Private James Andrew Sutherland - VX59088 ,POW - Thailand (Burma Railway) and Changi.Paper certificate with "City of Prahran" as heading with Australian Coat of Arms. Blue and red border.To Private James A Sutherland. We have the honour on behalf of the Mayor, Councilors and Citizens of the City of Prahran to convey to you their highest appreciation and thanks for the action you have taken by voluntarily enlisting in the Australian Imperial Force for active service overseas in the war between Great Britain and her Allies against Germany. The honour and good name of the Commonwealth is in your hands, and we have every confidence that you will preserve the noble traditions already laid down by the men who constituted the Army of the first A.I.F. who served our country and distinguished themselves so worthily in the last Great War. We wish you God speed and a safe return to your Native land. Signed Wm M McIlwrick Mayor, J M Ellis Councilor and J Romaiu Town Clerk.

Harriet Cecilia Hordern Williams (1889 - 1968) was the grand-daughter of William Hordern (1830 - 1881) and Cecelia Monger (1830 - 1914). William Hordern was the sixth of seven children of Anthony Hordern Snr. who established the Anthony Hordern & Sons department store in Sydney which operated from 1923 to 1970. Harriet's mother Cecilia (1854 - 1934) was married to Christopher Williams. Harriet's uncle William was appointed commissioner of the Supreme Court of South Australia in 1903. Her cousin Doris Amelia Hordern (1889 - 1970), as Doris Blackburn won the Federal seat of Bourke in 1946 following the death of her husband who had previously held the seat. This branch of the Hordern family has a strong connection to Hawthorn through their home "Stramshall" in Auburn Road Hawthorn and also with the Auburn Baptist Church. Harriet Williams enlisted in the Australian Army Nurse in December 1916 and served as a Staff Nurse until her marriage in London in 1919. This certificate is significant to the history of Hawthorn and Australia through its connection with the Hordern family, the home Stramshall in Hawthorn and with the Auburn Baptist Church. It is significant to the history of the Royal Children's Hospital Melbourne as an example of early 20th century training protocol, in the persons who signed the certificate and the photographs of the hospital buildings of that time. Leather bound certificate of two pages hinged together as a book. Gold lettering embossed on the front. Gold ornamental border embossed on front and back. Inside a personalised presentation certificate on one page. Second page has photographs of the Melbourne Children's Hospital circa 1916.Certificate Reads: Childrens Hospital/ Training School For Nurses/ Melbourne October 5th 1916 This is to certify that Harriet Cecilia Hordern Williams has attended the prescribed course of Three Years Teaching at the Training School for Nurses in connection with the Childrens Hospital and has passed the examinations necessary for registration as a TRAINED NURSE. Signed by: Lalla Williams - Signature of Nurse M. J Turnbull, President Cora C. Oakden , Honorary Secretary Examiners: F. Hobill Cole M.D. A. Jeffreys Wood M.D. E. Alan Mackay M.B.B.S. Douglas Stephenson M.D.M.S. A. E. Rowden White M.D. Stuart W. Ferguson M.D. Captions on the photographs read: Convalescent Home Brighton Nurses Home Children's Hospital Princess May Pavilion Red Cross with banner beneath reading BY LABOR MUST THE PRIZE BE WON Printed on certificate: Sands & McDougall Limited Melb.childrens hospital, certificate, nurse, hordern, williams, hawthorn, harriet williams, lalla williams, rowden white, cora oakden, hobill cole, jeffreys wood, mary jane turnbull, alan mackay, douglas stephenson, stuart ferguson, brighton convalescent home, princess may pavilion

Russell H Whitehead serve in 1 Field Regiment Royal Australian Artillery in Vietnam between 22/05/66 and 27/03/67 Plastic Framed Certificate of Vietnam Service Vietnam War Service / Private / Russell Henry WHITEHEAD / Service No: 3411520/ Service: Army / Service Between 22/05/1966 and 27/03/1967 /Total Days: 310 /Unit: 1st Field Regiment / Australian Coat of Arms bottom left hand corner Australian Government/ Department of Veterans Affairs/ on centre left sign Rising Sun Emblemvietnam, 1 field regiment, first field regiment, royal australian artillery

Unknown donor, this item was typically worn by Army personnel for day to day duties at Base and workshops etcA day to day typical item of clothing worn by some Army personnel for their duties.Green cotton overalls. 410 mm shoulder width, 1143.5 mm length, 53 mm arm length-top of shoulder to arm end.,48mm waist width, 73.5mm leg length,62mm zip front from collar to waist., 39.5 mm collar with 75mm width.5mm sleeve cuff width., 45mm width for leg cuff. 16 mm zip length for all 4 pockets. Two pockets vertical from waist line-22.5 mm from middle of waist. Top two pockets with zip sloping from shoulder down towards centre of chest.Top of zip 11.5mm from shoulder with bottom of zip 23.5mm from shoulder. The pocket finishes at waist line-15mm from waist to lower zip position. Cloth hanger 7 by 25mm sewn on inside neck. Four pleats at lower back of coveralls.Green tag on neck: “A.G.C.F. VICTORIA 1985 ARROW SIGN SIZE 85-90SH 8405.66.060.4199 SERVICE NO . NAME............................ “ One other tag below first tag. The second tag is a tear off tag (7mm long ,8.5mm wide)made of light canvass off white colour with the following inscription within a 6.5mm width by 5.5mm deep 2mm black border “ THIS TAG IS FOR IDENTIFICATION ONLY PLEASE REMOVE BEFORE WEARING Docket No 44784/1 Order No 295024 34 Size. 85-90 SH Garment No 20273 Remarks. R 34 “ “ 29” At bottom right hand corner of white tag. army, geen

Photograph of 3 sqn RAAF personnel embarking for the Middle East. Signatures on accompanying document signed by Ken Williams, RW Sterrett, MR Campbell, J.H. Christie, JH McKinnon and F Finch. The personnel shown boarding are all in RAAF uniform. It was customary at the time to board units together, generally in the order of seniority, which was accepted as Navy first, Army second and RAAF third.Black and white photograph of troops boarding an Orient Line ship."3 sqdn embarking for ME." Written on top of photograph. "Army, Navy & RAAF leave for Middle East July 1940" written on rear of photograph. world war ii, second world war, orient line

Certificate of Vietnam War Service in plastic frame with perspex frontVietnam War Service / Private / Maxwell James WHITEHEAD / Service No: 3411672 / Service: Army / Service Bewteen 23/09/1966 and 22/08/1967 /Total Days: 334 /Unit: 1st Field Squadron / Australian Coat of Arms bottom left hand corner Australian Government/ Department of Veterans Affairs/ on centre left sign Rising Sun Emblem plastic, certificate, 1st field squadron, war service certicate

Presented by DViets first Chaplain.Record of the sub branch's first Padre.Plaque, wooden. Engraved: Presented by the first DViet Padre, Noel Boyce - Nov 02; Unit crest: Royal Army Chaplains' Department, Motto: Ïn This Sign Conquer".vietnam, vietnam war, diamond valley vietnam veterans sub branch

A newspaper article with a photo of veteran Jack Geoghegan holding the violin that is part of Melbourne Legacy's collection (see 00080) at The Shrine. Mr Geoghegan was a Prisoner of War in Changi prison. He remembered playing in the concerts that the violin was used in. His signature is one of many, that had signed the violin. Background: This violin was played by VX30301 Dvr Roy Arnel, as a member of the Australian Imperial Force Concert Party, in the Changi POW camp, Singapore from 1942-1945. It is claimed that the violin, in its case was thrown over the wall by a Chinese civilian. Roy Arnel, a South African by birth enlisted on 7 June 1940 at Royal Park, Melbourne and served with 2 AASC Company as a driver. He was captured by the Japanese Imperial Army at the fall of Singapore in February 1942.A record that the violin was of importance to many people during their internment.Newspaper article about the Changi violin published in The Age 26 July 1989.changi violin, pow

In the 2000s Legacy released a range of Legacy Bears to expand the merchandise available for sale during Legacy Week and at other fundraising opportunities during the year. The sign shows the price of the bears was $15, in 2021 the price was increased to $20 per bear. The sign shows Nurse, Air force Camo, Army Camo, Digger bear and Navy officer bear. Sometimes special editions of the bears were produced.An example of the type of products sold along with Legacy Badges for fundraising in the 2010-2020s.A4 advertisement for Legacy bears, printed in colour and laminated.Gives the price as $15 -per bear.legacy appeal, fundraising, legacy bear

A letter to President Simonson dated 12 June 1970 enclosing a photograph recording his visit to morning tea with the Army Officers' Wives Association on 14 April 1970 (photograph missing). His handwritten response would have been the draft of a typed letter.Records a typical activity undertaken by the President of the day.01361.1 Letter on the letterhead of the Army Officers' Wives Association, with black typing 01361.2 Note handwritten blue biro, white folded paper, could be the draft of a formal reply.01361.1 Signed 'Annette Lineham' in black birocorrespondence, widows

A photo of a mural in Libya painted by a South Australian Sapper of a bottle of Abbots Lager. The photo, and two others, were sent to Melbourne Legacy in 1979 by Legatee Syd Wilson of Yamba NSW. He thought Melbourne Legacy might be able to use them to generate money by selling them for advertising or publicity. He said they were enlargements of snapshots he had found in his old army trunk. The text says 'Keep Going. Fill up in town, but a good drink is bloody hard to get'. Legatee Wilson's letter says the murals were: 'painted on three walls of a white concrete Italian block house (Police Check post I think), some 18/20 miles west of Tobruk, between Tobruk and Derna, and near a captured Italian airfield, somewhere about February 1941. Obviously they were painted by a Victorian Sapper. They were very well done, by a competent Sign-writer/artist, in correct and excellent colours (captured Itie paint no doubt - there was plenty in their Naval Stores at Tobruk).' (NB Itie was slang for Italian) From the AWM website the signs were painted by South Australian painter, SZ538 Sapper Leslie John “Doc” Dawes, 2/3rd Field Company, Royal Australian Engineers. There are several photos on the AWM site including the building the three murals were on.Photos taken by a Legatee when on active service in Libya in World War 2. They were donated to Legacy when it was thought they could be used for fundraising, which shows that Legatees were conscious of that Legacy needs to generate funds to continue its work.Black and white enlargement of a photo taken in Libya of Abbots Lager mural.tobruk, soldiers, lager, beer, abbots lager, murals

A photo of a mural in Libya painted by a South Australian Sapper of a tea pot saying '9,256 miles to Griffiths Bros Tea Headquarters, Melbourne'. The photo, and two others, were sent to Melbourne Legacy in 1979 by Legatee Syd Wilson of Yamba NSW. He thought Melbourne Legacy might be able to use them to generate money by selling them for advertising or publicity. He said they were enlargements of snapshots he had found in his old army trunk. The text says '9,256 miles to Griffiths Bros Tea Headquarters, Melbourne'. Legatee Wilson's letter says the murals were: 'painted on three walls of a white concrete Italian block house (Police Check post I think), some 18/20 miles west of Tobruk, between Tobruk and Derna, and near a captured Italian airfield, somewhere about February 1941. Obviously they were painted by a Victorian Sapper. They were very well done, by a competent Sign-writer/artist, in correct and excellent colours (captured Itie paint no doubt - there was plenty in their Naval Stores at Tobruk).' (NB Itie was slang for Italian) From the AWM website the signs were painted by South Australian painter, SZ538 Sapper Leslie John “Doc” Dawes, 2/3rd Field Company, Royal Australian Engineers. There are several photos on the AWM site including the building the three murals were on.Photos taken by a Legatee when on active service in Libya in World War 2. They were donated to Legacy when it was thought they could be used for fundraising, which shows that Legatees were conscious of that Legacy needs to generate funds to continue its work.Black and white enlargement of a photo taken in Libya of a Griffiths Tea mural.tobruk, tea, murals, world war two

A photo of a mural in Libya painted by a South Australian Sapper of a bottle of Victorian Bitter Ale being poured into the Melbourne Cup trophy and horses racing. The photo, and two others, were sent to Melbourne Legacy in 1979 by Legatee Syd Wilson of Yamba NSW. He thought Melbourne Legacy might be able to use them to generate money by selling them for advertising or publicity. He said they were enlargements of snapshots he had found in his old army trunk. The text says 'A good thing for the Cup but better for the tonsils'. Legatee Wilson's letter says the murals were: 'painted on three walls of a white concrete Italian block house (Police Check post I think), some 18/20 miles west of Tobruk, between Tobruk and Derna, and near a captured Italian airfield, somewhere about February 1941. Obviously they were painted by a Victorian Sapper. They were very well done, by a competent Sign-writer/artist, in correct and excellent colours (captured Itie paint no doubt - there was plenty in their Naval Stores at Tobruk).' (NB Itie was slang for Italian). 'The photos were there when we were coming back from Western Libya sometime in March 1941, prior to the 6th Division going to Greece.' From the AWM website the signs were painted by South Australian painter, SZ538 Sapper Leslie John “Doc” Dawes, 2/3rd Field Company, Royal Australian Engineers. There are several photos on the AWM site including the building the three murals were on.Photos taken by a Legatee when on active service in Libya in World War 2. They were donated to Legacy when it was thought they could be used for fundraising, which shows that Legatees were conscious of the way Legacy needs to generate funds to continue its work.Black and white enlargement of a photo taken in Libya of Victorian Bitter Ale for the Melbourne Cup mural.tobruk, beer, victorian bitter ale, ale, horse racing, murals, world war 2

Letters regarding three photos of murals in near Tobruk in Libya. The photos were sent to Melbourne Legacy in 1979 by Legatee Syd Wilson of Yamba NSW. He thought Melbourne Legacy might be able to use them to generate money by selling them for advertising or publicity. He said they were enlargements of snapshots he had found in his old army trunk. Legatee Wilson's letter says the murals were: 'painted on three walls of a white concrete Italian block house (Police Check post I think), some 18/20 miles west of Tobruk, between Tobruk and Derna, and near a captured Italian airfield, somewhere about February 1941. Obviously they were painted by a Victorian Sapper. They were very well done, by a competent Sign-writer/artist, in correct and excellent colours (captured Itie paint no doubt - there was plenty in their Naval Stores at Tobruk).' (NB Itie was slang for Italian) From the AWM website the signs were painted by South Australian painter, SZ538 Sapper Leslie John “Doc” Dawes, 2/3rd Field Company, Royal Australian Engineers. There are several photos on the AWM site including the building the three murals were on.Photos taken by a Legatee when on active service in Libya in World War 2 and donated to Legacy when it was thought they could be used for fundraising, which shows that Legatees were conscious of that Legacy needs to generate funds to continue its work.Black and white enlargement of a photo taken in Libya of Abbotts Lager mural.tobruk, murals

"Instrument of surrender/ of/ Japanese forces in New Guinea, New Britain/ New Ireland, Bougainville/ and adjacent Islands". Signed by "COMMANDER IN CHIEF/ JAPANESE IMPERIAL SOUTHEASTERN ARMY LIEUTENANT GENERAL/ GENERAL OFFICER COMMANDING/ FIRST AUSTRALIAN ARMY".Document - white colour paper, copy of original document. Black ink print with clear plastic laminate applied. Frame - timber, light brown colour varnish, decorative moulding. No glass front. Backing - timber plywood.framed accessories, document', ww2, japanese surrender

Port crock issued by the Sergeant's Mess, Puckapunyal under the banner "Certificate of Orphanage". Given to members of 'The Orphanage', Puckapunyal Army Base. Part of the Cooper Collection. See Catalogue No. 9586.2 for details of service for "Keith Cooper", No. 3798359.Stoneware port crock with black top and white body. Cork stopper in place. Ring handle. Black and white outline drawing of a bird on a sign on front. Lettering in black type. Makers logo on side.Port crock issued by the Sergeant's Mess, Puckapunyal under the banner "Certificate of Orphanage". Given to members of 'The Orphanage', Puckapunyal Army Base. Part of the Cooper Collection. See Catalogue No. 9586.2 for details of service for "Keith Cooper", No. 3798359.cooper collection, keith cooper, crock, memorabilia, puckapunyal

Ribbon is for Efficiency Decoration.1. Battle dress woollen jacket. Khaki colour. Captain's Pips on epaulettes. Royal Australian Ordinance Corps shoulder flashes. Green and Yellow service ribbon above left pocket. 2. Trousers, Khaki. 3. Shirt Polyester, khaki, short sleeved. 4. Tie, Khaki, cotton/polyester. Has had an 'Ad Hoc" modification to stay knotted. Elastic under shirt collar. 5. Belt, black. Brass fittings inside still has signs of a green dye.post ww2, army uniform, passchendaele barracks trust

Denis Gibbons (1937 – 2011) Trained with the Australian Army, before travelling to Vietnam in January 1966, Denis stayed with the 1st Australian Task Force in Nui Dat working as a photographer. For almost five years Gibbons toured with nine Australian infantry battalions, posting compelling war images from within many combat zones before being flown out in late November 1970 after sustaining injuries. The images held within the National Vietnam Veterans Museum make up the Gibbons Collection. A black and white photograph of - At the 1st Australian Field Hospital a sign shows layout of the hospital complex and local orders.photograph, 1st australian field hospital, 1 atf, nui dat, gibbons collection catalogue, denis gibbons

When Dennis Scheer arrived in Vietnam, he was assigned to an infantry unit near Chu Lai. Lt Scheer was awarded a Bronze Star with Valor and a Silver Star, the third highest military decoration for valor, for his service in the infantry. He was awarded another Bronze Star for Valor while serving in the cavalry.united states. army. infantry brigade, 198th. battalion, vietnam war, 1961-1975 -- personal narratives, american., vietnam war, 1961-1975 -- campaigns, lt. dennis scheer, bronze star for valor, silver star

This AGREEMENT and GAURANTEE signed on 19.5.1978 sets out the terms and conditions between "The Honorable Rupert James HAMER" being the Treasurer and "Bendigo, Eaglehawk and Kangaroo Flat Co - Operative Society limited" with registered Office at "Memorial Hall Pall Mall Bendigo" and the Australia and New Zealand Savings Bank Limited for an amount of $55,000.00 for the "Construction of Club Rooms for the "Bendigo and District Servicemen's Club". .1) Signed by Rupert James Hamer in the presence of (unclear) Registrar of Co - Operative Societies, the seal of the Bendigo, Eaglehawk and Kangaroo Flat Co - Operative Society and the Board of Directors "D. J. Paterson Director, W.A. Munro Director, J. K Barnes Secretary", witnessed by "H.J. Griffiths JP" .2) Signed by "R.J. Hamer Treasurer of Victoria, J.K. Barnes Secretary of the said Society". John Kerr Barnes OAM, refer Cat No 8040. Des Paterson, refer Cat No 8073P. W.A. Munro was William Alexander Munro WO.1 serving at Army Survey Regiment Bendigo. He served on the Committee of Bendigo RSL for the years 1974 - 78, Junior Vice President 1975, Senior Vice President 1976 - 77. Refer Cat No's 8073P and 8171..1) Legal document "Agreement" 4 pages, paper green colour, text in darker green with all added typing in black, hand written in blue pen, 3rd page has a red seal, purple circular stamp, red $5.00 stamp and six signatures. .2) Legal Document, "Guarantee" 4 pages green colour with text darker green, typed black additions added, two signatures in blue pen.brsl, smirsl, bdsc, 1978, legal

Gary Hickling of Macleod was successful in finding work after holding up a sign outside the Army Barracks on Greensborough Road.Digital copy of newspaper articlegary hickling, macleod people, unemployment

Round black velvet disc with caricature of a US Army soldier, "ZERR" on right pocket. He is holding a road sign hand written 67 HQ69 SIG BR 68. Flags of USA, Vietnam and Korea in background with silhouettes of tanks and soldiers on horizon. Rows of barbed wire in foreground. At top: 6-VIETNPM - 6 (in white) On helmet: FAIO (written by hand) On sign: 67 HQ69 SIG BR 68 (in white) disc, painting, velvet, us soldier, caricature

Round black velvet disc with caricature-style image of a soldier in US Army battle dress with a rifle over his left shoulder painted on it . Flags of America, Vietnam and Korea are in the background. He is holding a road sign. "Tobey" on his right pocket.On helmet: FAID-V ( written in pen) . On road sign: HQ69th Sig B.N. VIETNAM printed in white on top of disc.plaque, america, craft, art, souvenir, us soldier

With the Japanese cities of Hiroshima and Nagasaki destroyed by atomic weapons, the will of the Japanese leadership was tested Emperor Showa of Japan announced his intention to surrender to the Allies unconditionally over public radio on 15 Aug 1945. The date of Japan's formal surrender was 2 Sep 1945, and it took place aboard American battleship Missouri in Tokyo Bay. There were other surrender ceremonies including that on Sept 6 1945. At 0900 hours, sloop HMS Hart picked up Hitoshi Imamura and Jinichi Kusaka at Kabanga Bay, who would sign the surrender documents aboard HMS Glory at 1127 hours which surrendered 139,000 remaining personnel at Rabaul plus all forces in Australian territory in the South Pacific. The surrender of Imperial Japan was announced on August 15 and formally signed on September 2, 1945, bringing the hostilities of World War II to a close. The surrender ceremony at Rabaul, New Britain took place on 6 Sep 1945 aboard the British carrier HMS Glory surrendering 139,000 remaining personnel at Rabaul plus all forces in Australian territory in the South Pacific. Light brown frame with glass, of a black and white photocopy. Script is very ornate and has Japanese lettering at the bottom. Instument of Surrender of Japanese Forces in New Guinea, New Britain, New Ireland, Bougainville and adjacent Islands. I the Commander in Chief of the Japanese Imperial Southeastern Army, hereby surrender to the General Officer Commanding First Australian Army all Japanese Armed Forces under my command in accordance with the Instrument of Surrender issued by the Japanese Imperial General Headquarters and Government and General Order No.1 Military and Naval issued by the Japanese imperial General Headquarters. I will henceforth and until otherwise directed by you or your successor carry out the orders issued by you or your staff on your behalf to the best of my ability and I will take action to ensure that my subordinate commanders carry out the orders issued by your representatives. Commander in Chief Japanese Imperial Southeastern Army. Received on board H.M.S. Glory off Rabaul at 1130 hours sixth day of September 1945. Lieutenant General General Officer Commanding First Australian Army.wwii, world war 2, imperial japanese army, japanese army, surrender, rabaul

A red coloured cover with black information. There are signs of possible water damage down the right hand side of the booklet. At the top figth hand reads WO Code No. 8868. Down the spine of the book reads Manual of Map Reading: Air Photo Reading and Field Sketching : 1map reading, air photo reading, manual

A red coloured cover with black information. There are signs of possible water damage down the right hand side of the booklet. At the top figth hand reads WO Code No. 8868. Down the spine of the book reads Manual of Map Reading: Air Photo Reading and Field Sketching : 1map reading, air photo reading, manual

A blue coloured cardboard cover which has signs of water damage on it and it is slightly buckled. Under the Australian Army Insignia is the niformation in black ink. Top right hand corner reads 7610-66-107-6806. There are two punch holes down the left hand side.There is a name in blue ink which I think reads Sgt Raynant, D. F. The description of the cover is different to the one inside of the cover which reads: Australian Army: Manual of Land Warfare. Part Two Corps Doctrine Infantry Training Volume 4 Infantry Small Arms. Pamphlet No 3 The Sub Machine Gun 0 mm F1 (All Corps) 1983australia - armed forces - service manuals, land warfare, infantry training, sub machine gun 9mm f1, corps doctrine, infantry small arms

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

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

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