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Bendigo Historical Society Inc.
Document - HANDWRITTEN PAPER: ''CATHOLIC SCHOOLS IN BENDIGO 1852 TO1878''
... Handwritten Paper ''Catholic Schools in Bendigo 1852-1878... Handwritten Paper ''Catholic Schools in Bendigo 1852-1878'' (5 pages ...Handwritten Paper ''Catholic Schools in Bendigo 1852-1878'' (5 pages of text plus bibliography). Author Betty Cassidy; no date. Subtitled ''Development of Catholic Education in Bendigo in Conjunction with Legislation from 1852 up to and including the 1872 Education Act''. Detailed history of the state period with ref to Dr Backhaus; Denominational Schools; the 1862 Common Schools Act; the Common Schools Board; the Royal Commission 1866; the abolition of State Aid; 1877 public appeal for funds to assist Catholic schools.Betty Cassidychurch, history, catholic, funds appeal for catholic schools. dr backhaus. royal commission of 1866. abolition of state aide. betty cassidy. national school board. common schools act. -
Warrnambool and District Historical Society Inc.
Documents, Childer's Cove, 1920-1940's
... . .24 The School Paper Feb 1964 No 741 .... .24 The School Paper Feb 1964 No 741 Childers Cove is situated ...Childers Cove is situated about 15 ks east of Warrnambool in the area known as Mepunga. It is named after the shipwreck of 'The Children.The documents relate to the running of the Childer's Cove Progress Association. There are a number of social activities including gymkhanas, racing meetings, making of roads and improving with planting trees There are many names which are still familiar with the area nearly 100 years later, including Wallace, McDowall, Burleigh, Murnane, Bonnett, Abraham Laidlaw Keogh Holloway and Palmer. Some of the meetings were held at the Mepunga South School with others held at Eckers Hotel Warrnambool and some at the race course. Fundraising events were held also from athletic meetings and district school children's races. This collection of papers is representative of many small communities around Australia where people came together and worked to improve their community facilities. It therefore has strong social and historic significance.This is a collection of papers most of which relate to the Childer's Cove Progress Association. Included are: .1 Minute Book/ Exercise book Childer's Cove Progress Association.May 1928-1932 .2 Minute Book/ Exercise book Childer's Cove Progress Association. 1924-1926 .3 Letter from Warrnambool Football Club 1930. .4 Account Archibald MacFarlane & Co March 1929 .5 Western District Racing Association Oct 1929. .6 Federal Taxation Dep Re Entertainment Tax 11/02/1930 .7 Chief Secretary Office re Racing Permits March 1923. .8-.9 Warrnambool Standard Invoices Jan 1930's .10 Archibald MacFarlane & Co Jan 1930. .11 Chief Office for Stamp Duties 12/02/1928 .12 Flyer - Childer's Cove Progress Association April 17 1926. .13 Flyer- Monster Gymkhana 12/02/ 1927. .14 Handwritten Invoice Charles Palmer Nov 1929. .15 Cheque Book Childer's Cove Progress Association 1929-31. .16 Deposit Book Childer's Cove Progress Association 1932-1942 .17 Bundle of invoices. .1 C J Caddy & Sons.2 Western Ice & Ice Products .3 Department of Lands & Survey Aug 1923 .4 J S Tait re Licence April 1924 .5 Warrnambool Standard31/12/1923 .6 Warrnambool Standard 31/03/1924 .7 Devenish & Co August 1924 .8 Warrnambool Standard 31/06/1924 H J Paynter & Co 03/05/1924 .10 Chief Secretary's Office Melbourne 01/05/1924 with receipt. .11 Permit for a race meeting April 19 1924 .12 Commonwealth of Australia Entertainment Tax 06/09/1924.13 Commonwealth of Australia Entertainment Notice 27/08/01924 .14 Commonwealth of Australia Entertainment Tax notice 12/08/1924 .18 William Ardlie handwritten letter 28/03/1928 .19 Envelope Addressed to W R Abrahams .20 Final notice Handwritten Charles Palmer Jan 1930. .21 Balance Sheet Childer's Cove Racing Club 18/03/1929 .22 H J Paynter & Co Account and receipt 25/02/1930. .23 Raglan Parade Timber Yards Alex Donaldson Feb 1930. .24 The School Paper Feb 1964 No 741 childer's cove, mepunga, childer's cove progress association -
Bendigo Historical Society Inc.
Document - BALLOT PAPERS TARNAGULLA, 19th May, 1973
... at the end of page. White paper titled Ballot Paper School District... paper titled Ballot Paper School District of the Borough ...Blue Voting paper with Borough of Tarnagulla printed at the top. Candidates' Names are George Barlow, Thomas Bayliss, John Beynon, Thomas Henderson, William Herd Voting directions at the end of page. White paper titled Ballot Paper School District of the Borough of Tarnagulla. Candidates' Names are Henry Charles Bristol, Robert Harrison Burstall, Edward Buckley, Thomas Comrie, James Clouston, George Minto, and Thomas Scorer. Voting Directions printed at the bottom of page. Printed by John Ferres, Government Printer, Melbourne. Another piece of paper has Mr Cra? Goldfield's Historical Society written on it. Typed on another piece of paper is: These two ballot papers were found in the Tarnagulla Town Hall before its reconstruction this year. Apart from a few records in possession of the Goldfields Historical Society the Tarnagulla Borough Records were pulped during the war. The ballot paper for the School District is an election for a School Board of Advice in 1873 (the first election under the Act). The Voting paper is for the Borough Council, date unknown but it was not (underlined) the first election. With compliments of the Goldfields Historical Society per their Curator John J. Alderson. 11/4/61By Authority John Ferres, Government Printer, Melbourneevent, official, civic, ballot papers tarnagulla, tarnagulla town hall, goldfields historical society, tarnagulla borough records, school board of advice, john j alderson, henry charles bristol, robert harrison burstall, edward buckley, thomas comrie, james clouston, george minto, thomas scorer, george barlow, thomas bayliss, john beynin, thomas henderson, william herd, john ferres -
Bendigo Historical Society Inc.
Photograph - LONG GULLY HISTORY GROUP COLLECTION: SCHOOL PHOTOS 1935 & 1938
... for the 1998 School Holiday Program. Paper with the names of the 1938... for the 1998 School Holiday Program. Paper with the names of the 1938 ...Page with two black and white copies of photos of the 3 & 4 Class of the Long Gully School 2120 taken in 1935 and Class 5 & 6 taken in 1938. Boys in the front row are holding a blackboard with the name on it. Photos not very clear. Children are in front of a brick building. Part B has some of the names of the children written on it. On the back is a permission form for the 1998 School Holiday Program. Paper with the names of the 1938 Class of the Long Gully School. They are: Back - l - R - Tommy White, Jack Shadford, Colin Neyland, Tammy Kendall, Alan Roberts, Frank Fraser, Frank Button, Noel Evans, Percy Winberg, 3rd Row L - R - Reg Ennor, Dan Banninger, Dorothy Hecker, Bessie Rasmussen, Elsie Clymo, Val Polglaze, Shirley White, Evon Davey, Fay Pearce, Frank Bruhn, Noel Waterman, 2nd Row L - R - Rex Harris, Stan Anderson, Lois Faye Horwood, Betty Slater, Valda Kitt, Clymo, Lois Green, Adelaide Waterman, Ray Wilson, Len Leggo, Lachlan Neyland, Frong Row - Ray Rasmussen, Lance Hester, Fred Salter, Norm Grenfell, Max Lambert, Button, Ray White, Max Ellis, Des Davey. On the back is House Reports 1997 - 1998.bendigo, history, long gully history group, the long gully history group - school photos 1935 & 1938, long gully state school 2120 class 3 & 4 1935, long gully state school 2120 class 5 & 6 1938 -
Unions Ballarat
Scrapbook: Ballarat Trades Hall newspaper clippings 1988-1996, The Courier
... welcomes cut Paper: n.a. Date: 13 May 1992 8. School leavers... Trades Hall welcomes cut Paper: n.a. Date: 13 May 1992 8. School ...1a. Jobless muddle: Ballarat leaders say local survey closer to mark than Govt's 'drastic underestimate' 1b. Local community leaders reject Govt's unemployment figures Paper: The Courier Date: 15 November 1991 2. Ballarat must change industry base: Shearer - Reliance on wool and wheat now redundant Paper: n.a. Date: 14 November 1991 3.Lay-offs plan sparks strike [Ballarat] Paper: The Courier Date: 13 November 1991 4a. Ballarat makes pleas to Hawke: Help us beat jobless problem 4b. Help us create jobs plea to Canberra Paper: The Courier Date: 8 November 1991 5. Ballarat to plead for its life Paper: The Courier Date: 8 November 1991 6. Disunity blasted: Council bickering 'sabotaging local economy' [Ballarat] Paper: The Courier Date: 9 May 1992 7. Hand cuts migrant intake: Ballarat Trades Hall welcomes cut Paper: n.a. Date: 13 May 1992 8. School leavers 'missing out' Paper: The Courier Date: 18 May 1992 9. 10,000 in rally over government assets sale Paper: n.a. Date: 8 July 1992 10. Unions seek views on amalgamation [Ballarat] Paper: The Courier Date: 30 May 1992 11. Jobs plan hailed: Local leaders say it'll help young jobless [Ballarat] Paper: The Courier? Date: 26 June 1992 12. Youth wage gets mixed reaction [Ballarat] Paper: The Courier Date: 7 July 1992 13. Plans to axe tariffs are 'frightening': Shearer [Ballarat] Paper: The Courier? Date: 11 July 1992 14. Asbestos scare at primary school [Ballarat] Paper: The Courier Date: 11 July 1992 15. Ballarat protest: 5000 rally against the Kennett Govt Paper: n.d. Date: 11 November 1992 16. The Ballarat strike (pictures) Paper: The Courier Date: 11 November 1992 17. Train services under threat, warns union [Ballarat] Paper: n.a. Date: n.d. 18. Shearer slams new WorkCare Paper: n.a. Date: 5 November 1992 19. Ballarat unions back strike against Govt Paper: The Courier Date: 7 November 1992 20. Youth late night lolly selling may be both risky and illegal [Ballarat] Paper: The Courier Date: 5 December 1990 21a. 500 Ballarat jobs 'at risk' 21b. Tariff cuts will hit Ballarat jobs Paper: The Courier Date: 5 December 1990 22. Govt blueprint to hit local industries [Ballarat] Paper: The Courier Date: n.d. 23. AHA wage move rejected: Pay rise offer in place of penalty rates [Ballarat] Paper: The Courier Date: 9 July 1991 24. City shops leave Sunday to big stores [Ballarat] Paper: n.a. Date: 18 July 1991 25. Union dispute threat to Base [Ballarat] Paper: n.a. Date: 23 July 1991 26. Metalworkers agree on wages: Unions call on IRC to accept agreement Paper: The Courier Date: 19 July 1991 27. Ballarat bakery fears price war Paper: n.a. Date: 28 June 1991 28. Ballarat CES in Newstart bans Paper: n.a. Date: 29 June 1991 29. No Sunday trading: rally seeks support Paper: The Courier Date: 29 June 1991 30. The re-emerging Trades Hall belong to all workers [Ballarat] Paper: The News Date: 15 September 1988 31. Work safety better: TLC [Ballarat] Paper: n.a. Date: 15 September 1998 32. Black ban on bank [Ballarat] Paper: n.a. Date: 28 February 1989 33. BTLC slams Stockdale Workcare 'rort' claims Paper: n.a. Date: 11 May 1989 34. BTLC backs luxury surcharge plan [Ballarat] Paper: n.a. Date: 24 June 1989 35. Strike ends at John Valves [Ballarat] Paper: n.a. Date: 21 June 1989 36. Unions need a better image: 'Future is linked to intensive education process' [Ballarat] Paper: n.a. Date: n.d. 37. Ballarat protest against Govt: Teachers vow to fight Govt Paper: The Courier Date: 3 December 1992 38. Cleaners vote not to take industrial action [Ballarat] Paper: The Courier Date: 3 December 1992 39. Nurses stop work [Ballarat] Paper: The Courier Date: 3 December 1992 40. Amcast to close: Up to 140 will be made redundant [Ballarat] Paper: n.a. Date: 5 December 1992 41. Ronaldson hits out at union's 'fear campaign' [Ballarat] Paper: n.a. Date: 5 December 1992 42. Reprieve for Amcast workers [Ballarat] Paper: n.a. Date: n.d. 43. Workers take levy protest to Traynor [Ballarat] Paper: n.a. Date: 10 December 1992 44. Unions claim 2000 jobs lost in 12 months [Ballarat] Paper: The Courier Date: 6 October 1993 45. Unions plan on strong show [Ballarat] Paper: n.a. Date: 28 November 1992 46. Union rally to blast WorkCover [Ballarat] Paper: n.a. Date: 17 July ? 47. 1800 unionists in action day [Ballarat] Paper: n.a. Date: 1 December 1992 48. Protest at Lakeside stops work [Ballarat] Paper: n.a. Date: 1 December 1992 49. Ballarat urged to fight Amcast closure Paper: n.a. Date: 7 December 1992 50. Big crowd expected at deficit tax rally [Ballarat] Paper: n.a. Date: 12 December 1992 51. Trade unions: Recruit drive in Ballarat Paper: The Courier Date: 14 September 1995 52. Church and union unite for protest [Ballarat] Paper: n.a. Date: 14 September 1995 53. Ballarat strike tomorrow Paper: n.a. Date: 15 December 1992 54. Govt accuses striking unions of 'thuggery' Paper: n.a. Date: 15 December 1992 55. Hundreds support rally [Ballarat] Paper: n.a. Date: 14 December 1992 56. Disagreement on new Fightback package Paper: n.a. Date: 19 December 1992 57. Unions boycott public rally [Ballarat] Paper: n.a. Date: 19 December 1992 58. Group aims to fight deficit levy [Ballarat] Paper: n.a. Date: 21 December 1992 59.42 jobs go at workshops, more cut backs feared Paper: The Courier Date: 24 December 1992 60. ALP against levy: Devereaux Paper: The Courier Date: 3 February 1993 61. Rail workers fight for jobs [Ballarat] Paper: n.a. Date: 6 January 1993 62. Trams and buses to be disrupted [Ballarat] Paper: n.a. Date: 6 January 1993 63. Brown snubs rail talks [Ballarat] Paper: n.a. Date: 6 February 1993 64. Deficit levy is causing hardship: Trades Hall [Ballarat] Paper: n.a. Date: 5 February 1993 65. Ballarat unions to rally on March 1 Paper: n.a. Date: 5 February 1993 66. Angry rail workers plan to see Brown [Ballarat] Paper: n.a. Date: 8 January 1991 67. Sharing the secrets of the camera Paper: The Courier Date: 6 February 1993 68. Councils must unite: Shearer [Ballarat] Paper: The Courier Date: 9 February 1993 69. Shearer hits Lib health policies Paper: n.a. Date: 11 February 1993 70. Worker injury costs 'shifted' to taxpayers [Ballarat] Paper: n.a. Date: ? June 1993 71. Shearer warns on contracts Paper: n.a. Date: 5 February 1993 72. Ballarat hurting, says union chief Paper: n.a. Date: 22 February 1992 73. Workers will back protest, says Shearer [Ballarat] Paper: n.a. Date: 22 February 1992 74. Shearer gives Govt a blast on 'sacrifice' Paper: The Courier Date: 17 February 1993 75. Shearer supports strike [Ballarat] Paper: The Courier Date: 1 March 1993 (?) 76. Workers may be 'scared off" rally [Ballarat] Paper: n.a. Date: 1 March 1993 77. Workers at risk: Shearer Paper: n.a. Date: 25 February 1993 78a. 3000 marchers in protest against Kennett policies 78b. Marchers in street protest [Ballarat] Paper: The Courier Date: 2 March 1993 79. 'Jobs threat from Libs tariff plan' [Ballarat] Paper: The Courier Date: 2 March 1993 80. Students, staff rally in protest at govt cuts Paper: The Courier Date: 6 October 1993 81. Hurt workers live on $50 a week: union [Ballarat] Paper: n.a. Date: ? July 1994 82. Workers in protest at injury benefits [Ballarat] Paper: The Courier Date: 24 July 1994 83. Contracts need an 'even hand' [Ballarat] Paper: n.a. Date: ? July 1993 84. 2000 rally against public service cuts [Ballarat] Paper: n.a. Date: 6 May 1993 85. Telstra cuts threatening 100 Ballarat jobs: union Paper: n.a. Date: ? ? 1996 86. Workers to fare worse under Libs - Hubbard [Ballarat] Paper: n.a. Date: ? ? 1996 87. Ballarat workers to protest against industrial changes Paper: The Courier Date: n.d. 88. Meet Telstra, unions urge development body [Ballarat] Paper: n.a. Date: ? July 1996 89. Threat seen to part-time job security [Ballarat] Paper: n.a. Date: 6 July 1996 90. Trades Hall gears up for big battle [Ballarat] Paper: n.a. Date: ? July 1996 91a. Workers in city protest 91b. Workers in city protest Paper: n.a. Date: 31 August 1996 92. Unionists urged to fight hard for rights Paper: n.a. Date: 31 August 1996 93. Unpaid work trials a trap: Shearer Paper: The Courier Date: 9 November 1996 94. CES union action 'minor' Paper: The Courier Date: 9 November 1996 95. Sawmill row looks likely to escalate Paper: The Courier Date: 9 November 1996Significant collection of press articles that include comment from Unions Ballarat Secretary, Graeme Shearer, around the period when Jeff Kennett (Liberal Party Victoria) was premier of Victoria. Focus upon a variety of social and industrial issues impacting the Ballarat region.Scrapbook - news clippings.btlc, ballarat trades and labour council, industrial relations, industrial action - strikes, kennett jeff, liberal party victoria, victorian railways, australian labour party - alp, oh&s, unemployment - ballarat -
Surrey Hills Historical Society Collection
Archive - Vertical file, Chatham Primary School
... ). 17. ‘History in school flag’, paper and date unknown (1 page...). 17. ‘History in school flag’, paper and date unknown (1 page ...Chatham Primary School opened in August 1927 following local pressure for an additional school. Balwyn, Mont Albert and Surrey Hills schools were all experiencing overcrowding following population growth after WW1.A vertical file of information related to Chatham Primary School: 1. Correspondence regarding establishment of the school – all are copies: • Letter from Amy Brown to Secretary of Chatham School Committee (undated) relating to correspondence regarding the establishment of the school • Letter from Education Department to Mr. A.R. Brown, 17.5.1923. • Letter from Department of Public Works to Mrs. Amy R. Brown, 2.10.1923. • Letter from Education Department to Mr. A.R. Brown, 2.11.1923. • Letter from A. Brown to Education Department ?, 7.11.1923. • Letter from E.W. Greenwood, MLA, State Parliament House to Mr. A.R. Brown, 8.11.1923. • Letter from E.W. Greenwood, State Parliament House to Mr. A.R. Brown, 19.11.1923. • Letter from Department of Public Works to Mrs. Amy R. Brown, 5.12.1923. • Letter from Education Department to Mrs. A. Brown, 8.12.1923. • Letter from A. Brown to Mr. Greenwood, 26.7.1925. • Letter from E.W. Greenwood, State Parliament House to Mrs. A. Brown, 14.3.1925. • Letter from E.W. Greenwood, State Parliament House to Mrs. A. Brown, 15.7.1925. 2. Letter from E.W. Greenwood, State Parliament House to Mrs. A. Brown, 16.11.1925. 3. Letter from Department of Public Works to Mrs. A. R. Brown, 10.11.1926. 4. Letter from E.W. Greenwood, State Parliament House to Mrs. A. Brown, 2.3.1923. 5. Letter from E.W. Greenwood, State Parliament House to Mrs. A. Brown, 3.6.1927. 6. Letter from E.W. Greenwood, State Parliament House to Mrs. A. Brown, 29.6.1927. 7. 2 Mr. Harbert’s account for Shelter Shed, Chatham State School, (undated), (1 page). 8. 4 copies of newspaper cuttings: 9. ‘Masts tell Edina’s history’, Herald, 4.5.1931, 10. ‘Edina to have holiday on 80th birthday’, Argus, 4.5.1934, 11. ‘Edina’s birthday tomorrow’, Age, 4.5.1934, 12. ‘Old lady of the sea has a birthday’, Star, 4.5.1934 (1 page). 13. ‘The story of the steamship “Edina” a wonderful veteran of the seas’, The Meccano Magazine, A.R. Prince, December, 193 ? (1 page). 14. ‘Ponsford and schoolboys’, (paper and date unknown), (2 pages). 15. Program for ‘Trial by jury’, 16.11.1929 (1 page). 16. ‘What was the joke that the Governor told?’, paper unknown, 5.5.1931 (1 page). 17. ‘History in school flag’, paper and date unknown (1 page). 18. Lists of girl and boy dux 1928 – 1944 (1page). 19. Chatham School 4314 notes (undated) (3 pages). 20. Extracts from Box Hill Reporter, 1927-9, from Alan Holt collection (1 page). 21. Empire day celebrations in Surrey Hills in 1930s, notes from Matt Bowen, 1983 (1 page). 22. Extracts from Box Hill Reporter 1927-8 (1 page). 23. Vision and realisation, 1973 Education Department : Port Phillip Eastern Region: 4314 Chatham notes by H.H. Singleton (1 page). 24. ‘Bell has historic appeal’, paper unknown, c. 1985 (1 page). 25. Background information on the SS 'Edina' bell, Adrian Peniston-Bird, Principal of Chatham Primary School, 1982 (1 page). 26. ‘It’s there for another fifty years’, October, 1985. See also ‘Chatham past and present, a patchwork of people’. (1 page). 27. ‘Miss Marie George’, SHNN No. 40, June/July, 1989 (1 page). 28. ‘Chatham Primary School – a community within the community’, SHNN No. 56, Feb/March, 1992 (1 page). 29. ‘Chatham Primary School – another exciting year begins’, SHNN No. 68, Feb./March, 1994 (1 page). 30. ‘Chatham plans a big reunion’, SHNN No. 77, Aug./Sept. 1995 (1 page). 31. ‘In search of the past’, Progress Press, 15.5.1996 (1 page). 32. ‘Chatham primary’, SHNN No. 82, June/July, 1996 (1 page). 33. ‘Happy Birthday, Chatham Primary’, SHNN No. 84, Oct./Nov. 1996 (1 page). 34. Chatham School Fathers Club, SHNN No. 83, Aug./Sept. 1996 (1 page). 35. Notes by Doug Iversen, 18.7. year unknown, (1 page). 36. Advertisement for Chatham Primary School celebrating 70 years: ‘Take a walk down memory lane’, 10.9.1996, paper unknown (1 page). 37. Chatham Primary School invitation to 70th year celebration – Sat. 19.10.1996 (1 page), AND Back to Chatham (1 page). 38. Flyer: Chatham Primary School Reunion Celebrating 70 years 19.10.1996 (1 page, 2 copies). 39. Program ‘Welcome to Chatham Primary School No. 4314 70th celebration’, undated (1 page, 2 copies). 40. Chatham History trail, undated (1 page). 41. Drawing of Chatham Primary School, David Williams, 1995 (1 page). 42. ‘Seems like yesterday’ 1998, paper unknown (1 page). 43. ‘Schools and the environment’, SHNN No. 98, Feb./March, 1999 (1 page). 44. ‘School praises retiring head’, by Kate Morris, 19.6.2000, paper unknown (1 page). 45. “Chatham’s class of ‘30” by Meg Freeman, Progress Press, c. July, 2000 (1 page). 46. ‘Recalling a class act’, Progress Press, c. August, 2000 (1 page). 47. List of students enrolling in 1930 (2 pages). 48. ‘Boy in man’s shoes’, Progress Press, 21.8.2000 (1 page). 49. Chatham Foundation Day Lunch invitation 31.7.2000, (with contact details of former students on the back, written by Ken Hall) (1 page). 50. ‘An invitation – Chatham Primary plans for its 75th birthday’, SHNN No. 118, June/July, 2002 (1 page). 51. 75th birthday assembly – August 1st 2002 (1 page). 52. ‘Chatham lands special garden’ (paper and date unknown, possibly Progress Leader) (1 page). 53. ‘Chatham Primary celebrates specialist programs’, SHNN No. 184, June/July 2013 (1 page). 54. ‘City’s sustainable schools awarded this month’, Boroondara Bulletin, April, 2013 (1 page). 55. ‘Chatham Primary walks to win’, SHNN No. 189 March/April 2014 (1 page). 56. ‘School builds pathway to greater sustainability’, Progress Leader, 15.9.2015 (1 page). 57. ‘Schools embrace need for class action’, Age, 7.11.2016 (1 page). 58. Advertisements for 2017 grand fair 4th March, 2 designs (3 pages including 2 copies of one). 50. A history of Chatham Primary School, golden jubilee edition 1977 (9 pages with covers). 51. Photo of Mrs. Frances Le Couteur receiving a gift at Chatham Primary School, golden jubilee 1977 (1 page). 52. ‘Thank you’ letter to editor from Mrs. Frances Le Couteur (paper unknown), 1977 (1 page). 53. Letter from Chatham School No. 4314 to Mrs. Ethel Cerini, 10.2.193 ? (1 page). 54. Programme for concert held in the 1930s (source possibly Jocelyn Hall) (1 page). (mrs) amy brown, e w greenwood, albert harbert, s s edina, matt bowen, adrian peniston-bird, marie george, reunions, doug iverson, david williams, meg freeman, frances le couteur, ethel cerini -
Federation University Historical Collection
Book, Victoria Education Gazette and Teachers' Aid, 1921-1930
... in a Rural School, Some Facts About Paper and their Bearing Upon... in a Rural School, Some Facts About Paper and their Bearing Upon ...The Victoria Education Gazette and Teachers' Aid was published for Victoria's teachers and was sent to all school on the state. In 1920 The Ballarat School of Mines had donated 136 pounds 14 shillings and 10 pence to the Victorian Education Department's War Relief Account, and the Ballarat Junior Technical School had donated 10 pounds 6 shillings and 10 pence.Ten black hard covered volumes with red tape spine, covering 1921 to 1930. The gazettes include Education Department appointments, transfers, resignations and retirements, vacancies, notices, queries, notices of books, examination papers, original articles, lesson plans, suggestions for lessons, drawing, obituaries, notes on nature study, mathematics, music, sloyd woodwork, English grammar, Victorian State School Swimming Clubs, Geography, penmanship, science, History, Latin, Geography, The School Garden, horticulture, singing, World War One; ANZAC Day, lifesaving, Astronomy, Empire Day, ANZAC Buffet London, Victorian Education Department's War Relief Fund .1) 1928. Articles include: New Caledonia, Swimming and Lifesaving, School forestry, a visit to the pyramids, Exploration of Gippsland, paul de Strezelecki, Angus McMillan, Villers Bretonneux Memorial School, American Black Walnut, Red Gum, Messmate Stringybark, The Great Barrier Reef, retirement of Frank Tate, Stawell High School, Report on Some Aspects of Education in the United States, Jubilee Education Exhibition , New School Readers; measured Drawing Images include: Macarthur Street School's Plantation, Maryborough School Plantation, Pinus Insignis (Radiata) ready for Milling, Creswick State Forest, Metalwork, Daylesford Pine Plantation four years old, Henry Harvey (art Inspector); Omeo School Endowment Plantation; Frank Tate; Stawell High School Drawings From Casts; Lake Tyers School Endowment Plantation, measured drawing, Thomas H. Stuart, GEorge Swinburne. J.R. Tantham-Fryer, Cookery Class, John Edward Thomas. .3) War Savings Stampsm Swimming and Life-saving, Teh Rural School System of Victoria, Imaginative Composition, ANZAC Day, Retardation, Teh Bright Child Hudson Hard Obituary, Leeches, Relief for Distress in Europe, Dental, Teachers' Library, History of Portarlington, J.E. Stevens Obituary, Victorian Teachers in England Images: Swimming and Life-Saving Medallion .3) Swimming and Lifesaving, Bronze medallion, Victoria Leage of Victori, War Savings Stamps, Rural School Sytem of Victoria, .4) War Relief, Talbot Colony for Epileptics Masonmeadows, Discipline New and Old (Percy Samson), Soldier teachers, Preservation of Australian Birds, Arbor Day, Jubilee of Free Education, Teaching Geography, Poery in Schools, School Committees, Shelter Pavilion, Mysia Memorial School, Clovers, Jubilee Exhibition, Domestic Arts, Louis Pasteur, .5) Victoria League of Victoria, An Endowment Scheme (Pine Plantations), School Endowment Plantations, Protecting our trees by Owen Jones,. Victorian State Schools Horticultural Society, Sloyd Woodwork, School Forestry, Thomas Brodribb Obituary and portrait, Imperial Education Conference London, school Management and Method, School plantations, Eucalypt plantations in the Bendix and Heathcote District, Junior Red Cross, Jubilee Education Exhibition, Gould League Competitions, handwriting, The School Magazine, Frank Tate in London, Victorian beetles, Council of Public Education, Villers Bretonneux and its new School, Death of Samuel Summons, Woodwork Summer School, Swimming, Japanese Relief Fund, Retirement of John Cross, reminiscences of the Late Mr Albert Mattingley .6) Thomas H. Trengrove and the Villers Bretonneux School hall and pilaster carvings, forestry, visit of Maryborough teachers to Ballarat Water Reserves, noxious weeds, relief for Distressed Europe, The Dalton Plan, Empire Day, Retirement of Mr Fussell, Centenary of Hume and Hovell Expedition, League of Kindness, Effective Nature Study in a Rural School, Some Facts About Paper and their Bearing Upon School Plantations, Council of the Working Men's College Melbourne, Maria Montessori, University Vacation School, Horticulture in State Schools, An Informal Chat About French Schools (C.R. McRae), The Vacation School, Johann Heinrich Pestalozzi, Inspector's Report on a 5th-class School, Can Children Write Verse, John Adams, Victoria League of Victoria, R.F. Toutcher, Sir James Barbie's Address to High-School Girls, Impressions of a High School Teacher Abroad (R.D. Collman), The Spirit of the School Plantation Scheme, Monument of the Late Mr and Mrs A.T. Sharp at Box Hill Cemetery, The Teaching of Geography, The Treatment of Poetry in Class, Two Difficult Arithmetic Lessons, Location of Principal Australian Timbers, Dr John Smyth, Stammering and its Influence on Education, Wireless Broadcasting as an Educational Medium, Boys School at Villers Brettonneux, The New School at Villers Brettonneux, Bird Day, Messmate or Stringybark, What Every Woman Knows, Director's Report on Denmark .7)1925 . Includes: School Forestry, horticulture, J.H. Betheras retirement, Ivanhoe School, Coburg School, Moorabool Junior Technical School, Villers Bretonneux School hall and pilaster carvings, Francis Ormond, William Charles Kernot, Corsican Pnes at Creswick, Ballarat High School Plantation, Workin Men's College, RMIT, Naorrow LEafed Peppermint, Education and World Peace, Eucalypts of Victoria, John C. Eccles, Blue Gum. Manners, Giving the Poorly Nourished Boy A Chance, Native Ferns, Marybourough Technical School, Memorial School at Villers-Brettonneux .8) Experimental Plots in Country Schools (W.W. Gay), Villers Bretonneaux and its Memorial School. nominated classes for Art Teachers, The Teachers Act 1925, Horsham High School, Richmond Technical School, Farewell to Messrs C.R. Long and Ponsonby Carew-Smyth, Frank Tate, Phyiscal Training, Arbor Day, ANZAC Day, Shakespeare Day,Bendigo Junior Techncial School, Musical Appreciation, Motor Dental Unit, School Camps, Education Act of 1872: Mr Angus McKay's Part (George Mackay), A Bush Fire Experience (Irene Stable), Black Sunday, Californian Red Pine, Women's Education in America, Farewell to Lord and Lady Stradbroke, Grevilia Robusta, Silky Oak, Redwood, John E. Grant, The Need for Research (Donald Clark), Junior Drama, Ida D. Marshall, John Pounds, Australian Books, Fish Creek School, State Boundaries, History in the Curriculum, Ceramic Art in Australia (Percy E. Everett), Choice of School Songs, Tasmanian Beech, Should History be Taught on a National or an International Basis, Hydatid Disease, James Holland Obituary, Florrie Hodges, Queensland Maple, Post Bushfire Ruins at Fumina, Arbor Day at Fumina, Queensland Rosewood, Omeo Endowment Plantation, Bird Day, Junior Red Cross, Pioneers' Day, Edward Henty, Junior Technical Schools, Yellow Pine, History and Progress of Needlework, A.B.C. of Astronomy, Northumberland Mental tests, Queensland Red Cedar, Teh Globe Theatre, .9) 1927 includes The ABC of Astronomy, Atr Theatre, English Beech, Angus McMillan Art Pottery, School Singing, State Schools' Nursery, School endowment plantations, Making a Man, experimental proof of Charles's Law, John Smyth obituary and portrait, Linton Pine Planation, motivation of arithmetic, Women's Classes at Dookie, Swimming and Lifesaving, Pioneers Day, Drawing, Ballarat High School planation, biting fly, Tir-Na-N'og, John Byatt retirement and portrait, Technical Schools Conference at Daylesford, Ethel Osborne and portrait, library. Francis Thompson portrait, Adam Lindsay Gordon, Solar movement, motor transport, Liverpool Cathedral, Teh Story of the Cathedral, Bendigo School of Mines, Omeo School pine plantation, Egypt and the Nile, Self-Criticism Images include Ballarat High School Pine Plantation, Vale Park, Francis Ormond, Woking Men's College (RMIT), W.N. Kernot, A Stand of Corsican Pines at Creswick, Victoria .10) Some Remarks on the Relationship of the technical Schools to the University (Donald Clark) , Present Day Education in England , Memorial to Joseph Cornwall, Spelling, motivation, Singing, State Scholarships, Agriculture, T.W. Bothroyd, The Swimmer - A Summer School Sketch (H.H. Croll), Swimming woodwork, Farewell to Dr Sutton. ,Drowning, War Savings Movement, White Beech. George S. Browne , Example of School Honor Book, Blackwood, Optimistic teacher, Soldier settlement around Shapparton, Oral Hygiene, Cinema Machines, Basketball, Wakter M. Camble obituary, ANZAC day Pilgrimage in England, Froebel's System, Montessori Method, War Relief Fund, New Zealand Kauri Tree, Bat Tenis at a Bush School., Advice to Australian Girls, Chrysanthemums, Royal Visit, National Parks of Victoria, Maurice Copland Obituary, total eclipse of the Moon, School libraries, The teacher and the COmmunity (A.M. Barry), The Reading Lesson, Swimming and Life-saving, MElbourne Teachers' College War Memorial Windows Old Trainees War Memorial, Cultivating a Natinoal Art education gazette, school, education, teaching, teacher, world war one, school plantations, macarthur street pine plantation, school forestry, creswick state forest, anzac day, armistance celebrations, frank tate, frank tate retirement, drawing from cast, education department school readers, lake tyers pine plantation, w.n. kernot, rmit, working men's college, francis ormond, pine plantations, calenbeem park, creswick, villers-brettonneux school hall and carvings, thomas trengrove, corsican pines, creswick, pine endowment plantations, mccarthur st primary school pine plantation, ballarat high school pine plantation, vale park, mount pleasant primary school pine plantation, golden point pine plantation, angus macmillan, paul de strzelecki, gippsland, villers-bretonneaux memorial school, francis thompson, english ash, pestalozzi centenary, shakespeare day, swimming classes, clear pine, cinema in education, american black walnut, red gum, thomas wolliam bothroyd obituary, and portrait, physical training displays, teaching of spelling, ohm's law, blue gum -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Certificate - Document, Photocopy Certificate of Victorian State Schools Exhibition 1906, Government Printer, 1906
... , Photocopy Certificate of Victorian State Schools Exhibition 1906 ...Harry Smith aged 7 years had an item exhibited in the Victorian State Schools Exhibition 1906. He was a pupil at East Bentleigh (East Brighton) State School No 2083. In 1912 Harry was awarded him first prize for his workmanship in making a small chip-carved table.J.L. Smith was an early settler in Bentleigh ( East Brighton) who established a Grain and Chaff cutting Store in Bentleigh Harry was a his son who attended the local school, East Bentleigh State School No 2083.Paper Certificate for Harry Smith, aged 7 years, an exhibitor in the Victorian State Schools Exhibition 1906printed certificateeast bentleigh state school 1906. smith harry, smith j l, grain and chaff stores, bentleigh, stanley helen, early settlers, city of moorabbin, county of bourke, moorabbin roads board, parish of moorabbin, shire of moorabbin, henry dendy's special survey 1841, were j.b., bent thomas, o'shannassy john, king richard, charman s, highett william, ormond francis, maynard dennis -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Newsletter CMHS February 2014 pdf, February 2014
The City of Moorabbin Historical Society was formed c 1960 by a group of Moorabbin area residents who were concerned that the history of the area should be preserved. A good response to a call for items related to the historical area of Moorabbin Shire brought donations of a wide variety of artefacts that are now preserved by the current members of CMHS at Box Cottage Museum. Helen Stanley, Secretary of CMHS, began producing a Newsletter for members in April 2007 to provide current information and well researched items of historical interest. Jim Dale continued to produce the Newsletter in 2013 after Helen resigned.5 x A4 paper pages printed on one side with colour photograph, Jim Dale, President, welcomes members to the February 23rd Meeting at Box Cottage and acknowledges Anne Caprackas as Secretary and Dr Bill Richardson is now Treasurer. Jim will have a Stall at the Moorabbin Primary School Fete in March. Jim went to a meeting to discus plans for 2015 Commemoration of the Great War in Glen Eira. Members Bill, David, Daryl Carol, Joan collected and installed a large Display Cabinet in the Dairy on December 19th and Dennis fitted castors to it in January. Jim was present on February 3rd when members of the Harry Hawker family presented a memento to the Victorian Governor, His Excellency Alex Churnov The next Meeting will be March 30th Jim Dale attached the Final Part of his report 'The Allynson's of East Bentleigh' about 'The Petrov Affair 1954'City of Moorabbin Historical Society Newsletter February 2014ity of moorabbin historical society, stanley helen, dale jim, melbourne, moorabbin, brighton, cheltenham, ormond, bentleigh, market gardeners, pioneers, early settlers, east bentleigh, city of kingston, vladimir mickalovick petrov, evodika petrov, michael thwaites, maria allynson, sven allynson, kgb, mvd, asio, ‘petrov affair’, darwin airport, mascot airport, col. charles spry, cold war 1950 -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Newsletter CMHS August 2013 pdf, August 2013
The City of Moorabbin Historical Society was formed c 1960 by a group of Moorabbin area residents who were concerned that the history of the area should be preserved. A good response to a call for items related to the historical area of Moorabbin Shire brought donations of a wide variety of artefacts that are now preserved by the current members of CMHS at Box Cottage Museum. Helen Stanley, Secretary of CMHS, began producing a Newsletter for members in April 2007 to provide current information and well researched items of historical interest. Jim Dale continued to produce the Newsletter in 2013 after Helen resigned3 x A4 paper pages printed on one side. CMHS members, Jim, Frank, Daniella, Andre and Joan attended the MAV Awards night, Box Cottage was acknowledged as being in the top 5 out of 150 for Cataloguing artefacts by Volunteers. Bill and Joan visited Mentone Park Primary School on July 12th. Bill prepared a Power-point Display and Joan handed interesting items to the children - flat iron, stereoscope, butter churn etc. Notices for the Open Day August 25th celebrating Harry Hawker. Local Dignitaries and the Hawker family are expected. September 29th Open Day . Jim has attached a history of Harry Hawker's War City of Moorabbin Historical Society Newsletter August 2013ty of moorabbin historical society, stanley helen, dale jim, melbourne, moorabbin, brighton, cheltenham, ormond, bentleigh, market gardeners, pioneers, early settlers, east bentleigh, city of kingston, harry hawker, world war 1914-1918, aeroplanes -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Newsletter CMHS April 2014 pdf, April 2014
The City of Moorabbin Historical Society was formed c 1960 by a group of Moorabbin area residents who were concerned that the history of the area should be preserved. A good response to a call for items related to the historical area of Moorabbin Shire brought donations of a wide variety of artefacts that are now preserved by the current members of CMHS at Box Cottage Museum. Helen Stanley, Secretary of CMHS, began producing a Newsletter for members in April 2007 to provide current information and well researched items of historical interest. Jim Dale continued to produce the Newsletter in 2013 after Helen resigned. 3 x A4 paper pages printed on one side with colour photographs, Jim Dale, President, welcomes members to the April 27th Meeting at Box Cottage. There were many visitors on the February Open Day including Jeff Marriot. In March some guests from a Wedding at the Rotunda in Joyce Park visited. Chris and Judy Hawker, relatives of early aviator Harry Hawker were presented to Her Excellency, the Governor General of Australia, Quentin Bryce during the Centenary of Military Aviation Air Show, held at Point Cook on March1st & 2nd. Jim representing CMHS attended this memorable occasion. Jim also attended Moorabbin Primary School March 3rd where he told the pupils about Harry Hawker. March 22nd Jim, Valma and Anne attended the Moorabbin Primary School Fete handing out leaflets and talking about Box Cottage Museum. City of Glen Eira is conducting a project for WW1 Centenary involving significant Street names in the area eg Monash, Chauvel, Birdwood etc. Jim has compiled a story about Thomas Calcutt 1809 - 45, a shepherd who emigrated from Oxford, England to Brighton Victoria 1842. He was part of the Henry Dendy 's assignment of settlers. Thomas obtained employment with Public Works and lived in Brighton with his family. Sadly he died during the 6km walk home from his work in St Kilda to Brighton 1845. After a 2 day search his body was found. He was the first immigrant to die in this area and subject to an Inquest.City of Moorabbin Historical Society Newsletter APRIL 2014city of moorabbin historical society, stanley helen, dale jim, melbourne, moorabbin, brighton, cheltenham, ormond, bentleigh, market gardeners, pioneers, early settlers, east bentleigh, city of kingston, marriott jeff, hawker harry, aviators, moorabbin primary school, peulich paul, point cook airforce base, bryce dame quentin, hawker judy, hawker christopher, city of glen eira, world war 1 1914-18, monash sir john, calcutt thomas, calcutt eleanor, calcutt george, calcutt rosanna, calcutt henry, dendy henry, henry dendy's special survey 1841, wilmot w b md jp, st andrew's church of england brighton victoria -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Newsletter, CMHS Moorabbin Mirror Vol 8 November 2016, Moorabbin Mirror Vol 8 November 2016, 2016
This is Vol. 8 of the Moorabbin Mirror produced by CMHS members Fran & Holger Bader , Valma Sharp November 2016 The Moorabbin Mirror reflects the history and heritage of the former City of Moorabbin — derived from Mooroobin, ‘a resting place’ in the Bunurrung spoken language. In 1994, the City of Moorabbin was integrated into the Cities of Bayside, Glen Eira, Kingston and Monash. Dr.Rosalie Triolo will give a talk for members on Nov. 27th about Local School Teachers in the 1st AIF CMHS AGM Oct 30th. Mrs Valma Sharp retired from Committee and CMHS The Committee proposed a vote of thanks in appreciation of Valma's long , loyal service to CMHS,Box Cottage Museum . Subscriptions for NEW members will be $15 from January 2017. Next AGM will be July 30th 2017 to coincide with the end of the financial year. Due to the cost of ink and postage the CMHS Newsletter Moorabbin Mirror will be available in pdf via email, CMHS website and Victorian Collections website . Local Libraries can assist members to read and or download a copy. GECC and KCC are respectively supporting CMHS/BCM with Community Grants 2016 for utilities and the purchase of laptop, scanner printer copier for the CMHS Original Newsletter Preservation project. The BCM / CMHS joined Glen Eira HS and Brighton Cemetorians for a Heritage Display at GECC Town Hall Gallery Annexe Nov 3rd - 20th. An article about Robert Haddon 1866-1929, architect. Article about Local Artists includes colour photos. The Adelphi Players 'Robinson Crusoe' Dec 3-11 2016, The BCM 'August Rietman Exhibition 2017' is proceeding with guidance from the MAV Roving Curator. Fran Bader, Project Manager, is seeking images, pressed concrete products,information,and recollections. Also any jewellery by Stefanie Rennick (nee Rietman) who was a teacher at Bentleigh Secondary College. CMHS members attended the Opening of the new Bentleigh Railway Station Nov 12th. CMHS now has a mobile phone for incoming enquiries.This is Vol. 8 of the Moorabbin Mirror, Newsletter of CMHS November 2016A4 x 4 paper folded to A5 x 8pp with colour photographsMoorabbin / Mirror / November 2016 Vol 8 moorabbin mirror, bader fran, bader holger, sharp valma, haddon robert, bent tommy, robertson macpherson, reitman august,, brighton cemetery,, glen eira historical society, glen eira city council, -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Newsletter, City of Moorabbin Historical Society No. 1 Vol. 5 March / April 1965, City of Moorabbin Historical Society, Newsletter No.1 Vol. 5 March / April 1965, 1965
This is Newsletter No 1 Vol. 5 produced in March / April 1965 by Mr T. A. Sheehy CMHS for members and visitors. The Original Newsletters reflect the history and heritage of the former City of Moorabbin — derived from Mooroobin, ‘a resting place’ in the Bunurrung spoken language. In 1994, the City of Moorabbin was integrated into the Cities of Bayside, Glen Eira, Kingston and Monash. Topics The History of the 20thC from 1900-1915 ;next Meeting at Cheltenham State School May 20th ; 'Three Pieces of Paper' by Nance Blackman from "Moorabbin News' Oct . / Nov. 1907 This is Newsletter No. 1 Vol. 5 of the CMHS March / April 1965 CMHS obtained a Kingston City Council Community Grant 2016 for the digitization and preservation of these Original CMHS Newsletters commenced in 1961 2 x L 26cm x W 21cm 1x page printed both sides CITY OF MOORABBIN HISTORICAL / SOCIETY / - Affiliated with the Royal Historical Society of Victoria - / President ; R Ashley ...... / Secretary; Mrs L. Harvey……./ Treasurer Mrs D.M.Wright ..../ Historian : T.A.Sheehy. / NEWSLETTER March / April Vol.5 No 1 1965 -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Education kit - School Writing Slate early 20thC, 20thC
School children learned to write using a slate From 1880’s to mid 1950’s in most schools, very young children first learned to write their letters in sand trays using their fingers or a stick. When about 6, they progressed onto writing on slates . The board was made from a piece of quarry slate set in a wooden frame. A slate pencil (not chalk) was used to form the letters. This slate pencil was often sharpened on the school wall. The advantage of slates over paper was that they could be wiped clean and used again and again. Until the mid 20thC paper was expensive . After the pupil wrote on the Slate, the work was checked by the teacher and then erased for a new task Children had to bring a dampened cloth or sponge to school so that they could clean the slate and start again. The pioneer settlers in the Moorabbin Shire area valued education and established schools for their children in Cheltenham and East Brighton c1860's This writing slate is typical of the type used up to the mid 20th Century in preparatory classes.A writing slate in a wood frame used by school children from c1880s to c1950sschools, education, writing equipment, slate writing boards, victoria melbourne, market gardeners, pioneer, settlers, cheltenham state school no. 84., bentleigh east state school no. 2083, st stephens c of e school tucker road east brighton -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Documents, condolence letter 1903, 1903
A Letter of condolence sent to Lily (Elizabeth Ann Jones) for the death of her Mother, Mary Ann Jones, who died on 18 January 1903, from her school friend Jane Clark. Following Queen Victoria’s example, it became customary for families to go through elaborate rituals to commemorate their dead. This included wearing mourning clothes, having a lavish (and expensive) funeral, curtailing social behaviour for a set period of time, and erecting an ornate monument on the grave. . Relatives and friends were expected to give handwritten Condolence Cards and Letters, preferably by hand when visiting the bereaved. The different periods of mourning dictated by society were expected to reflect the natural period of grief. In recent years some traditions have given way to less strict practices, though many customs and traditions continue to be followed. Condolence Cards and Letters are still expected for relatives and close friends. These can be individually composed and handwritten or purchased from a Greeting Card Manufacturer. The letter shows Tucker Road as being in East Brighton. Due to the confusion caused by so many 'Brightons' in the area of Henry Dendy's Special Survey of 1841 this area was renamed Bentleigh after Sir Thomas Bent. The Clark family and the Jones family were early settlers in Moorabbin ShireWhite paper with a black border used for a hand written condolence letter sent by Mrs Jane Clark in 1903 during the mourning period for the mother of her school-friend Lily, (Elizabeth Ann Jones).market gardners, pioneers, early settlers, mooorabbin, brighton, east brighton, bentleigh, correspondence, writing equipment, pen and ink, clarke jane, clarke janet, mourning customs, bereavement, condolence letters, -
The Beechworth Burke Museum
Photograph, 1960s
Taken in the 1960s, depicted are approximately twenty-nine male and female spectators at a school swimming carnival on Lake Sambell near the caravan park. Lake Sambell is a beautiful Victorian recreation lake and urban park with a unique history. It was created in the mid-1800s by the Rocky Mountain Mining company during the gold rush era and used as a mining site until the early 1900s, which brought Europeans into the area. It was turned into a reserve for residents in 1920 and is considered an icon of Beechworth as it represents the development of the community, human endeavour, and the spirit of the landscape. This photograph represents the post-gold rush era use of Lake Sambell as a recreational reserve. Swimming carnivals were held at the lake and considered a social event for the Beechworth community.Black and white reproduced rectangular photograph print on paper.Reverse: Community/ Swimming pool 1960s/ near the caravan park/ Lakes?lake swimming pool, lake swimming, beechworth carnival processions, carnival, #beechworth, beechworth 1960s, victoria -
The Beechworth Burke Museum
Photograph, 1908
Taken in 1908, depicted is a large group of children and adults dressed in formal attire on a nature study. The group is standing on a granite outcrop listening to a man who is using a large boulder as a podium.Nature study was a new subject introduced into the school curriculum throughout the English-speaking world in the 1890s and 1900s that taught students about the natural environment. It was hoped that a concern about the natural environment would be fostered into the school children, who were seen as future citizens of the world, and that they would implement changes to preserve the natural environment when they reached adulthood. Black and white rectangular reproduced photograph (from negatives) printed on matte photographic paperObverse: AN ADDRESS/ ON NATURE STUDY/ Reverse: 6955 (in pencil)/ ©/ DONALD HAYES/ BEECHWORTH (stamped in orange ink)/entertainment album, burke museum, beechworth, nature study, nature, study -
The Beechworth Burke Museum
Photograph, c. 1900
Taken in c. 1900, depicted is a large group of adults and children dressed in formal attire gathered on a granite outcrop around a man giving a lecture on nature studies. Some members of the group are standing while others are seated or lounging.Nature study was a new subject introduced into the school curriculum throughout the English-speaking world in the 1890s and 1900s that taught students about the natural environment. It was hoped that a concern about the natural environment would be fostered into the school children, who were seen as future citizens of the world, and that they would implement changes to preserve the natural environment when they reached adulthood.Black and white rectangular reproduced photograph printed on matte photographic paperReverse: 6954 (in pencil)/ ©/ DONALD HAYES/ BEECHWORTH (stamped in orange ink)/entertainment album, beechworth, burke museum, nature study -
The Beechworth Burke Museum
Photograph, c. 1900
Taken in c. 1900, depicted is a group of adults and children dressed in formal attire standing and sitting on a granite outcrop that overlooks a valley surrounded by a cluster of eucalyptus trees. The group is participating in a nature study.Nature study was a new subject introduced into the school curriculum throughout the English-speaking world in the 1890s and 1900s that taught students about the natural environment. It was hoped that a concern about the natural environment would be fostered into the school children, who were seen as future citizens of the world, and that they would implement changes to preserve the natural environment when they reached adulthood.Black and white rectangular reproduced photograph printed on matte photographic paperReverse: 6953 (in pencil)/ ©/ DONALD HAYES/ BEECHWORTH (stamped in orange ink)entertainment album, beechworth, burke museum, nature study -
The Beechworth Burke Museum
Photograph
The photograph depicts a large group of young men and women dressed in formal attire. They were part of the Beechworth Methodist Church's Youth Group.The photograph provides insight into one of the first religious institutions in Beechworth. The Methodist Church is historically significant as it was the first permanent church built on the Ovens goldfield in 1857. A Sunday School group for local youth was established in 1869, emphasising the importance of children's religious education during the nineteenth century. Thus, the photograph reflects the importance of Methodism in Beechworth - and, more broadly, Victoria - at this time.Sepia rectangular photograph printed on matte photographic paper mounted on card.Reverse: 3714 / Beechworth Meth / 97.2332 / Endeavour / Beechworth Methodist / Endeavour Group /entertainment album, entertainment, church, religion, beechworth, methodist church, youth group, leisure, recreation -
The Beechworth Burke Museum
Photograph, 1920
The photograph depicts a large group of young men and women dressed in formal attire. They were part of the Beechworth Methodist Church's Youth Group.The photograph provides insight into one of the first religious institutions in Beechworth. The Methodist Church is historically significant as it was the first permanent church built on the Ovens goldfield in 1857. A Sunday School group for local youth was established in 1869, emphasising the importance of children's religious education during the nineteenth century. Thus, the photograph reflects the importance of Methodism in Beechworth - and, more broadly, Victoria - at this time.Sepia rectangular photograph printed on matte photographic paper mounted on card.Reverse: 3716 / 97.2339 / Beechworth / Meth Endeavour / Beechworth Methodist Church / Endeavour Group / A03289 /entertainment, entertainment album, church, beechworth, religion, recreation, leisure, youth group, methodist church -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth I, c1972-1976
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: MARCUSE / B.worth (in pen) Reverse: BEECHWORTH NOSTALGIA / BW – 01 (crossed out) / B2 / CORNER CAMP + FORD STREET / (on masking tape) 001 (pencil) ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Yackandandah I, 1983
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: MILLS / DISPENSARY / MARCUSE 83 / YACKANDANDAH Reverse: Y 12 / ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program, yackandandah -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth III, c1972-1976
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: BEECHWORTH / VIC. / MARCUSE Reverse: BEECHWORTH NOSTALGIA / BW – 03 (on masking tape) 003 (pencil) ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth – Opposite Crown Hotel (Tanswell Hotel), c1972-1976
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: Opposite Crown Hotel / Tanswell Hotel / BEECHWORTH / (on tape) Reverse: BEECHWORTH NOSTALGIA / BW – 05 (on masking tape) 004 (pencil) ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth – Old Court House, 1972
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: Marcuse / Beechworth Old Courthouse / Reverse: B4 / BEECHWORTH OLD COURTHOUSE / BW - 09 (on masking tape) COURTHOUSE / BEECHWORTH / VICTORIA / NATIONAL TRUST / CLASS (A) ERNEST MARCUSE / 17 CADDOCK AVE / CAUFIELD / VIC / 53-7374 001 (pencil) ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Courthouse - Beechworth, 1974
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: Marcuse 74 / Courthouse / Visitor Ned Kelly . B'worth Reverse: BEECHWORTH / COURTHOUSE / B5 / 06 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth Carriage Museum IV, c1972-1976
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: B'worth / Marcuse Reverse: B6 / Beechworth Nostalgia / BW - 07 (crossed out)ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth Carriage Museum III, c1972-1976
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: ABBOT BAGGY / B'WORTH / CARRIAGE MUSEUM Reverse: B7 / Beechworth Nostalgia / BW - 07 B (crossed out) / 008ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth Carriage Museum II, c1972-1976
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: Charatome / Corning Buggy / Braise & Drag / believed to (illegible) built by Crawford and (illegible) / COBB & CO / WAGONETTE / B'WORTH MUSEUM Reverse: BEECHWORTH NOSTALGIA / BW-07(a) / B 8 / 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