p.349.non-fictionA trip on several rivers in the United Statesconcord river - description and travel, merrimac river - descripotion and travel

Index, ill, maps, p.299.non-fiction'This is the story of how, on 29 May, 1953, two men, both endowed with outstanding stamina and skill, reached the top of Everest and came back unscathed to rejoin their comrades. 'Yet this will not be the whole story, for the ascent of Everest was not the work of one day, nor even of those few anxious, unforgettable weeks in which we prepared and climbed this summer. It is, in fact, a tale of sustained and tenacious endeavour by many, over a long period of time...We of the 1953 Everest Expedition are proud to share the glory with our predecessors.' Sir John Hunt. mount everest expedition, mountaineering - himalayas

An old rare damaged brown heavily embossed patterned hardcover book, The Life of The Rev. John Wesley, A.M. by Richard Watson. The spine is missing. There are loose pages particularly at the front with pencil and ink inscriptions. A sewing pin is holding the black and white portrait of John Wesley to the endpaper. The spine edge inside has grey tape holding the endpapers together. There are dirty marks, severe tanning and foxing noted all through this 1851 edition. 485p. with a few pages at the back of further religious works by the publisher John Mason.non-fictionThe life of The Rev. John Wesley, A.M. sometime fellow of Lincoln College, Oxford and founder of the Methodist Societies.religion, biography, methodist church history

This is a plain brown book with small diagonal squares pattern on the covers. La Nourriture De L'ame, ou Recueil De Prieres pour les Principales Fetes de L'annee which translates to - The Food for the Soul or Collection of Prayers for the Main Holidays of the Week. The author is Jean- Rodolphe Ostervald, pastor of the French Church of Bale. There is a drawing on the frontispiece of Jesus talking to men. At the back is a Table of Contents. Some pencil markings inside, foxing and tanning. There are two bookmarks included - One has Federal printed on it in red lettering with a rising sun pattern at each end with a French handwritten message written on the front and back. Another paper used as a bookmark has Y Foy and Gibson, Melbourne. 545p.non-fictionFood for the Soul - a collection of prayers for every day of the week and for the main holidays of the week. religion, prayers

A small tan coloured paperback book titled, The Academic Manual of the Rudiments of Music by G.Augustus Holmes. The letter R for Rudiments of Music is decorative in the illumination style of lettering. It was prepared for candidates for the various Musical Examinations, and contains, amongst other things, specimen papers which have been issued by the various examining bodies.It is damaged and has tanning and foxing throughout. 59p. Price 1s 6d. NET. The publisher and address is written at the bottom.non-fictionA manual of rudiments of music prepared for conditions for the various musical examinations, and contains, amongst other things, specimen papers which have been issued by the various examining bodies. music books, music documents, music examinations, textbooks

A small olive green coloured paperback textbook titled, 'Three Hundred and Fifty Questions and Exercises on the Academic Manual of the Rudiments of Music' by G.Augustus Holmes. It was prepared specially for candidates for the various Musical Examinations and follows the success of the first book by Holmes, 'The Rudiments of Music' which contained, amongst other things, specimen papers which have been issued by the various examining bodies 63p. Price 1s 6d. The publisher and address is written at the bottom. Inside the front cover are listed other books written by A. Holmes as well as the Series listed on the back cover.non-fictionA manual of 350 questions and exercises on the rudiments of music prepared specially for candidates for the various musical examinations. It follows the successful first book by Holmes, 'The Academic Manual of the Rudiments of Music'.music books, music documents, music examinations, textbooks

Plates, Ill, p.217.non-fictionA compilation of the last written words of the men who were executed after the Easter Week Rising of 1916. ireland - uprising 1916, ireland revolutionaries - correspondence

Graham Wells Middleton was born in Corryong in Northeast Victoria in 1935. He was the first person to swim the length of the Murray River. He began on November 30th 1991 at Bringenbong, near Corryong. After completing a distance of 2366 kilometres over 138 consecutive days, Graham finished his marathon swim in Lake Alexandrina, South Australia on April 14th 1992. This feat was recognised in The Guiness Book of Records and was sponsored by the Rotary Club of Corryong. His motivation was to raise money to help children with cancer. In the process he raised $100,000 for cancer research which made Graham Middleton the first individual in Australia to raise $100,000 for the cause. In the weeks and months after his swim ended, donations continued to be made, with the final total exceeding $200,000. The proceeds raised by the swim were donated to " Kids 'n' Cancer" and the Australian Rotary Health Research Fund. Graham Middleton died on October 27, 1995This photo is significant as Graham Middleton was a resident of Northeast Victoria who made an outstanding contribution to the community and to supporting medical research as a result as the Murray River swim depicted in this image.A black and white photo of Graham Middleton, a marathon swimmer who swam the Murray River. The photo has been mounted in a metal frame.graham middleton, murray river, murray river swim

A 62 page book outlining the loss of the Beaufort Bomber and the search to locate it. The book includes maps, illustrations and a bibliography. The cover features a map of the search area for the bomber.This book tracks the crash of the RAAF Beaufort, A9-228 which crashed in the mountains near Eskdale, Victoria and the search to locate the wreckage. On the night of 4 June 1945, just weeks before the end of World War 1, a Beaufort Bomber went missing whilst conducting a navigational exercise between Mount Gambier in South Australia and Sale in Victoria.The aircraft was meant to head east, but instead it headed north east due to a series of navigational errors. It flew over Albury, circled and then headed towards the Victorian Alps. It flew over the town of Eskdale in Northeast Victoria and crashed into the side of Mount Tawonga. All crew on board perished. Those lost were Flight Officer Don Flavel (pilot), Flight Officer Robert Clayton (navigator), Flight Officer Fred Wallis and Flight Sergeant L. J. Sims (radio operator). At the time of the crash, many members of the Eskdale community were in the public hall just beginning to watch a screening of the Bing Crosby movie, "Going My Way". This accounts for the title of the publication.beaufort bomber crash 1945, beaufort bomber eskdale, aircraft accidents victoria

Image of the newly opened Mentone Picture Theatre located on Point Nepean Road in Mentone. Local picture theatres abounded in the in the suburbs of Kingston from the 1920s through to the late 1950s. The New Mentone Picture Theatre was dreamt up and developed by Albert Lydford who along with other promoters, formed a company that provided the finance for the erection of a large cinema right at the junction of Balcombe Road and Point Nepean Road. The New Mentone Picture Theatre operated in competition with a council owned facility on Brindisi Street and within three years of opening, the council theatre was closed. The New Mentone Theatre flourished until the late 1950s. It offered three changes of program each week. Two movies screened on Mondays and Tuesdays. On Wednesday a new bill went on for just one night, and then the main feature of the week, a movie the likes of Casablanca, was shown from Thursday through to Saturday. During its heyday there were full houses almost weekly. Saturday night shows were often booked out in advance and some families had permanent bookings at weekends. Locals treated the place as a centre of social activity, a venue for an enjoyable night out that did not involve great expense or long travel times. The advent of television in the 1950's, saw the theatre close forever in 1960.Sepia toned image of the New Mentone Picture Theatre, located on Point Nepean Road, Mentone.theatre, movies, mentone, entertainment

Launch of Legacy Week in 1990 included an exhibition of Aviation Art at Legacy House. Paintings were by Frank Harding of Renmark, South Australia. The article published on 23 August 1990, mentions that Frank Harding had painted over 50 paintings of aircraft flown by Australians and published a book of the images. It was called 'They flew for the King'. Each painting had been extensively researched to capture a specific moment in the World War 2 combat career of various pilots, flight officers or bomb-aimers. His aim was to honour the fine efforts of these great individuals. Unfortunately the artist died a few weeks after the exhibition and launch of his book. Photos are at 01523 also see media release at 01521. In 1990 the slogan was "Lest YOU forget" with an image of the statue of Simpson and his donkey rather than a personality, see items at 01250, 01520. The main time of year for fundraising is September when Legacy holds 'Badge Week'. An example of promotional material from the 1990s, including the speech and media release. Marketing material and photos were compiled and released to newspapers, also printed as brochures and sometimes as stickers and collection tin wrappers. Newspaper article for an aviation art exhibition for Legacy Week in 1990 and an article about the death of the artist.legacy week, paintings, promotion, frank harding, planes, warplanes

Launch of Legacy Week in 1990 included an exhibition of Aviation Art at Legacy House. Paintings were by Frank Harding of Renmark, South Australia. A newspaper article published on 23 August 1990, mentions that Frank Harding had painted over 50 paintings of aircraft flown by Australians and published a book of the images. It was called 'They flew for the King'. Each painting had been extensively researched to capture a specific moment in the World War 2 combat career of various pilots, flight officers or bomb-aimers. His aim was to honour the fine efforts of these great individuals. Unfortunately the artist died a few weeks after the exhibition and launch of his book. Guests included Bud Tingwell, who flew for the RAAF in World War 2 and other RAAF personnel. It appears to have included a heritage display from the Royal Australian Air Force Museum at the same time. The article is at 01522 also see media release at 01521, more photos of the paintings and guests are in 01524. In 1990 the slogan was "Lest YOU forget" with an image of the statue of Simpson and his donkey rather than a personality. The main time of year for fundraising is September when Legacy holds 'Badge Week'. Often there is a celebrity who gives his or her time as 'Personality of the Year'. Was in a scrapbook of photos spanning 1987 to 1991.An example of an art exhibition being held at Legacy House to promote Legacy during Legacy week in 1990.Colour photo x 6 of an art exhibition for Legacy Week in 1990.legacy week, paintings, planes, warplanes, promotion

Launch of Legacy Week in 1990 included an exhibition of Aviation Art at Legacy House. Paintings were by Frank Harding of Renmark, South Australia. A newspaper article published on 23 August 1990, mentions that Frank Harding had painted over 50 paintings of aircraft flown by Australians and published a book of the images. It was called 'They flew for the King'. Each painting had been extensively researched to capture a specific moment in the World War 2 combat career of various pilots, flight officers or bomb-aimers. His aim was to honour the fine efforts of these great individuals. Guests included Bud Tingwell, who flew for the RAAF in World War 2 and other RAAF personnel. It appears to have included a heritage display from the Royal Australian Air Force Museum at the same time. Unfortunately the artist died a few weeks after the exhibition and launch of his book. The article is at 01522 also see media release at 01521, more photos of the paintings and guests are in 01523. In 1990 the slogan was "Lest YOU forget" with an image of the statue of Simpson and his donkey rather than a personality. The main time of year for fundraising is September when Legacy holds 'Badge Week'. Often there is a celebrity who gives his or her time as 'Personality of the Year'. Was in a scrapbook of photos spanning 1987 to 1991.An example of an art exhibition being held at Legacy House to promote Legacy during Legacy week in 1990.Colour photo x 9 of an art exhibition for Legacy Week in 1990.legacy week, painting, promotion, planes, warplanes

A photo from The Age on 6 September 1960 shows that the Prime Minister Robert Menzies spoke at the launch of Legacy Week. The article was cut from the newspaper and pasted into a scrap book of press clippings. For many years Legacy kept scrap books of press clippings that related to their work and publicity. Sir Robert Menzies spoke multiple times at Legacy functions, two speeches are recorded in the archive.A record that prominent Australians helped launch Legacy WeekNewspaper article with a photo of Robert Menzies pasted to brown page of a scrap book .legacy week, speakers, robert menzies

A newspaper article promoting Legacy Week in The Age on 7 September 1960. The caption of the photo says 'Executive Officers of Legacy, Mrs Judith Saxon, Mrs Edith Upton and Mr Ivan Layton, were busy yesterday preparing badges and tins for the street appeal which will be held on Friday as part of Legacy week.' Behind them is a poster with the slogan 'Help Legacy' with an image of a Legacy Boy that was printed as a brochure in 1960 with the slogan 'The Legacy Boy, worthy son of a worthy father.' The article was cut from the newspaper and pasted into a scrap book of press clippings. For many years Legacy kept scrap books of press clippings that related to their work and publicity.A record of publicity photos taken in 1960 for promoting Legacy during Legacy week and an early example of the type of collection tins used in the 1960s.Newspaper article of three people with collection tins for Legacy week in 1960 pasted to brown page of a scrap book .legacy week, fundraising, ivan layton

A newspaper article promoting Legacy Week in The Age on 9 September 1960. The caption of the photo says 'Junior Legatee Jim Illingworth wore an appealing smile as he proudly displayed a Legacy Appeal poster at Legacy House yesterday. The target of today's appeal is £30,000.' He could be the same junior legatee that posed for an image of a Legacy Boy that was printed as a brochure in 1960 with the slogan 'The Legacy Boy, worthy son of a worthy father.' The article was cut from the newspaper and pasted into a scrap book of press clippings. For many years Legacy kept scrap books of press clippings that related to their work and publicity.A record of publicity photos taken in 1960 for promoting Legacy during Legacy week.Newspaper article of a junior legatee for Legacy week in 1960 pasted to brown page of a scrap book .legacy week, fundraising, junior legatee

A newspaper article promoting Legacy Week in The Sun on 10 September 1960. The story about the donation of a special bottle of King's Ale to Legacy that was to be auctioned to raise money for Legacy Week in 1960. In 1902 a special brew of ale was made by King Edward VII. In 1960 a bottle of the ale turned up in Melbourne and was donated to Legacy by Mr A W Taylor of 'Old Tin Shed' a motor accessories firm. The photo shows Mr A W Taylor and Legatee George Cowan. A similar photo was taken by The Age. The article was cut from the newspaper and pasted into a scrap book of press clippings. For many years Legacy kept scrap books of press clippings that related to their work and publicity.A record of publicity photos taken in 1960 for promoting Legacy during Legacy week.Newspaper article of a donor presenting King's Ale to Legacy in 1960 pasted to brown page of a scrap book .Title 'King's Ale for Legacylegacy week, fundraising, junior legatee, ale, beer

A photo from The Age on 31 August 1960 shows that Sir Macfarlane Burnet, director of the Walter and Eliza Hall Institute was invited to speak at a Legacy club function. He won a Nobel Prize in 1960 for predicting acquired immune tolerance and was best known for developing the theory of clonal selection. For many years there was a Legacy meeting every Tuesday with a guest speaker every week. The article was cut from the newspaper and pasted into a scrap book of press clippings. For many years Legacy kept scrap books of press clippings that related to their work and publicity.A record that prominent Australians were invited to speak at Legacy functions. Guest speakers at Legacy functions were from very different walks of life and the subjects spoken about were many and varied.Newspaper article with a photo of Sir Macfarlane Burnet pasted to brown page of a scrap book .legacy week, speakers, legatee event

A newspaper article The Age on 6 July 1960 about the opera star June Bronhill visiting Legacy House. June Bronhill was starring in 'The Merry Widow' and proceeds from the first performance at the Tivoli Theatre on 18 July was being donated to Legacy. The legacy girls were, from left, Gail Horton 8, Claire Ryan 8, June Bronhill, Diane Riseley 12, and Gail Jubb 12 years old. There were other articles in the scrap book about The Merry Widow, and the performance raised £2,000 for Legacy. The article was cut from the newspaper and pasted into a scrap book of press clippings. For many years Legacy kept scrap books of press clippings that related to their work and publicity.A record of publicity photos taken in 1960 for promoting Legacy during Legacy week.Newspaper article of Opera Star June Bronhill visiting Legacy girls classes in 1960 pasted to brown page of a scrap book .girls classes, gala performance

Red cloth covered hardcover edition of the Blaskhi's account of Sydney Legacy published in 1969.non-fictionhistory, sydney legacy, eric blashki

Letter dated 1 Nov 1957 from W.B. Russell to Mr Cooper (Chair of Biography Committee) reporting on his progress with the writing of "There Goes a Man". The work so far involved research and writing a draft of the first few chapters, and he notes that despite the 50 hours per week he is allocating to his Departmental duties, he has been able to keep fairly close to his target of spending 36 hours a week on the book.Part of the story of how the book 'There goes a Man' came to be created.White paper with black type of a letter from WB Russell to Legacy about the progress of the biography he was writing about Stanley Savige.Signed W.B. Russell in blue ink, annotated in pencil: 'Shown to J.G. Gillespie 30.11.57'savige book, committee

Series of letters between Mr. W. Cooper and Mr W.B. Russell at the beginning of 1958 regarding progress with the writing of "There Goes a Man"; Russell notes that he is 3-4 weeks behind his planned schedule. Cooper sent a 200 pounds sterling progress payment which was acknowledged and receipted by Russell as the final progress payment, only 24 pounds sterling of which was unexpended.Part of the story of how the book 'There goes a Man' came to be created.Four typed sheets, black or purple on white.Signed W.B. Russell in blue ink, annotated in pencil: 00917.1 'Read to L/ Gillespie' 00917.2 'Copy to L/Gillespie' 00917.3 'Read by L/Gillespie 6.2.58' 00917.4 Dated '1/2/58'savige book, biography

Letter dated 7/3/58 from W.B. Russell to W. Cooper, detailing progress on the biography of Sir Stanley Savige, and noting that he expects to complete the manuscript in the third week in July.Part of the story of how the book 'There goes a Man' came to be created.White paper with black type, a letter from WB Russell.Signed 'W.B. Russell' in blue inksavige book, archive

Photograph of Legatee Bob Cowper and another man by displays of paintings of aircraft. It was the launch of Legacy Week in 1990 which included an exhibition of Aviation Art at Legacy House. Paintings were by Frank Harding of Renmark, South Australia. The photo was used for a newspaper article published on 23 August 1990, mentions that Frank Harding had painted over 50 paintings of aircraft flown by Australians and published a book of the images. It was called 'They flew for the King'. Each painting had been extensively researched to capture a specific moment in the World War 2 combat career of various pilots, flight officers or bomb-aimers. His aim was to honour the fine efforts of these great individuals. Unfortunately the artist died a few weeks after the exhibition and launch of his book. Photos are at 01523, the article at 01522, also see media release at 01521. Date is assumed to be 22 August 1990 from the reference number on the back 900822.An example of an art exhibition being held at Legacy House to promote Legacy during Legacy week in 1990.Black and white photo of Legatee Bob Cowper at the aviation exhibition. Stamped on back Copyright Herald and Weekly Times in green ink. Handwritten "900822 / 261" in blue ink, "Pic 7" in black ink.legacy promotion, legacy week, painting

A book about the fighting around the French village of Pozieres in 1916. Many of the early legatees fought on the Western Front and some, including founder Stan Savige, fought at Pozieres. There is a photo in the book of Brigadier-General Gellibrand and his staff, including Savige, eating breakfast in a shell hole. Back in Australia after the war Gellibrand inspired Savige to found a club like the Remembrance Club he had founded in Hobart. Thus Savige founded Legacy. Speeches by Legatees Kemsley and Armstrong in later years showed they had also fought in the Pozieres area. Some research has shown: The fighting around Pozières was part of the brave actions of the Australians during the battle of the Somme from July 1916. Between 23 July and 5 August 1916, the Australian 1st and 2nd Divisions captured Pozières village and Pozières heights, a ridge 500 metres east of the village. The 4th Division then continued the attack north along the ridge, the Australians in ten days of continuous action reached Mouquet Farm. The farm resisted capture until 26 September 1916. In less than seven weeks in the fighting at Pozières and Mouquet Farm three Australian divisions suffered 23,000 casualties. Of these, 6,800 men were killed or died of wounds. It was a loss comparable with the casualties sustained by the Australians over eight months at Gallipoli in 1915.A book about a battle that was important to the early legatees.Hardcover book x 318 pages about the Somme battles of World War One.Handwritten 'Melbourne Legacy Library WW1 in black ink on the fly leaf. Also a sticker saying property of Rob Allison on title page.somme, pozieres, battles, aif

Original handwritten names and results of HGC competing in the Yarra courses mid-week match play competition between Rosanna, Heidelberg, Latrobe, Kew, Greenacres and Yarra Valley Golf Clubs, 2002-2012Volume 11 of a set of women's pennant resultsGreen spiral bound hardcover notebook. Handwritten and typed results pasted into book.women's golf, associates, ladies' golf, pennant

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