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Flagstaff Hill Maritime Museum and Village
Book - Trade Union Rules, Shipwrights' Provident Union of the Port of London, Rules of the Shipwrights' Provident Union of the Port of London, 28-09-1895
A number of items once belonging to shipwright Norman McKenzie were donated to Flagstaff Hill Maritime Museum and Village. They are related to Norman’s apprenticeship and certification as a Shipwright in Belfast, his Union membership and his employment as a shipwright in Melbourne. One of the items, a union Rules Book inscribed with the name H.B. Thomas and dated 1902, had within its pages Norman’s Indenture of Apprenticeship, dated 1941, Norman Desmond McKenzie was born in Belfast in 1925 and lived at 10 Pansy Street Belfast, Northern Ireland. At the age of 16 years, he began a 5-year Shipwright’s apprenticeship with Harland & Wolff Limited, Shipbuilding & Engineering Works, Belfast. He became a member of the Ship Constructors’ and Shipwrights’ Association, Belfast (B) Branch 20. His Registration Number was 38748. He completed his apprenticeship on December 16th, 1946, aged 21 years, his address was 26 Connsbrook Drive, Sydenham, N. Belfast. In October 1949 Norman received Clearance from his Union as a financial member to move to another branch. He completed his Apprenticeship on December 16th 1946. Two months later he migrated to Australia, and he arrived in Victoria, and he became a Financial Member of the Victorian branch of the Federated Shipwrights, Ship constructors, Naval Architects, Ships’ Draughtsmen and Boat Builders’ Association of Australia, Victoria branch. One of Norman’s donated books is the Rules of the Shipwrights' Provident Union of the Port of London. It is inscribed on several pages with the name H.B. Thomas and includes the year 1902 and the address of 29 Brickwood Street, Gardenvale. This is a location in Victoria, Australia. The Victoria Government Gazette, February 1959, in the section “Removal from Registration on The Architects Registration Board of Victoria, during the year ended 31st December 1956” lists “Deceased – Thomas, H.B., 29 Brickwood Street, Gardenvale”. The Architects Union includes Naval Architects and Shipwrights and other related trades came under the same union. It seems likely that when he was in Melbourne, Norman worked as a Shipwright for H.B. Thomas and was given the Rules book by Thomas, perhaps as a reference book or maybe as a gift. Around that same time, December 1949, Norman met his wife-to-be, Daphne, in Melbourne. Daphne had migrated from London with her family and her father found work with the Melbourne Harbour Trust. They married in Melbourne in 1953 and went on to have a family of five children. In 2003 Norman and Daphne moved to Warrnambool and then years later they celebrated their 60th wedding anniversary. Norman passed away on July 28th 2015 at Warrnambool’s South West Healthcare hospital. SUBJECTS Flagstaff Hill, Warrnambool, Maritime Village, Maritime Museum, Shipwreck coast, Great Ocean Road, Norman McKenzie, Norman Desmond McKenzie, Belfast shipwright, Shipwright's apprenticeship, Harland & Wolff Limited, Shipbuilding & Engineering Works, the Ship Constructors’ and Shipwrights’ Association, Registered Shipwright, Victorian branch of the Federated Shipwrights, Ship constructors, Naval Architects, Ships’ Draughtsmen and Boat Builders’ Association of Australia, Victoria branch, Shipwrights' Provident Union, H.B. Thomas, Architects Registration Board of Victoria, Naval Architect, Daphne, Norman and Daphne McKenzie, Indenture of Apprenticeship SIGNIFICANCE Norman McKenzie's Rules Book, Union Cards, Indenture of Apprenticeship, and other documents tell the story of a young Irish lad's work and qualifications to become a shipwright and his migration to Australia. The young man found a job and a wife who had also migrated, and they raised a family in Melbourne. He and his wife then retired to Warrnambool to enjoy their later years. The collection of documents relating to Norman McKenzie is significant for its connection with the shipping industry of the early 1900s, the migration of qualified tradesmen to Victoria, and their contribution to the development of Victoria. The collection also shows the role of the Union in the shipping industry. The documents link shipwright Norman McKenzie to the Shipwright's Union in London and in Australia, and to shipbuilder H B Thomas in Melbourne, most likely his employer.Norman McKenzie's Rules Book, Union Cards, Indenture of Apprenticeship, and other documents tell the story of a young Irish lad's work and qualifications to become a shipwright and his migration to Australia. The young man found a job and a wife who had also migrated, and they raised a family in Melbourne. He and his wife then retired to Warrnambool to enjoy their later years. The collection of documents relating to Norman McKenzie is significant for its connection with the shipping industry of the early 1900s, the migration of qualified tradesmen to Victoria, and their contribution to the development of Victoria. The collection also shows the role of the Union in the shipping industry. The documents link shipwright Norman McKenzie to the Shipwright's Union in London and in Australia, and to shipbuilder H B Thomas in Melbourne, most likely his employer. Book, small handbook. Rules of the Shipwrights' Provident Union of the Port of London. Rules were Registered with the Shipwrights' Provident Union of the Port of London, Register No. 527, September 28th 1895. A small book with dark blue textured fabric covers. Pages, 56, are bound with staples. The book has handwritten inscriptions dated 1902.Handwritten in black pen: Inside cover, "H.B. Thomas, 1902" Page 45 "H B Thomas, 29 Brickwood Street, Gardenvale" Page 49, handwritten in blue ink "H B Thomas, 1902"flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, norman mckenzie, norman desmond mckenzie, belfast shipwright, shipwright's apprenticeship, harland & wolff limited, shipbuilding & engineering works, the ship constructors’ and shipwrights’ association, registered shipwright, victorian branch of the federated shipwrights, ship constructors, naval architects, ships’ draughtsmen and boat builders’ association of australia, victoria branch, shipwrights' provident union, h.b. thomas, architects registration board of victoria, naval architect, daphne, norman and daphne mckenzie -
Eltham District Historical Society Inc
Journal, Peter Doughtery, ArtStreams: News in arts and cultural heritage; Vol. 1, No. 2, Dec 1996/Jan 1997, 1996
Vol. 1, No. 2 Dec 1996/Jan 1997 CONTENTS ADVENTURE WITH COLOUR Teenage cancer patients challenge their illness with art 3 CD REVIEWS New music by local musicians 5 LIVE AND LET LIVE 20 years of environmental living 6 AUSTRALIA REVISITED Artist Charles Reddington ponders live 30 years on 8 POETRY REVIEW Anne Delaney looks at new work by Jennifer Harrison and Jordie Albiston 11 PHOTOGRAPHY Katherine Jones aims at hard edges 16 IMAGES FROM A DARK PAST Holocaust survivor paints out a traumatic part of his life 18 MORALITY OF JUSTICE The Truth Game - a play by Ray Mooney 21 ART FROM THE HEART An exhibition that crosses boundaries 22 SHORT STORY New story from an emerging writer 25 ART IN THE CEMETERY Darebin launches a new project to decorate its new mausoleum 28 LISTINGS Artists, performers and galleries 29 KEYWORDS 895 Main Road, 1994 Moet et Chandon Fellowship, Adventure with Colour, Alan Bonney, Alan Constable, Alun Leach-Jones, Amada Laming, Anne Connor & Associates, Anne Delaney, Anthony Day, Art Streams Magazine, Artist-in-residence, Arts by the Waters, Arts project Australia, Auschwitz, Banyule Jazz Festival, Barbara Veheary, Bend of Islands Conservation Association (BICA), Bend of Islands Estate, Bend of Islands, Bill Downing, Bulleen Art & Garden Centre, Bulleen Nursery, Caffe Poco, Carlton Courthouse Theatre, Catani Boulevard, Catherine Oxley Reserve, Charles Reddington, Charlie Dowley, Cheryl Daye, Chris McAuliffe, Clifton Pugh, Colin Lanceley, Cornelia Selover, Creativitie et Handicap Mental (CREAHM), Cynthia Hardman, Cyril Tawney, Damian Eyre, Daniel Lillford, Danuta Michalska, Darebin Arts and Entertainment Centre, Darebin City Council, Department of Fine Arts, Donald Campbell, Dora Zable, Dorothy Berry, dunmoochin, E.H. Cameron, Edward (Ned) Haughton, Edward Car, Elizabeth Vercoe, Eltham High School, Eltham Living and Learning Centre, Environmental Living Zone (ELZ), Eric Bogle, Eucalypso, Felix Tuszynski, Food For All Seasons, Frank Hodgkinson, Fulli Andrinopoulos, Gallery of Georges of Collins Street, Gallery of Slavic Art, Glen Agnes Bend of Islands Estate, Glen Agnes Estate, Gongflers drive, Greg O'Leary, Harold (Jimmy) Fuller, Helen O'Grady Children's Drama Academy, Henley Road, Ian Doolan Hamilton, Ian Gawler, Inside Out/Outside In, Ironbark Road, Janice McBride, Jennifer Harrison, Jennifer McGregor, Jessie Agnes Haughton, Jimmy Pike, Joan Blakey, John Mackay Northe, John Rasmussen, Jordie Albiston, Julian Martin, Kangaroo Ground, Katherine Jones, Kelvin Heffernan, Kew Coattage, Kitty Ginter, Lavita Mossop, Les darcy, Les Gyori, Life with Jane, Lorraine Larter, Luc Boulange, Luciana Giardina, Manningham Artspace, Manningham City Council, Mariann Moxon, Mark Capozzi, Mark Chapman, Mark Wilkinson, Maxine Ryder, Melbourne Police Pipe Band, Mick Woiwod, Mike O'Rourke, Monica Burns, Montsalvat, Myra Hilgendorf, Nancye Ball, Page family, Pam Crohan, Pam Dougherty, Poetry, Preston Public Cemetery, Ray Mooney, Richard Haese, Robert Hughes, Robyn Kirkpatrick, Roger Lemke, Ron Hanson, Sandra Harvey, Shire of Eltham Office site, Shire of Healesville, Shire of Nillumbik, Shire Offices, Sounds by the Waters, Stelio Costa, Steven Tynan, Steven Worrell, Stewart Whiffin, Sue Howard, Sue Whiffin, Sugarloaf Reservoir, Sydney Ball, The Art of Australia, The Mews, The Truth Game, Tom Fantl, Tony Inglese, Tuszynski Survey Exhibition, University of Melbourne, Valerio Ciccone, victorian artists supplies, Watson Creek Bridge, Watsons Creek, Wayne Marnell, Woody Guthrie, Yarra Brae Dam, Yarra River"Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/06) art streams, feliz tuszynski, elizabeth vercoe, eucalypso, bend of islands, charles reddington, jennifer harrison, jordie albiston, katherine jones, anne bonney, mick woiwood, anne connor, anne delaney, ray mooney, pam dougherty, arts project australia, lavita mossop, preston public cemetery, helen o'grady children's drama academy, bulleen nursery -
Flagstaff Hill Maritime Museum and Village
Clothing - Evening Outfit, before April 1874
This amber satin evening outfit was worn by Mrs. Isabella Mitchell (nee Russell, 1840 – 1929) at the wedding of her brother Alexander (c.1846–1938) and Eliza (nee Moore c.1854–1939). The jacket and skirt attach to each other at the waist by joining the metal rings that are around the base of the jacket and to the metal hooks that are on the waistband of the skirt. The outfit was donated with its own mannequin and fits it perfectly. In the colonial days, outer clothing was rarely, if ever, washed, due to the expense of fabrics and difficulty in careful laundering. Clever methods were employed to reduce the occurrence of soiling. The mannequin included with the donation would also help keep the outfit in good shape as well as being used for ensuring a flattering fit. FAMILIES’ HISTORY The families connected with this wedding for which this outfit was worn are from Warrnambool’s colonial days. Isabella and Alexander’s parents, Robert Russell and Elizabeth (nee Mitchell) were both born in 1808 and married about 1830. They were from farming families in Northern Ireland where they raised their seven children there before migrating to Australia in the early colonial days, around 1857. Their graves are in the Tower Hill cemetery. Alexander’s wife Eliza (nee Moore, born in 1854) was also from Northern Ireland and migrated to Australia in 1858 with her parents, Thomas and Nancy Moore, in the last voyage of the sailing ship “Chance”. Isabella (Bella) talked with her grand-daughter Ruby Akers about her memories of Alexander and Eliza’s wedding and other events in her life. Ruby recorded these memories in a letter. She says “They were married in the Warrnambool Congregational Church by a pioneer minister, the Reverend Uriah Coombs. The bride wore a pale blue silk wedding gown which was made by herself. Bella was Matron of Honora and Ian McCasker was best man. In those days the transport to the church was usually a carriage – similar to a cab – and a pair of white ponies. They would have the reception at home and then go for a drive afterwards and at night there would be a dance. They did all the catering themselves … Eliza carried on farming in the Dennington, Yarpturk and Purnim districts until they moved to Camperdown around 1905…” Ruby’s letter later mentions “[Isabella] could recall seeing a blackfellows’ corroboree being performed near where the Dennington Bridge now stands. It was rather a terrifying experience, they seemed in a warlike mood and one never knew what they would do next. One lubra came running to granny crying, Hide me, bad man kill me. She was bleeding from a wound in the head. Probably the result of a blow from a waddy. My mother [Margaret Jane McLaughlan nee Mitchell], coming home from school, often met blackfellows walking ahead with spears and boomerang, the two lubras – he usually had two – following in the rear, carrying the children or any burdens they had.“ Margaret would probably have been in primary school in the 1800s when she saw these things. Alexander and Eliza had ten children. One of their daughters, Margaret Jane, was born in Warrnambool in 1879. She married William McCullagh and they had eleven children. Margaret made headlines in the Warrnambool newspapers for celebrating her 100th birthday. She had lived in the district for 60 years before moving to Melbourne. Alexander passed away at the age of 92, and Eliza passed away six months later aged 85. Their graves are in the Colac cemetery. Isabella married Ralph Mitchell and their daughter Margaret Jane married John McLauchlan in 1891. Margaret and John’s daughter, Ruby Elizabeth, Jane married Fredrick Akers in 1938. Fredrick was born in England and was a Boer War veteran and served in the British Army. He migrated to Queensland, Australia, in 1913 and he joined the Australian Army to fight in World War I. In 1935 he moved to Warrnambool where he served in the Volunteer Defence Corps 1938-1945. Both Ruby and Fredrick are buried in the Tower Hill Cemetery.Together, the evening outfit and the mannequin are examples of female fashion of the mid to late 1900s. They are also significant for their association with the colonial pioneer families of Australia, Victoria and Warrnambool. The outfit and mannequin are significant for their connection with a wedding uniting two colonial families from Northern Ireland who immigrated to Australia in the mid-1850s. The families had a significant role in the history of Warrnambool and district. The evening outfit and its mannequin are significant for its connection with colonial families and their contact with the indigenous culture of the district and the contact between the native and European people. This ladies’ evening outfit is made from amber coloured satin fabric. It comprises a short-waisted, long-sleeved jacket and long skirt and it has its own neck-to-floor wooden mannequin on a pedestal. The outfit was worn by Mrs. Isabella Mitchell (nee Russell) as the Matron of Honour at the wedding of her brother Alexander Russell and his fiancé Eliza Moore in Warrnambool, 29th April 1874. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, evening outfit, wedding outfit, bridesmaid’ outfit, matron of honour outfit, clothing female, clothing late 19th century, clothing wedding late 19th century, clothing bridesmaid late 19th century, clothing antique, clothing ladies, women’s clothing, women’s fashion, alexander russell, eliza russell, eliza moore, isabella mitchell, bella mitchell, bella russell, isabella russell, ralph russell, ian mccusker, ruby akers, fredrick william akers, ruby mclauchlan, margaret jane mclaughlan nee mitchell, margaret jane mclaughlan centenarian, william mclaughlan, robert russell, elizabeth russell nee mitchell, irish immigrants, warrnambool volunteer defence corps 1938-1945, antique satin outfit, warrnambool wedding 1874, congregational church warrnambool, reverend uriah coombs, dennington farmer, yarpturk farmer, purnim district farmer, camperdown resident 1905, dennington bridge, indigenous corroboree in dennington, corroboree in warrnambool, 1880s corroboree in warrnambool, lubra and baby, indigenous corroboree in warrnambool -
Melbourne Tram Museum
Ephemera - Jungle Scrapbook, "MMTB #2", 1987 to 2003
Collection of newspaper clippings pasted into the scrapbook by the donor. Covers the period 1987 to 2003 when the Melbourne tram system underwent large changes. Contains the following cuttings: 1 - Our trams keep rolling along - Herald Sun 9/8/1991 2 - Old trams will stay on track - The Sun - 8/8/1991 - featuring Joan Kirner at the front of tram 3 - Getting our bid on track - Olympic bid tram - Z4, - The Sun 9/3/1990 4 - Tram tours lead tourist bid - using a Y class - The Sun, 8/6/1992 5 - Spring St - city circle trackwork - The Sun 17/9/1993 6 - Track tokens mark tram trial - Bendigo battery tram - Bendigo Advertiser 11/4/1990 7 - $184 million commitment to build new vehicles - B2 class, 130 trams, Comeng 8 - The light rail project - Gail Moody - The Sun 1/7/1987 9 - Bet and shop on trams - Trust - Herald Sun 17/8/1993 10 - A clean sweep by star Paul - Paul Hudson and X 217 - Herald Sun 20/11/1991 11 - Tramway lines up 75th Anniversary - Progress Press 20-11-1991 12 - Public Notice - Spring and Bourke track works - The Met - Herald Sun 17/9/1993 13 - in the Heart of Hawthorn - Progress Press March 1993 14 - Peak hour boost pledge - Alan Brown - Herald Sun 9/7/1993 15 - Photo of Gas and Fuel buildings under construction - 1966, Herald sun 31/12/1993 16 - Drive brings comic relief - Victor Borge - Herald Sun 19/2/1994 17 - City circle tram loop - two cuttings - 28/4/1994 18 - Trust slams new-look trams - Herald Sun 8/2/1994 19 - Public notice - track works - Nicholson and Victoria - Herald Sun 18/2/1994 20 - Free trams draw fire - Herald Sun 12/4/1994 21 - Tram launce chaos - 29/4/1994 22 - Life and love as the tram trundles on - Ted Hopkins - Weekend - 15/4/1995 23 - Tram city Dan McDonnell - Weekend - 15/4/1995 24 - Favorites out for tram day - three associated cuttings tram parade - Herald Sun 19/4/1995 25 - The A to Z of Melbourne's trams - Herald Sun 19/4/1995 26 - Trams out for a night on the town - Box Hill testing - Whitehorse leader 23/4/2003 27 - Trams rolling - Box Hill opening - Whitehorse leader 7/5/2003 28 - Bracks launches tram route and residents riled about bottleneck - Whitehorse leader 7/5/2003 29 - A century of trams in Bendigo (Kym Smith) - Bendigo Advertiser 14/4/2003 30 - MP calls for fair go for old tramways (Medicals) - Bendigo Advertiser - 12/4/2003 31 - House of the rising tram - Mentone tramcar bodies 32 - Back on track - Sydney trams - Daily Telegraph 11/8/1997 33 - New look trams just the ticket - Sydney - Daily Telegraph 11/8/1997 34 - Dark ages end for light rail - Daily Telegraph 1997 35 - A trip down memory lane - Sydney - The Age 21/8/1997 36 - End of the Line - sale of Elwood bus depot - New Home 6/12/1996 37 - Bidders line up for tram and train - The Age 17/5/1999 38 - Holding the line - The Herald Sun 8/3/1998 39 - Advert - Who will be Melbourne's tram museum operator - Weekend Australian 16-9-1995 40 - Trams take to sport - new Melbourne park route - Herald Sun 4/6/1999Yields information about the Melbourne tram network in the 1990sScrap book - Tudor - 32 plain sheets + printed card covers, centre stapled.tramways, melbourne, bendigo, newspapers, tram 4, olympics, joan kirner, tourist tram, city circle, w class, tram, box hill, elwood bus depot, tmsv, museums, tram museums, batman ave, victor borge -
Eltham District Historical Society Inc
Photograph, Clark Bros, Eltham Post Office, c.1895
Hunniford's Eltham Post Office, Main Road near Bridge Street, Eltham, c.1895. Possibly Miss Anne (Annie) Hunniford, Post Mistress, on left. Annie was post mistress from the mid 1860s until her death in 1928. Photo taken by Clark Bros, 25 Thomas St, Windsor. Clark Bros operated from this address from c.1894 to 1914. Australia Post: Gold brought life to the township - Diamond Valley News, Tuesday July 2, 1985, p17 On February 1, 1854, the first Eltham Post Office was established, commencing an association between the township and the Postmaster-General's Department that has continued for 131 years. At that time, the number of permanent residents would have been fairly small, probably less than 200. The discovery of gold in June 1851, at Anderson’s Creek, some five miles away, and later at Caledonia Diggings, Queenstown (now known as St Andrews), about 14 miles to the north-east, brought large numbers of prospectors passing through the township, hopefully culling the creeks and gullies for the precious metal. This additional "floating population" brought a greater demand for supplies and for communication with the outside world, and so it helped in the development of Eltham. Today, Eltham is a thriving township. It boasts an excellent shopping centre, municipal offices, court house. post office and many other amenities. Eltham continued to develop at a leisurely pace. During 1860, a total of just over 8000 postal articles were handled at the Eltham Post Office. By 1862, the mail route was "to and from Melbourne by way of Eltham and Kangaroo Ground, three times a week, by coach". There was also a branch mail that operated between Eltham and Greensborough, three times weekly. This was also conveyed by coach. Some time between 1864 and 1868 the management of the post office passed from Thomas Hunniford to his daughter, Miss Anne Hunniford, who managed the Eltham Post Office until her death in 1928. A big improvement in communication was provided for Eltham residents when a telegraph office was established at the post office in 1877. During 1923 a manual telephone exchange was provided at Eltham, the first two subscribers being J.J. O’Connor and Eltham Police Station. In 1949 the manual exchange was replaced by an automatic exchange and there were some 150 subscribers. Following the death of postmistress Miss Anne Hunniford in 1928, B.M. Burgoyne was placed temporarily in charge of the office. In 1929, J. N. Burgoyne was appointed postmaster, and he in turn was succeeded by H. C. Burgoyne in 1951. The post office was moved to a new site in 1954, but continued under the charge of Mr Burgoyne. In January 1958 there was a further change of site when the post office was raised to official status and transferred to new premises in Main Rd. William Donoghue was acting postmaster when the new office was opened. In March 1958 Mr W.E. Tovey was appointed postmaster, followed by Douglas McG. Gilmour in 1959. William Donoghue was fully appointed in 1966 and Barry Reichelt followed in 1973, prior to the present postmaster, Peter Jolly in November 1982. Peter is a young man with 18 years' experience. He commenced his training as a postal clerk at the training school in Melbourne in 1968 and was promoted to postal clerk at the Brunswick Post Office in 1969. He was finally transferred as postmaster to Fawkner Post Office in 1980. He has been at Eltham Post Office for the past 2½ years. He is married with one child and lives in Montmorency. The Eltham Post Office employs a staff of 21, of whom seven are indoor staff, 12 are postmen and two are drivers. The postmen in Eltham have an uphill battle delivering mail because of the hilly terrain. Nine of the postmen deliver mail on motorbikes, and the two delivery vans are both four wheel drives. Eltham Post Office services basically a residential area, with deliveries to 5600 homes. This is growing at the rate of 600 homes every 18 months, i.e. about 32 homes per month. At the present rate we will need a new postman every 18 months.Sepia photograph mounted on cardpost office, eltham, main road, anne jane hunniford (1855-1928), clark bros. photo -
Ballarat Tramway Museum
Magazine, Melbourne and Metropolitan Tramways Board (MMTB), "MMTB News", 1967
Eight issues of "MMTB News" - The Magazine of the Melbourne and Metropolitan Tramways Board. No. 1 not in bag 11/9/2016 when checked - further checking to be done. All issues printed with an cream colour paper cover with the rest of the magazine white glass paper. 2721.1 - Vol. 4, No. 1 - 16 pages, January 1967, with a photo of the W7 1031 prior to running out of Preston Depot with its crew and depot starter, photo of opening of Glenferrie Rd Malvern, "Like to Drive a Tram?" - Hawthorn driver training school with photos, intake of new conductors, Stores - The Board's Housekeeper - Mr. D. Tatam, extension of the East Preston route, Children's Christmas party, trackwork and duplication of East Coburg to Bell St, laying of a cable tram cable. 2721.2 - Vol. 4, No. 2 - 16 pages, February 1967, with a photo of North Fitzroy bus crews prior to running out, "Sixty years of Essendon Tramways", R. Risson's speech to the ANA on 26/1, Annual report highlights, Tramways band, retirement of Max Jones. Photo of Mr. Risson scanned - see i9 2721.3 - Vol. 4, No. 3 - 16 pages, March 1967, with a photo of a model of the proposed St. Kilda junction arrangements, "Trams and Buses - they keep them rolling", St. Kilda Junction scheme, Overhead crews, Conductresses Uniforms, new conductors, sports and social club news. 2721.4 - Vol. 4, No. 4 - 16 pages, April 1967, with a photo of the reconstruction of Camberwell Road, "Melbourne Needs Trams", Tramways Band, Long Service awards, retirement of Roy Allen, Jack Moffatt World wide TV broadcast from South Melbourne depot, sports and social club news. 2721.5 - Vol. 4, No. 5 - 16 pages, May 1967, with a photo of bus maintenance work at North Fitzroy, Tram track maintenance procedures, retirement of Arthur Battye, death or Harold Wallace, sports and social club news. 2721.6 - Vol. 4, No. 6 - 16 pages, June 1967 with a photo of the World TV broadcast, "Our World" that featured South Melbourne Depot, tram track maintenance procedures, TMSV Visit to Rubicon with bus 570, staggered working hours, first MMTB built tramcars (T166), TMSV all night tour, retirement of Bill Trickey, sports and social club news. 2721.7 - Vol. 4, No. 7 - 16 pages, July - August 1967 with a photo of visiting US Sailors on a tramcar, changes to tramways routes (Norm Cross), retirement of Val Marchesi, Tom Addison, J. J. McKenzie, Gordon Mitchell, sports and social club news. 2721.8 - Vol. 4, No. 8 - 16 pages, September - October 1967 with a photo of Ray Harvey working on a RC2 Controller, tram charter by Bob Wilson, Essendon reunion, sports and social club news. Two copies of each other than No. 1, No. 3 and No. 8 as at 12/9/2016.-Each issue has stamped on the front cover or inside "The Australian Railway Historical Society (S.A. Branch).trams, tramways, mmtb, hawthorn, essendon, tramways band, st kilda road, trackwork, tmsv, tv broadcasts, tramcars -
Melbourne Tram Museum
Magazine, Melbourne & Metropolitan Tramways Board (MMTB), MMTB News, 1967
Eight issues of "MMTB News" - The Magazine of the Melbourne and Metropolitan Tramways Board. Two copies of each issue held. All issues printed with an cream colour paper cover with the rest of the magazine white glass paper. 1724.1 - Vol. 4, No. 1 - 16 pages, January 1967, with a photo of the W7 1031 prior to running out of Preston Depot with its crew and depot starter, photo of opening of Glenferrie Rd Malvern, "Like to Drive a Tram?" - Hawthorn driver training school with photos, intake of new conductors, Stores - The Board's Housekeeper - Mr. D. Tatam, extension of the East Preston route, Children's Christmas party, trackwork and duplication of East Coburg to Bell St, laying of a cable tram cable. 2721.2 - Vol. 4, No. 2 - 16 pages, February 1967, with a photo of North Fitzroy bus crews prior to running out, "Sixty years of Essendon Tramways", R. Risson's speech to the ANA on 26/1, Annual report highlights, Tramways band, retirement of Max Jones. Photo of Mr. Risson scanned - see i9 1724.3 - Vol. 4, No. 3 - 16 pages, March 1967, with a photo of a model of the proposed St. Kilda junction arrangements, "Trams and Buses - they keep them rolling", St. Kilda Junction scheme, Overhead crews, Conductresses Uniforms, new conductors, sports and social club news. 1724.4 - Vol. 4, No. 4 - 16 pages, April 1967, with a photo of the reconstruction of Camberwell Road, "Melbourne Needs Trams", Tramways Band, Long Service awards, retirement of Roy Allen, Jack Moffatt World wide TV broadcast from South Melbourne depot, sports and social club news. 2721.5 - Vol. 4, No. 5 - 16 pages, May 1967, with a photo of bus maintenance work at North Fitzroy, Tram track maintenance procedures, retirement of Arthur Battye, death or Harold Wallace, sports and social club news. 1724.6 - Vol. 4, No. 6 - 16 pages, June 1967 with a photo of the World TV broadcast, "Our World" that featured South Melbourne Depot, tram track maintenance procedures, TMSV Visit to Rubicon with bus 570, staggered working hours, first MMTB built tramcars (T166), TMSV all night tour, retirement of Bill Trickey, sports and social club news. 1724.7 - Vol. 4, No. 7 - 16 pages, July - August 1967 with a photo of visiting US Sailors on a tramcar, changes to tramways routes (Norm Cross), retirement of Val Marchesi, Tom Addison, J. J. McKenzie, Gordon Mitchell, sports and social club news. 1724.8 - Vol. 4, No. 8 - 16 pages, September - October 1967 with a photo of Ray Harvey working on a RC2 Controller, tram charter by Bob Wilson, Essendon reunion, sports and social club news. Two copies of issue 4 held. Second copy added 31/8/2004. Two copies of issue 6 held. Second copy added 26/09/2006.trams, tramways, mmtb, hawthorn, essendon, tramways band, st kilda rd, trackwork, tmsv, tv broadcasts, tramcars -
Bendigo Historical Society Inc.
Document - BENDIGO EASTER FAIR FESTIVAL PROGRAM 1997, 26 March 1997
Bendigo Easter Fair Festival Program, 26-31 March, 1997. Festival Features, Evening of Art & Classical Music, Rotary Club of Bendigo. VicHealth Easter Fest, Victorian Health Promotion Foundation & Bendigo Community Health Services. Fine Food Fest. Free Stage. Free Evening Concert & Fireworks, Zaire. Torchlight Procession, sponsored by Prime TV & Coca Cola, Bendigo Market Place. Fireworks Spectacular, Sponsored by Bendigo Market Place & Prime TV. Street Fiesta, sponsored by Arts Victoria. Street Extravaganza, Coca Cola Carnival, Sponsored by Coca Cola. Star for a Day, Power Audio Visual & Prime Television. Handcraft Bazaar, Rotary Club of Bendigo Sandhurst Art & Craft Market. Cosmopolitan Street Café, Arts Victoria. Awakening of the Dragon, Bendigo Chinese Association. Gala Parade, Prime Television & Coca Cola. Firewalking by the Australian Skeptics, Discovery Science & Technology Centre. Up In Flames, Discovery Science & Technology Centre. Barry Kenny's Country Roundup, Nadort Promotions. School's Day. Teddy Bear's Picnic, Dragon City Marshals. Fire Brigades Children's Carnival. Family Event, Bendigo Minister's Fellowship. Bendigo Easter Antique Fair. Historic Photographic Exhibition, Burt Sargent Circa 1900. Open Garden at Nanga Gnulle (''nanga nully''). A parade of Quilts, Strathdale Bendigo Quilters Inc. Tasting the Life, Gail Tavener Studio. Snakes Alive Dangerous Australians, BRIT. Y's Men's Club of Bendigo Book Fair, YMCA. Bendigo Camera Club, BRIT. Bendigo Woodcraft Exhibition, Woodturners Bendigo Inc. Autumn Bonsai, Bendigo Bonsai Club. Convocation, National Trust Bendigo. Arms & Collectables, Golden City Collectors Assoc. In. Rotary Art Show. Rotary Pottery Exhibition. Women's Vision For The Church, Provincial Council of Mothers Union. Historic Toorak House, Lioness Club of Golden City Bendigo. White Hills Cemetery. Bendigo Cemetery. Festival of Flowers, Craft & Garden, Bendigo Jockey Club. Shannons Corporation Motorfest, City Drive Through, Static Display, Motorkhana, Time Trial. Bendigo Bank Dragon Mile. Volkswagen Car Show, a part of the 28th National Bug-In. Repco Cycles, Australian Veteran Cycling Council Inc. Championships. Under 17 Australian Badminton Championships. Palm Sunday, Bendigo Symphony Orchestra. Way of the Cross, Bendigo's Combined Churches. The Easter Story, Kangfluca Music. Sunrise Church Service, Bendigo Ministers' Fellowship. Map of CBD Advertisements: Bendigo Easter Antique Fair. Austar. Bendigo Art Gallery. Bendigo Visitor Information Centre. Prime. Golden Dragon Museum Inc. Bendigo Heritage Tours. Discovery Science & Technology Centre Bendigo. Sponsors: Sandhurst Trustees, Prime, Vic Health, ABC Radio, Arts Victoria, Coca Cola, Events Bendigo, City Of Greater Bendigo, Bendigo Community Health Services, Shannons., Morris Design PH 5448 8777Morris Designevent, easter fair, bendigo easter fair, bendigo easter fair festival program, 26-31 march, 1997. festival features, evening of art & classical music, easter fest, . fine food fest. free stage. free evening concert & fireworks. torchlight procession. fireworks spectacular, street fiesta, street extravaganza, coca cola carnival, star for a day, handcraft bazaar, art & craft market. cosmopolitan street café, awakening of the dragon. gala parade, firewalking australian skeptics, discovery science & technology centre. up in flames, barry kenny's country roundup, nadort promotions. school's day. teddy bear's picnic, fire brigades children's carnival. family event, bendigo minister's fellowship. antique fair. photographic exhibition, burt sargent circa 1900. open garden nanga gnulle a parade of quilts, strathdale bendigo quilters inc. tasting the life, gail tavener studio. snakes alive dangerous australians, brit. book fair, ymca. bendigo camera club, brit. bendigo woodcraft exhibition, woodturners bendigo inc. autumn bonsai, bendigo bonsai club. convocation, national trust bendigo. arms & collectables, golden city collectors assoc. art show. pottery exhibition. women's vision for the church, provincial council of mothers union. historic toorak house, lioness club. white hills cemetery. bendigo cemetery. festival of flowers, craft & garden, bendigo jockey club. motorfest, drive through, static display, motorkhana, time trial. dragon mile. volkswagen car show, national bug-in. repco cycles, australian veteran cycling council inc. championships. under 17 australian badminton championships. palm sunday, bendigo symphony orchestra. way of the cross, bendigo's combined churches. the easter story, kangfluca music. sunrise church service, bendigo ministers' fellowship. map of cbd advertisements: antique fair. golden dragon museum inc. bendigo heritage tours. discovery science & technology centre bendigo. sponsors: sandhurst trustees, vic health, abc radio, arts victoria, coca cola, events bendigo, city of greater bendigo, bendigo community health services, shannons., morris design. prime tv. austar. bendigo art gallery. bendigo visitor information centre. prime, victorian health promotion foundation, zaire, sponsored by bendigo market place & prime tv, sponsored by arts victoria, sponsored coca cola, power audio visual, rotary club of bendigo sandhurst, bendigo chinese association, y's men's club of bendigo -
Flagstaff Hill Maritime Museum and Village
Machine - Treadle Lathe, 1920-1923
The lathe-making business incorporated in 1902 as Drummond Bros Ltd originated in the fertile mind of Mr Arthur Drummond, said to have been living at that time at Pinks Hill, on the southern edge of Broad Street Common, west of Guildford. Mr Drummond, whose accomplishments included several pictures hung in the Royal Academy, was unable to find a lathe suitable for use in model engineering. In 1896 he designed for himself a ‘small centre lathe … which had a compound slide rest with feed-screws and adjustable slides’. He also designed and built ‘lathes of 4.5 inch and 5 inch centre height, which had beds of a special form whereby the use of a gap piece was eliminated but the advantages of a gap-bed lathe were retained’. Assisted by his brother, Mr Frank Drummond, who had served an apprenticeship to an engineering firm at Tunbridge Wells, the first lathes were made in a workshop adjoining Arthur Drummond’s house. The demand that speedily built up led to the decision to form a company and manufacture the lathes for sale commercially. Land was acquired nearby, at Rydes Hill, and the first factory built. The enterprise was a success, and the company quickly established ‘a high reputation in this country and abroad for multi-tool and copying lathes, and gear-cutting machines’. Other lathes were added to the range, including the first of the ’round bed’ machines for which the firm became widely known. A Drummond 3.5 inch lathe was among the equipment of Captain Scott’s 1912 expedition to the South Pole, and large numbers of 3.5 inch and 4 inch designs were exported to Australia, Canada and India. By the outbreak of war in 1914, 5 inch, 6 inch and 7 inch screw cutting lathes, arranged for power drive, were on sale. Large orders were received from the government for 3.5 inch lathes, for use in destroyers and submarines, and 5 inch lathes for the mechanised section of the Army Service Corps. The latter were used in mobile workshops. The factory worked night and day to supply the forces’ needs, until production was disrupted by a fire which destroyed a large part of the works in May 1915. As soon as rebuilding was complete work restarted. At the end of the war the entire production was being taken by the Government departments, a special feature being a precision screw lathe, bought by the Ministry of Munitions in 1918. Between the wars Drummond Bros Ltd introduced new machines for the motor vehicle, and later the aircraft industry, and the works were extended on many occasions to fulfill the increasing orders. The Maxicut multi-tool lathe (1925), designed for high-production turning operations, was one of the first machines of this type to be built in England. It was followed (1928) by an hydraulic version for turning gear blanks, and similar work. Further developments provided machines which, during the Second World War, turned all the crankshafts and propeller shafts for Bristol engines. Others, ordered by the Ministry of Supply were employed in turning shells, and many other specific needs of vehicle and aircraft manufacture were catered for by new types of Drummond lathes. Production of the small centre lathes ceased during the war when the company needed to concentrate on building multi-tool lathes and gear shapers. After the war a completely new Maxicut range was introduced, replacing the older versions, and fully automatic. The types were continually developed, and new versions manufactured until the end of the company’s life in 1980. The disappearance from the scene of Mr Arthur Drummond in 1946, and the end of the company’s autonomous existence in 1953 when the company was acquired by William Asquith Ltd, which was in turn bought by Staveley in 1966, meant that the factory at Rydes Hill became one – albeit very effective – part of a large national engineering company. Achievements at the Guildford works during its last years included the development of automated Maxicut gear-shapers in what was ‘probably the most fully automated gear shop in the country’, while a machine from Guildford was sent to the Osaka Fair in 1962. In 1963 an agreement was signed with Hindustan Machine Tools for the manufacture of Maxicut gear-shapers in state owned factories in Bangalore and Chandigarh. During 1963 the two largest multi-tool lathes ever made in the UK were installed in Ambrose Shardlow’s works in Sheffield for handling cranks up to 14 foot long. In 1976 Drummond lathes were included in Staveley’s £14,000,000 installation in Moscow of an automated production line for Zil motor cars. Up to the end invention continued at Guildford: a new Drummond Multi-turn memory-controlled machine was shown at the International Machine Tool Exhibition in 1977. This could not save the works from the pressures of the late 1970s, and Staveley Industries closed its Guildford site in 1980.An early example of a lathe that was designed primarily for the hobbyist model maker. It is in good condition and sought today by collectors as many of it's attributes were innovative at the time and lead to further development and incorporation of some of its features into more industrial models of production machinery. Lathe, round bed, treadle powered lathe, Drummond Type A, Serial number and maker's inscription. 1920-1923, Made by Drummond Brothers in Guildford, Surrey, England. Lathe is complete with Chuck, Tool post and Tail Stock in situ (30 extra parts)"MADE BY DRUMMOND BROTHERS LIMITED - PATENT TEES - RYDE'S HILL n GUILDFORD SURREY", "Serial Number 01470," "L44" or "L45 " flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, lathe 1920-1923, round bed lathe, treadle lathe, drummond type a, guildford surrey, drummond brothers guildford surrey england, tread'e -
Eltham District Historical Society Inc
Photograph, Hunniford’s Eltham Post Office, Main Road near Bridge Street, Eltham, c.1888
Sepia photograph of Hunniford’s Eltham Post Office, Main Road near Bridge Street, Eltham, c.1888 (Postmistress Anne Hunniford possibly on left). The building originally had a shingle roof. Anne Hamilton born 1814 Co Tyrone, Ireland married Michael Head Burgoyne (1820-1843) in 1839, Co. Tyrone, Ireland. They had two children, Charlotte Caroline (1840) and John James Thomas Neville (Londonderry, Ireland 1844) Whilst pregnant with John, husband Michael died. Following John’s birth, she emigrated to Victoria, Australia where she married Thomas Hunniford in 1854. Daughter Anne Jane Hunniford was born in Eltham in 1855. Anne (Annie) Jane Hunniford and John James Thomas Neville Burgoyne were half siblings. In the mid 1860s Annie Hunniford succeeded her father, Thomas Hunniford as Post Mistress for Eltham. Photo dated based on advertising on façade of the building by Annie’s half-brother, John James Thomas Burgoyne promotes his services as the area manager for John M’Ewan and Co, Auctioneers as well as him being agent for the National Mutual Life Association of Australasia, National Insurance Company of Australasia, Federal Mutual Livestock Association of Australasia, and as a House, Land, Estate, Insurance and Financial agent. This was the time period that he placed advertising for same in the local paper. Australia Post: Gold brought life to the township - Diamond Valley News, Tuesday July 2, 1985, p17 On February 1, 1854, the first Eltham Post Office was established, commencing an association between the township and the Postmaster-General's Department that has continued for 131 years. At that time, the number of permanent residents would have been fairly small, probably less than 200. The discovery of gold in June 1851, at Anderson’s Creek, some five miles away, and later at Caledonia Diggings, Queenstown (now known as St Andrews), about 14 miles to the north-east, brought large numbers of prospectors passing through the township, hopefully culling the creeks and gullies for the precious metal. This additional "floating population" brought a greater demand for supplies and for communication with the outside world, and so it helped in the development of Eltham. Today, Eltham is a thriving township. It boasts an excellent shopping centre, municipal offices, court house. post office and many other amenities. Eltham continued to develop at a leisurely pace. During 1860, a total of just over 8000 postal articles were handled at the Eltham Post Office. By 1862, the mail route was "to and from Melbourne by way of Eltham and Kangaroo Ground, three times a week, by coach". There was also a branch mail that operated between Eltham and Greensborough, three times weekly. This was also conveyed by coach. Some time between 1864 and 1868 the management of the post office passed from Thomas Hunniford to his daughter, Miss Anne Hunniford, who managed the Eltham Post Office until her death in 1928. A big improvement in communication was provided for Eltham residents when a telegraph office was established at the post office in 1877. During 1923 a manual telephone exchange was provided at Eltham, the first two subscribers being J.J. O’Connor and Eltham Police Station. In 1949 the manual exchange was replaced by an automatic exchange and there were some 150 subscribers. Following the death of postmistress Miss Anne Hunniford in 1928, B.M. Burgoyne was placed temporarily in charge of the office. In 1929, J. N. Burgoyne was appointed postmaster, and he in turn was succeeded by H. C. Burgoyne in 1951. The post office was moved to a new site in 1954, but continued under the charge of Mr Burgoyne. In January 1958 there was a further change of site when the post office was raised to official status and transferred to new premises in Main Rd. William Donoghue was acting postmaster when the new office was opened. In March 1958 Mr W.E. Tovey was appointed postmaster, followed by Douglas McG. Gilmour in 1959. William Donoghue was fully appointed in 1966 and Barry Reichelt followed in 1973, prior to the present postmaster, Peter Jolly in November 1982. Peter is a young man with 18 years' experience. He commenced his training as a postal clerk at the training school in Melbourne in 1968 and was promoted to postal clerk at the Brunswick Post Office in 1969. He was finally transferred as postmaster to Fawkner Post Office in 1980. He has been at Eltham Post Office for the past 2½ years. He is married with one child and lives in Montmorency. The Eltham Post Office employs a staff of 21, of whom seven are indoor staff, 12 are postmen and two are drivers. The postmen in Eltham have an uphill battle delivering mail because of the hilly terrain. Nine of the postmen deliver mail on motorbikes, and the two delivery vans are both four wheel drives. Eltham Post Office services basically a residential area, with deliveries to 5600 homes. This is growing at the rate of 600 homes every 18 months, i.e. about 32 homes per month. At the present rate we will need a new postman every 18 months.Sepia photograph (two copies plus two black and white enlargements)Shop originally had a shingle roofpost office, eltham, main road, anne jane hunniford (1855-1928), federal mutual live stock insurance association of australasia, federal mutual livestock association of australasia, john j burgoyne, john m'ewan and co. auctioneers, national insurance company of australasia, national mutual life association of australasia -
Eltham District Historical Society Inc
Newspaper clipping, Eltham War Memorial Trust: Ready Now for Forward Movement; Acknowledgements £722; publication unknown, c.1946, 1946c
Article about the purchase of land for the Eltham War Memorial and preparations to make a drive for funds History of the War Memorial Following the end of the First World War, communities across Victoria and Australia typically erected memorials which were predominantly statues, cenotaphs, avenues of honour and plaques. The Shire of Eltham established the Avenue of Honour at the gateway to the shire as well as an obelisk at the corner of Main Road and Bridge street and the Shire of Eltham War Memorial Tower at Kangaroo Ground. After the Second World War communities once again desired to preserve the memories of those who served and paid the ultimate sacrifice. Resources were scarce so there was a transition away from the traditional style memorials that sprang up post 1918 to one of building facilities that would provide ongoing benefit to the community. Even before the end of the Second World War, the citizens of Eltham began to consider an appropriate form of memorial for those from the area who fought and died in the First and Second World Wars. In 1943 the Eltham Women’s Auxiliary raised funds for the construction of buildings to be established on land to be purchased for the proposed War Memorial. On March 27th, 1945, the Eltham District Progress Association called a meeting of local people who in turn set up and registered the Eltham War Memorial Trust Inc. As a focus for the purpose of the memorial, the newspaper notice read:- ‘Those who have had a member of their family in the fighting services will want to see that the form of a memorial we are concerned with is the one which will be a constant reminder to us of those who fought for us and the little ones for whom they fought and died.’ At that meeting it was decided the Memorial should take the form of a baby health centre along with a creche and children’s library. In late 1945, the newly formed Eltham War Memorial Trust purchased the land at 903-907 Main Road Eltham from Miss Shillinglaw, which once formed part of the Shillinglaw farm on Lot 90 of Holloway’s 1851 “Little Eltham” subdivision. The Governor of Victoria, General Sir Dallas Brooks, laid the foundation stone on November 24th, 1950, in memory of those who fell in the Second World War. The Eltham Infant Welfare Centre was opened November 15th, 1952, the Pre-school on December 1st, 1956, and the Children’s Library in 1961. In late 1966 the children’s library service was integrated into the Heideberg Regional Library Service and the building was officially renamed the Eltham War Memorial Hall. Following the opening of the Eltham Infant Welfare Centre, work began in 1953 planning for the entrance to the grounds, which is signaled by a wrought iron arch entitled “Eltham War Memorial” . In 1954 the Eltham War Memorial Trust decided that a legacy provided by the late Councillor Ernest James Andrew (d. 29 March 1950) in memory of his wife, Mrs. Ellen Andrew (d. 13 July 1946) and who are both buried at Eltham Cemetery, should be used to fund the construction of the entrance. A metal plate inscribed to this effect was attached to the gates. Work on the Memorial Gardens was undertaken throughout the following decade, with a Memorial Forecourt included in the final 1956 plans for the Pre-School Centre. A quote was accepted by the Trust in 1963 for the implementation of a memorial garden, which included grading of a sixty-five foot strip at the rear of the Trust buildings and construction of concrete paths. The stone retaining walls at the front of the site were installed in 1968 when Main Road was widened and it is believed that the Memorial Gates were relocated at that time also. Eltham Senior Citizens Centre In 1964, Eltham Shire Council purchased a section of land from the Trust at the northern end of the site, as a provision for Country Fire Authority buildings. At the same time the Elderly Citizens Club proposed a Senior Citizens Centre on the south western section of the Trust’s property. This was approved by the Trust with the provision that the building was constructed in ‘accord’ with those already existing. In 1965 Council took on board the plans for the Senior Citizens Centre and applied for a government grant. These could only be awarded if Council owned the site. In 1962 the Trust had resolved to hand over the assets to Council once the Memorial Gardens were completed. This was in line with Health Department requirements that grants for the ongoing operation and maintenance of the three facilities would only be made once the the facilities were completed and handed over to Council. In 1965 the Department of Health further demanded substantial alterations to the Pre-School playground as a result of the pending impact of the planned Senior Citizens Centre and Main Road duplication. As a consequence, handover of the Trust’s assets to Council was initiated with a formal ceremony held in the Children’s Library on August 28th, 1965. The Trust continued on as a committee of management for another twelve months. Plans and specifications for the Senior Citizens Centre were prepared by March 1966. Council obtained a grant from the Government which covered one third of the cost and the building was completed by April 1967. Whilst the Senior Citizens Centre is contained within the original Eltham War Memorial building precinct, it was not part of the original Memorial and was not funded by the Eltham War Memorial Trust.Newsprint clippingeltham children's library, eltham infant welfare centre, eltham pre-school, eltham war memorial hall, eltham war memorial trust, women's auxiliary -
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 -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth Carriage Museum 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 pencil landscape drawing on paper.Obverse: BEECHWORTH CARRIAGE MUSEUM / MARCUSE Reverse: BEECHWORTH NOSTALGIA / BW-08 / B 9 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 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: (illegible) / BEECHWORTH Reverse: BEECHWORTH / MARCUSE BEECHWORTH NOSTALGIA BW-06 / B10 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 XI, 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: YACKANDANDAH / ERNEST MARCUSE Reverse: Y 1 / 012 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, Bank of Victoria – Yackandandah III, c1983
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: ERNEST MARCUSE / BANK OF VICTORIA / YACKANDANDAH Reverse: Y 2 / 013 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 VIII, c1983
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: MARCUSE / YACKANDANDAH / Reverse: Y 3 / 014 / 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, Bank of Victoria – Yackandandah II, c1982
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: BANK OF VICTORIA / YACKANDANDAH / ERNEST MARCUSE / Reverse: Y 4 / 015 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 VII, c1983
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: ERNEST MARCUSE / YACKANDANDAH / Reverse: Y 10 / 016 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, Bank of Victoria – Yackandandah I, c1983
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: BANK OF VICTORIA / YACKANDANDAH / Reverse: Y 6 / 017 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 VI, c1980
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: YACKANDANDAH / 80 Reverse: Y 5 / 018 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Yackandandah V, c1983
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: Marcuse / YACKANDANDAH / 83 Reverse: YACKANDANDAH / Y 7 / 019 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program