to 8th/13th Victorian Mounted Rifles on Anzac Day 1977. The 8th Light Horse suffered crippling casualties in the August offensive at Gallipoli. This innovative approach to ensuring the memory of a family member is well provenanced and lodged with the major repository of memorabilia of the regiment.Death medallion for No 56 Trooper Ernest Henry Butcher, 8th Light Horse, mounted on stained wooden panel with two engraved plaques."Ernest Henry Butcher / Born Port Melbourne / Enlisted 1914 8th Light Horse / Died of Wounds / Lone Pine Gallipoli/August 4 1915 Age 23 years 9 months" and "Presented by/ Mr Arthur Butcher / Nephew of Ernest Butcher / 25 April 1977" butcher ernest henry trooper, 8th light horse, gallipoli

The land occupied by the Hamilton Street shops was subdivided in the 1880s and the first purpose-built shop was 'Pope and Moran, Grocers'. This shop later became Tom Morris' Grocery. By 1930 shops stretched along both sides of Hamilton Street and part way along Churchill Street. The donor the late Norman Carter took many photos documenting Mont Albert and Surrey Hills from the 1920s. His subject matter often related to Church of England events and activities.Black and white photo taken from the centre of the road in Hamilton Street, Mont Albert. Three single storey shops can be seen with vacant blocks of land in between them. They have verandas extending over the pavement to the edge of the road which appears to have bluestone curb and channelling. One shop sells dairy produce and small goods.hamilton street, shops

This building dated back to the 1880s and had previously operated as Delany's Hotel and then the Royal Hotel. It was built near the site of the original Delany's Hotel, built in 1856. The Royal Hotel closed in 1921 after the area voted to be a 'dry area' in the local option poll. Tower House Day and Boarding School operated from 1921 until 1932. Norman Carter took many photos of Surrey Hills and Mont Albert from the 1920s; many were associated with events and activities of the Church of England.Black and white photo of a partially demolished building. The roof and part of the second storey are missing. What remains indicates that it has been a large building in the Victorian style. Along one side at ground level there are 4 arches, perhaps entry to a covered veranda, above which is a colonnade, and perhaps an open veranda on the upper level. There is a mixture of treatments to the surrounds of the windows. On the corner, within an arch which may have once been a doorway, is a sign reading: "TOWER HOUSE / DAY / & / BOARDING SCHOOL". There is a car with a retractable hood in the lower RH Corner of the photo.Rear top centre in blue biro "1932" (crossed out); top RH corner "498" in red biro; centre "Demolition of / Tower House Day & Boarding / cr Canterbury & Broughton Rds / previously Tower House Hotel / originally Royal Hotel / See partner photo."; bottom RH cnr "demol (in red biro) / 20-8-32". All in Jocelyn Hall's handwriting.tower house day and boarding school, schools, education, royal hotel, hotels, construction and demolition, dry area, licensing polls, temperance movement, delany's hotel, norman carter

Decorative object made by Ernest Leviny probably to sell in his jewellers and watchmakers shop in Market Square Castlemaine.Silver mounted emu egg goblet with gold-wash interior and cast emu figure on lid. Silver stem has elaborate scrolled ribbon design and cast decoration topped by four heads of the god Pan. Filigree silver design of grapes and vine leaves above base. 'Egg' rests in 'cup' of filigree feathers/shell and acanthus leaves. Lost wax casting method used.Noneernest leviny, silversmithing, colonial silverware, decorative arts, natural history specimens, ornithology

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

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

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

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

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

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

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