Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: BEECHWORTH CARRIAGE MUSEUM / MARCUSE Reverse: BEECHWORTH NOSTALGIA / BW-08 / B 9 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Colour photographs of the opening of the new permanant exhibition in the museum of the Castlemaine Art Gallery and Historical Museum. Left to right: John Challis (Challis Design), Clare Gervasoni (curator) and Tim Billings (designer).clare gervasoni, tim billings, john challis, castlemaine art gallery and historical museum, camp to city

Contained in Volume 2 of a set of two spiral magnetic photo albums, each containing 10 leaves, 20 pages; Vol. 1 labelled "Houses - Eltham South" and Vol. 2 labelled "Eltham Houses". Newspaper article promoting museum and unrelated clipping advertising house auctioneltham, real estate advertisement, houses, woongarri

Black and white photo of construction of Nunawading Historical Society's Museum buildingnunawading historical society museum, museum construction

Black and white photo of construction of Nunawading Historical Society's Museum Buildingnunawading historical society museum

Black and white photo of construction of Nunawading Historical Society's Museum buildingnunawading historical society museum

Black and white photo of construction of Nunawading Historical Society's Museum buildingnunawading historical society

Black and white photo of construction of Nunawading Historical Society's Museum building.nunawading historical society

Black and white photo of construction of Nunawading Historical Society's Museum buildingnunawading historical society

Greenwich Palace no longer exists however archaeology had added greatly to our understanding of life at the Tudor Court at Greenwich. Since 1971 there have been well over 20 digs on the site. Many wonderful and intriguing items from gold coins to tiled floors and human skeletons have been found. The first major dig uncovered the structure of the royal apartments next to the river. Not only did it clarify the floor plan but finds included some rare Tudor ceiling decorations, a hoard of gold coins and many personal items such as dice used for gaming. Perhaps the most revealing excavations have been the most recent. In 2005 while monitoring the digging of a drainage trench archaeologists found brickwork and tiles that formed the floor of the east end of the Tudor Chapel Royal where the altar once stood.Colour photograph of Greenwich Chapel and Museum, England, Mason's Mark on stoneworkgreenwich, stone, museum, chapel

Yields information about the photographic holdings of the Gold Museum, an din particular the preparation of No. 38 decorated for the Royal visit of 1954 and Bridge St Ballarat.Photocopy of two photographs from the Gold Museum Tramways Map Cabinet: 80-020b - No. 38 in Wendouree Parade, at depot junction receiving finishing touches in March 1954, prior to the Royal visit - See Reg Item 412 for a photo in Lydiard St Nth and other items. 80-020c - Bridge St looking West from Stones Comer, shows tram track, parked cars.Along top edge "Gold Museum Tramways Map Cabinet"trams, tramways, ballarat, royal visit, decorated trams, bridge st

Set of five Newspaper cuttings and one hand written note regarding the planning for a museum at the Hawthorn Tram Museum Depot. .1 - The Age 25/11/1991 - "Libs promise a tram Museum" by Mark Brolly, quotes the Minister, Mr. Alan Brown. .2 - Progress Press, 27/11/1991 - "Trams for Museum" .3 - Progress Press, 24/3/1993 - "Tramway Museum planned" .4 - Progress Press, 27/9/1994 - "Tram museum call" .5 - Progress Press, 21/3/1995 - "Tram depot on track", features a photo of Alan Brown inside a W. Story by Emma Duncan, photo Simon .6 - Handwritten note regarding the re-development of the Hawthorn Tram depot and VicTrack details - Brendon Mack and Office of Major Projects.trams, tramways, hawthorn tram depot, tram museum, museums, minister for transport

Folded A3 sheet printed on manila coloured heavy paper, titled "Welcome to the Melbourne Tramway Museum" about the tram Museum at Malvern Depot, operated by Norm Maddock. Gives details of the Museum, contact details - a seven digit phone number. Has numerous illustrations, photographs and tickets. 2 additional copies added 18/1/2021trams, tramways, tram museum, malvern, melbourne tramway museum, ptc, connies

Colour photographs of the opening of the new permanant exhibition in the museum of the Castlemaine Art Gallery and Historical Museum. Left to right: Peter Perry (Gallery Director), Clare Gervasoni (curator) and Sir James Gobbo (Governor of Victoria).clare gervasoni, peter perry, james gobbo, castlemaine art gallery and historical museum, governor of victoria

Coloured photograph of front view of Museum showing two windows and front door.schwerkolt cottage & museum complex, nunawading & district historical society

Coloured photo taken on Opening Day of Museum, 1977. View looking East.nunawading historical society museum, opening of museum

15 coloured photographs (a - o) of the interior of the Whitehorse Museum, Mitcham showing displayswhitehorse museum, whitehorse historical society, museums

Coloured photograph of new toilets erected at the Schwerkolt Cottage and Museum complex, 2003schwerkolt cottage and museum complex

An image of the Museum of Australian Democracy (later Eureka Centre) in the Eureka Stockade Reserve.eureka gardens, eureka stockade memorial gardens, eureka stockade, eureka stockade reserve, museum of australian democracy at eureka, eureka centre

A postcard of Egypt from John Basil McLean, who signs himself Basil to his family. This item was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. Possibly these were with him during his time in the First World War and kept them as a mementos. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving in Portsea in 1920. His full war record is available from the National Archives of Australia (B2455, MCLEAN JBM).An example of correspondence between soldiers and their home during World War 1. It shows that Australian soldiers took the opportunity to see parts of the world when they were serving overseas.Standard size postcard with image of a Pharoh statue (Roi Khephern) in Cairo Museum.Front - “CAIRE / Le Musee - Statue du Roi Khephern” Back - “UNION POSTALE UNIVERSELLE / EGYPTE / CARTE POSTALE / Ephtimios Freres, Port Said / Cai 190 / 54917 / N14 / At Sea / 31.12.16 / My dearest Mater / Just a few lines for the close / of the old year. We had our first wet day today. It was too wet for / church parade. The sunset this evening / was simply lovely. I wish you could / have seen it. With all good wishes / for 1917 to all from your loving Son / Basil.war correspondence, souvenir, world war one, mclean

Stone step ends from the Palazzo Gondi, Victoria and Albert Museum, LondonCarvingscarving, palazzo gondi

Set of three pamphlets produced by the Melbourne Tram Museum @ Hawthorn Depot - 2015. .1 - DL size flyer - full colour advertising the Melbourne Tram Museum - giving details of the Museum, location, map etc. .2 - A4 sheet, full colour, "Become a Member", Membership application form. .3 - A4 folded sheet produced for the 2015 Melbourne Open House day - "Fancy a coffee or a bit?", giving details of the food vans at the Museum. Two copies of each held. Produced by Adam Chandler.trams, tramways, fohtd, melbourne tram museum, melbourne open house day, membership, publicity, advertisements