Front cover "While you away/ A DIGEST/ OF/ HAPPENINGS/ IN AUSTRALIA/ 1940-1945" item in the collection of "William John SULLIVAN" VX 57829. Review Cat No. 9523P for his service details.Soft cover. Cover - paper, with white and dark green colour print on front and back. Front background light green colour with small illustration of stars and map of Australia. Spine - metal staples. 95 pages - cut, plain, off white colour paper. Illustrated black and white colour photographs, sketches, maps and posters.books, army, ww2, william john sullivan

Chipboard base for a block mounted black and white photograph of Elizabeth St Melbourne at Franklin St. Has a stapled nylon cord on rear to provide a hanging method. Has tram W5 728 north bound to Brunswick on a route 18. In the background is the Argus building, printers of The Argus and The Australasian. Note the safety zone. Photo and story along with a photograph by Warren Doubleday of the same location September 2014 used in the October 2014 issue of Bellcord - see image i3. First two pages extracted only.On rear in ink at the top - "Donated to Hawthorn Tram Museum Feb. 19th 2012 Ron Scholten"trams, tramways, elizabeth st, brunswick, route 18, the argus, franklin st, tram 728

The Argus, Melbourne Tuesday June 2 1942. 6 pages. Main headlines: - 3 midget subs sunk in Sydney Harbour - Rommel trying to fight his way out - No more beer for Germany - Planning vase air offensivedocuments - newspapers, military history, the argus

Small booklet titled 'Bendigo's Riches'. Reprint of a Special Series of Articles which appeared in 'The Argus' on the Potential Wealth of the Water Supply, Soil, and Sunshine of The Bendigo District. Printed by Wilson and Mackinnon, Printers, Collins Street. Booklet mentions the potential wealth of Bendigo's Water, Soil and Sunshine; Orchards, Dairying, Tomato Growing, Fruitgrowing, Land, and Water Supply. Also discussed are Antiquated Mining Regulations, City Trust suggested, and its Advantages, Opportunities, 'The Argus' suggestions endorsed, Mine-owner's Opinion, The Mayor of Bendigo's Opinion, Statement by Strathfieldsaye Shire Secretary, Locked-up Area Useless for Timber, Shire Appeals for Unlocking the Land, 'The Argus' Thanked, Bendigo Chamber of Commerce, Bendigo City Council and Preserving Factory at Bendigo. Photos include: Irrigated pastures, rye-grass and clovers on Mr James Cumming's Farm; Irrigating Tomatoes on Mr Elliot Borley's Farm, White Hills; Junction of Huntly and White Hills Irrigation Channels; Packing Tomatoes at Mr B. Puig Y. Ventura's Garden, White Hills; and Tomato Patch on the Holding of Mr T. L. Sweeny, Jun. Back of the booklet has subscription rates and price of The Argus. Missing 8/07/2021place, land, agricultural, book - bendigo's riches, the argus, wilson and mackinnon, councillor carolin, james cumming, dairying, mr elwood mead, tomato growing, mr b puig y ventura, mr elliot borley, fruitgrowers, bendigo fruitgrowers' co-operative society, mr w a hamilton ex-mla, upper coliban, coliban system, antiquated mining regulations, lands department, chaffey bros, mr g h crawford, mine-owners' association, councillor andrew, mr baillieu, miners' association, agricultural society, sir thomas bent, strathfieldsaye shire, mr r b brennan, mr t l sweeny jun, bendigo sewerage farm, councillor osborne, councillor lowndes, councillor t r long, bendigo chamber of commerce, bendigo city council, councillor andrew, councillor h a ross, councillor wilkie, h m leggo and co

BHS CollectionA black and white photo of Bendigo taken from the Lookout Tower in Rosalind Park. The Post Office and Courthouse are in the foreground. The view includes looking up Williamson Street from Pall Mall with the Shamrock Hotel on the corner. This photo was obtained from 'The Argus' newspaper date unknown.photograph, streetscape, bendigo, la trobe university bendigo collection, collection, bendigo, scenery, photograph, photographs, photography, photo, williamson street , streetscape, lookout tower, rosalind park, pall mall, the argus

Letter in The Argus newspaperLetter to The Argus on preservation of Koalas on Phillip Islandlocal history, documents, newspapers, phillip island, koalas, wildlife, black & white newspaper clipping

Black and white photo ' The Sculptor at Work on her Gift to the Children of Melbourne' - The Fairies' Tree in the Fitzroy Gardens Melbourne , Sculptor Miss Ola Cohn, A.R.C.A. (London ) Photographed by The Argus -Melbourne // rear of postcard shows a message from Miss Ola Cohn / card was published by the Rose Stereograph Co. Armadale , Victoria.photograph, person, female, the fairies' tree in the fitzroy gardens melbourne , sculptor miss ola cohn a.r.c.a london , the argus -melbourne / published by the rose stereograph co. armadale , victoria.

The book was published by the Argus newspaper during the 1950sThe Argus Students Practical Notebook. Volume 3. Small cream coloured book 'The Argus Practical Notebook Volume 3 on black backgounnd on frontTo Elwynne from Grampa for her birthdaydocuments, education

Article in The Argus newspaperArticle in The Argus on establishing of a Sanctuary for Koalas on Phillip Island.local history, documents, newspapers, phillip island, koalas, wildlife sanctuary, black & white newspaper clipping

2 copies of a white booklet titled, 'Bendigo's Riches.' This is a reprint of a series of articles printed in 'The Argus' on the potential wealth of the water supply, soil, and sunshine of the Bendigo district. Published Melbourne, Wilson and Mackinnon, Printers, Collins St. Melbourne. 15 pgs. ph. 1909. Item part of the Mr. Ken Hesse collection donated by Mr. James Lerk.rural industry, agriculture - cultivation, bendigo, ken hesse collection, collection, bendigo, the argus, bendigo resources, resources, agriculture, farming, mining

Folder containing assorted newspapers including- The Argus dated 22/2/1940 17th Australian Infantry Brigade 2nd AIF Souvenir Supplement The Argus dated 10/5/1943 Resistance Ending in Tunisia Daily Herald dated 5/6/1944 Allies in Rome The Herald dated 27/9/1947 Britain will stay in Middle East The Herald dated 15/8/1945 Peace - World Hails Jap Surrender(2 copies) The Sun dated 4/3/1943 RJEV Falls to Russian forces The Sun dated 8/5/1945 War Ends in Europe (2 copies) The Sun dated 23/10/1945 The Sun dated 9/1/1945 The Sun dated 31/1/1946 The Herald Special Edition Australian Highlights assorted newspaper clippings Large black plastic folder housing assortment of newspaper clippingsnewspaper, newspaper clippings, ww2, the argus

Image shows a view of Collins St looking west from near Russell st looking towards Swanston St. Has two cable trams in the view. Has the offices of The Argus and the Australasian newspapers in the view on the left side of the card. On the outside of the building are boards with extracts of the newspaper and people viewing them. The card has the name of 'VSM Melbourne" and that it was printed in Prussia.Yields information about Collins St c1908 and the nature of dress of the many people in the photo and The Argus building.Colour postcard - Divided back, titled "Collins Street Melbourne (looking west)", date stamped in two places "Melbourne 10-3-08"In pencil 2E collins st, postcards, cable trams, the argus

Newspaper clipping documents deputations to the Minister of Public Works for grants to be made available for repairs to bridges and roads damaged by heavy flooding in 1933, in particular, the replacement of a stone and concrete bridge over the Leigh River at Garibaldi in the Buninyong Shire. The concrete slabs were still in the water in the 1960s/70s or even later. Three black and white photographs showing flood damage to the bridge over the Leigh River at Garibaldi, plus a photocopy of a newspaper clipping from The Argus December 1933 describing the extent of the flood damage. .1) shows blue stone buttress and collapsed bridge/road. .2) mirror image of above .3) unknown man waling an a girder of the Garibaldi bridge .4) photocopy of newspaper clipping about flood damage from The Argus December 1933Damage by Floods: Bridges washed away (The Argus December 1933)leigh river, garibaldi, buninyong shire, richard vincent, garibaldi bridge

Correspondence to B H S re James Buick(Beehive Arcade) from Margaret Cunningham, Toorak, grand-daughter of James Buick. Mention also of Edward Cunningham (Sir) - ex Bendigo Advertiser. Offer from writer of copy of 'Bendigo and Vicinity' to BHS - accepted (1976). Margaret Cunningham is the niece of Sir Edward Cunningham (sometime editor of the Argus) who began is journalistic career on The Bendigo Advertiser. The second page is the response from Mr R.A. Anderson thanking Miss Cunningham and accepting the copy of 'Bendigo and Vicinity".Margaret Cunninghamperson, individual, james buick, james buick, the bendigo advertiser, sir edward cunningham (the argus)

Document. KELLY & ALLSOP COLLECTION. Two share certificates issued by the North Argus United Gold Mining Company, No Liability, Moon Reef, Garden Gully Line, Eaglehawk. Certificate Nos. 2131 & 2132 each of 100 shares issued to N.Kershaw of Bendigo on 2 March 1894. Each share of 10 shillings each raised 15,000 Pounds from 30,000 shares. Certificates signed by J.H.Kirkwood, Manager.North Argus United Gold Mining Co.business, stockbroker, kelly & allsop, kelly & allsop collection, share certificates, north argus united gold mining co., n.kershaw, j.h.kirkwood.

The aerial view of Sunbury was featured in The Argus newspaper in 1936 in recognition of 100 years of European settlement of the area. It shows the extent of the township in 1936 which extended from the railway line in the west to the Jackson Creek in the east and the Sunbury Asylum in the south and northwards towards Macedon Street. The photograph was taken when Sunbury was a country settlement 25 miles ( 37 kms) from Melbourne. Since the 1980s the area grown rapidly and is now an outer suburb of Melbourne.A black and white aerial photograph with a cream border of the Sunbury township. SUNBURY 1936 - A SOUVENIR AERIAL PHOTOGRAPH ISSUED BY THE ARGUS.aerial photographs

The Argus newspaper published in Melbourne Victoria 1848 - 1957. On occasions they ran competitions requesting articles to be sent in possibly on a specific topic.Margaret Reid won 1st prize for her story about a possum. Margaret lived in the Kiewa Valley at 'Willowdene', Tawonga Roadside via Wodonga. Black and white photocopy of article in the Argus newspaper dated Thursday 25 January 1934 page 4.margaret reid, tawonga

A soft covered magazine titled ''The Overdue Main'' Magazine. ''Souvenir of the Voyage from England to Australia.'' 29-7-19 to - ''Printed at Cape Town by The Argus Printing and Publishing Company, Ltd. August 1919. Vol. 1. At Sea. Australian Commonwealth Military Forces. 8 pgs.Printed at Cape Town by the Argus Printing and Publishing Company Ltd, August, 1919magazine, organization, australian commonwealth military fo, lydia chancellor, collection, australian commonwealth military forces, magazines, souvenirs, voyages, ships, shipping

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

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

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