Report - Foolscap - approx. 144 pages, bound with sewn sections in a volume with hard covers with red cloth spine, titled "Australian & New Zealand Tramways Conference - Engineering Conference Melbourne - May 1954". Has an index - see htd5643i2.pdf Conference - Monday 24/5/1954 to Friday 28/5/1954. Transcript of the conference, opened by Mr Risson. Had attendees from Adelaide, Brisbane, Hobart, Melbourne, Perth and Sydney. Lists the attendees, mainly the Chief Engineers. Programme looked at both trams, buses, new developments, inspections, buildings and Perway (track) and research.trams, tramways, conferences, mmtb, chief engineer, tramways, buses, trackwork, trolley wheels, bearings

Newspaper clipping from The Tramway Record, 31/10/1929, titled "Our photograph Page" featuring photographs from various Australian tramway systems - Sydney, Wattle Park cable car, St Kilda, Kimberley Pier, Wellington cable tram and Collins St during the cable conversion with a bus alongside. Published by the AMOTEAtrams, tramways, cable trams, sydney, collins st, conversion, st kilda, wattle park, buses, kimberley

Newspaper clippings from The Tramway Record, 5/9/1929 and 28/11/1929, titled "Our photograph Page" featuring photographs of: .1 - Rail grinder in Melbourne, a single truck tramcar (M class 186) outside Hanna St depot after a thunderstorm and a flooded street, Hanna St depot and Circular Quay Sydney .2 - Y 410, W2 329, tourist bus, and interiors photos. Published by the ATMOEADated in ink on .2trams, tramways, grinder, work trams, buses, y class, interiors, flooding, atmoea, m class, hanna st depot, south melbourne depot, tram 186, tram 410, tram 329

Black and white photograph of a cable tram set (bogie trailer 472) with gripman and conductor near the Brunswick terminus in Sydney Road. For full details of the image and the story behind it, see page 10 of Bellcord No. 53, March 2022 - see reference for the link.Yields information about a bogie cable tram set and its location.Black and white print block mounted onto thick card.tramways, tramcars, cable trams, crews, gripmen, conductors, sydney road, brunswick, tram 472

The two photographs show cable trams being shunted into the Brunswick Cable Tram Depot or car house from Sydney Road. The first shows a horse pulling a bogie tram trailer into the car house while the second shows the grip being pushed in by hand. Note the raised position of the grip when this shunting task is performed - 1920s. Yields information about the shunting of cable trams at the Brunswick car house or depot.Set of two black and white copy photographs with adhesive marks on the rear.tramways, tramcars, cable trams, brunswick, brunswick depot, car house, shunting, mmtb, tram 41, trams, grip

The photograph shows scrubber No. 11 with destination SPECIAL at High St and Brighton Rd. The photograph is tightly cropped and under exposed. Built as a passenger tram car in Sydney in 1908, converted to scrubber in Sydney in 1953, purchased by MMTB in 1959 as Sydney tram system was being closed.Photo by J Seletto.Yields information about track maintenance and MMTB purchasing second hand equipment.Black and white photograph with photographer's notes on rear.In biro and red stamp on rear: 'No11 1st trip ex-Sydney High St & Brighton Rd, Photograph by J Seletto 8 April 19 (incomplete). Dx Print JSE9'trams, high st st kilda, sydney trams, scrubber, track maintenance, tramways, tram 11

Documents comprise: 15 page - information document describing the project, planning timing including a proposed timetable from the Coburg stop, Sydney Road tram shuttle, North Melbourne bus service, and ticket zones. 1 page letter and consultation form dated 30/1/1990 addressed to the AETA 1 page - notes on consultative meeting outcomes 1 page information note on the Upfield light rail 3 page document titled "The fourth option" - LRT and trams retained in Sydney RoadYields information about the proposals to convert the Upfield rail line to light rail.Set of documents - comprising 22 A4 printed pages.tramways, the met, upfield, light rail, new tramways, consultation

The photograph shows the busy intersection of Flinders and Swanston St with Flinders St station, along with cable trams, motor vehicles, and pedestrians. The sign above the station entrance is advertising the "Australian War Museum" at the Exhibition Buildings. The reference dates its opening as ANZAC day 1922 and moving to Sydney in 1925. The photo was probably taken soon after it opened as the sign above the station entrance was regularly changed. Note the Safety Zone sign on the eastern side of the intersection for eastbound trams. At the time, trams stopped on either side of the intersection for passengers.Yields information the intersection of Flinders and Swanston St and the War Museum exhibition in the early 1920s.Black and White photograph - printed on plain paper.On the rear has pencil number "KM-M-008", and Ken Magor stamp.cable trams, flinders st station, war museum, flinders st, tramways, safety zone, swanston st

Contains full colour photographs of Australian & New Zealand trams - Melbourne, Adelaide, Sydney, Hobart, Dunedin, Christchurch Trolley bus, Brisbane. Includes photos of trams that visited Melbourne - Porto 018, Lisbon C008, and Adelaide Flexity 111 on test at Preston Workshops. Also includes a photo of two of C2 class trams, in their Bumblebee livery/Demonstrates production of calendars featuring tram photographs, with photographs of trams on test in Melbourne.Wall Calendar - heavy card covers, 28 gloss art pages inside, titled "Trams - 2010" with a punched hole along the top edge to enable wall use.tramways, melbourne, adelaide, sydney, dunedin, christchurch, brisbane, hobart, c2 class

Contains full colour photographs of Australian - Melbourne, Adelaide, Sydney, Bendigo, Valley Heights, Brisbane. Includes photo of a cable tram trailer and a Steam tram.Demonstrates production of calendars featuring Australian tram photographsWall Calendar - heavy card covers, 28 gloss art pages inside, titled "Trams - 2012" with a punched hole along the top edge to enable wall use.tramways, melbourne, adelaide, sydney, brisbane, bendigo, valley heights, steam trams, cable trams

Contains full colour photographs of Australian and New Zealand - Melbourne, Adelaide, Sydney, Bendigo, Brisbane, Ballarat, Bendigo, Launceston, Fremantle, Perth, Christchurch, Victor Harbor, Demonstrates production of calendars featuring Australian tram photographsWall Calendar - heavy card covers, 28 gloss art pages inside, titled "Trams - 2013" with a punched hole along the top edge to enable wall use.tramways, melbourne, adelaide, sydney, brisbane, bendigo, ballarat, perth, launceston, christchurch

Collection of newspaper clippings pasted into the scrapbook by the donor. Covers the period 1987 to 2003 when the Melbourne tram system underwent large changes. Contains the following cuttings: 1 - Our trams keep rolling along - Herald Sun 9/8/1991 2 - Old trams will stay on track - The Sun - 8/8/1991 - featuring Joan Kirner at the front of tram 3 - Getting our bid on track - Olympic bid tram - Z4, - The Sun 9/3/1990 4 - Tram tours lead tourist bid - using a Y class - The Sun, 8/6/1992 5 - Spring St - city circle trackwork - The Sun 17/9/1993 6 - Track tokens mark tram trial - Bendigo battery tram - Bendigo Advertiser 11/4/1990 7 - $184 million commitment to build new vehicles - B2 class, 130 trams, Comeng 8 - The light rail project - Gail Moody - The Sun 1/7/1987 9 - Bet and shop on trams - Trust - Herald Sun 17/8/1993 10 - A clean sweep by star Paul - Paul Hudson and X 217 - Herald Sun 20/11/1991 11 - Tramway lines up 75th Anniversary - Progress Press 20-11-1991 12 - Public Notice - Spring and Bourke track works - The Met - Herald Sun 17/9/1993 13 - in the Heart of Hawthorn - Progress Press March 1993 14 - Peak hour boost pledge - Alan Brown - Herald Sun 9/7/1993 15 - Photo of Gas and Fuel buildings under construction - 1966, Herald sun 31/12/1993 16 - Drive brings comic relief - Victor Borge - Herald Sun 19/2/1994 17 - City circle tram loop - two cuttings - 28/4/1994 18 - Trust slams new-look trams - Herald Sun 8/2/1994 19 - Public notice - track works - Nicholson and Victoria - Herald Sun 18/2/1994 20 - Free trams draw fire - Herald Sun 12/4/1994 21 - Tram launce chaos - 29/4/1994 22 - Life and love as the tram trundles on - Ted Hopkins - Weekend - 15/4/1995 23 - Tram city Dan McDonnell - Weekend - 15/4/1995 24 - Favorites out for tram day - three associated cuttings tram parade - Herald Sun 19/4/1995 25 - The A to Z of Melbourne's trams - Herald Sun 19/4/1995 26 - Trams out for a night on the town - Box Hill testing - Whitehorse leader 23/4/2003 27 - Trams rolling - Box Hill opening - Whitehorse leader 7/5/2003 28 - Bracks launches tram route and residents riled about bottleneck - Whitehorse leader 7/5/2003 29 - A century of trams in Bendigo (Kym Smith) - Bendigo Advertiser 14/4/2003 30 - MP calls for fair go for old tramways (Medicals) - Bendigo Advertiser - 12/4/2003 31 - House of the rising tram - Mentone tramcar bodies 32 - Back on track - Sydney trams - Daily Telegraph 11/8/1997 33 - New look trams just the ticket - Sydney - Daily Telegraph 11/8/1997 34 - Dark ages end for light rail - Daily Telegraph 1997 35 - A trip down memory lane - Sydney - The Age 21/8/1997 36 - End of the Line - sale of Elwood bus depot - New Home 6/12/1996 37 - Bidders line up for tram and train - The Age 17/5/1999 38 - Holding the line - The Herald Sun 8/3/1998 39 - Advert - Who will be Melbourne's tram museum operator - Weekend Australian 16-9-1995 40 - Trams take to sport - new Melbourne park route - Herald Sun 4/6/1999Yields information about the Melbourne tram network in the 1990sScrap book - Tudor - 32 plain sheets + printed card covers, centre stapled.tramways, melbourne, bendigo, newspapers, tram 4, olympics, joan kirner, tourist tram, city circle, w class, tram, box hill, elwood bus depot, tmsv, museums, tram museums, batman ave, victor borge

Presentation folder of five stamps, 41c, to celebrate the launch of series of "Australian Historic Tramways" 11 October 1989 by Australia Post. Features a photograph of Hobart Electric trams on the inside cover, with the five stamps behind a plastic sheet. On the front is a photo of Railway Square Sydney, the rear cover has a description of the trams and of Australian tramways. Five stamps, all 41c: Adelaide Horse Tram Sydney Steam Tram Melbourne Cable Tram Hobart electric Tram Brisbane Electric Tram. See also Reg Item 471 to 474 for other examples and associated materials and 510 for a Poster. Second copy from donation of Shirley Ramsay, Hawthorn Historical Society added 15-1-2018. See Reg Item 4701 for a set of five blocks (4 stamps) of each.trams, tramways, stamps, australia post, cable trams, horse trams

Presentation folder of five stamp collector cards printed to celebrate the launch of series of "Australian Historic Tramways" 11 October 1989 by Australia Post. Features each of the stamps on a detachable card within a plastic envelope. On the rear is a note on the tramcars, with a "first day of issue stamp". Five stamps, Adelaide Horse Tram Sydney Steam Tram Melbourne Cable Tram Hobart electric Tram Brisbane Electric Tram. See also Reg Items 470 to 474 for other examples and associated materials and 510 for a Poster. Second set of cards added 20-11-2017 from collection of Ron Scholten - not with a presentation folder, that is loose.trams, tramways, stamps, australia post, cable trams, horse trams

Poster - full colour for the launch of the five postage stamps featuring Australian tramcars. "Australian Historic Tramways" 11 October 1989 by Australia Post. Features the stamps on a background of a view of Swanston St. Has the details of the stamp show on the bottom of the poster - 18 - 22 October 1989. Five stamps, all 41c: Adelaide Horse Tram Sydney Steam Tram Melbourne Cable Tram Hobart electric Tram Brisbane Electric Tram. See also Reg Item 471 to 474 for other examples and associated materials. 2nd copy added 9/6/2020 from donation of Keith Stoddentrams, tramways, stamps, australia post, cable trams, horse trams

Magazine - 28 pages - "Transit Australia - May 1996", celebrating 50 years of publication with gold cover and some gold printing inside. Has an article on the history of Transit Australia, commencing with Tram Tracks in 1946, Electric Traction and then to Transit Australia. Lists the various editors, publishing methods and other key changes. Has features on the way we have changed (historical photographs), Sydney City Rail timetable review, Adelaide bus contracts, Gold Coast railway, Melbourne Grand Prix and news items from around Australia. Scanned pdf copy of cover and article on the Grand Prix added 28/9/17trams, tramways, tramways, 50th anniversary, transit australia, grand prix

Set of four MMTB Press Statements or Press Releases with MMTB letterhead. Photocopied onto A4 paper. 1. Renewal of tracks - Caulfield North - 20/5/1982. 2. Maintenance of railway crossing - Riversdale Road - 15/6/1982. 3. Maintenance of Bridge Rd and Church St Richmond - 1/6/1982 4. Maintenance work in Pascoe Vale Road, Moonee Ponds - 16/6/1982Item 4 has a handwritten note in ink "NB now half a "Grand Union" at Sydney Road & Moreland Rd"trams, tramways, mmtb, trackwork, road works, news broadcasts

Set of 11 New Releases or Press Releases with Minister of Transport letterhead. Photocopied onto A4 paper. 1. Tram services to stop for three hours on North Balwyn and Mont Albert - 18/11/1983 as a mark of respect to Naid Salem when struck by a truck at the Mont Albert terminus on 16/11. (hand written not on the sheet). 2."The Met" fare system starts today - Steve Crabb - 13/11/1983. 3. "New tram a design to meet the needs of the year 2000" - Minister visits Comeng Plant - A class trams 4. "Bonus travelcard on sale" - 10/11/1983 5. "A tram for the year 2000" - follow up - issued 11/11/1983 - A class trams. 6. "New Rail land sale on tomorrow - sale of surplus land in Doncaster - Templestowe Area" - following a decision to consider light rail rather than heavy rail. 7 "Homes now getter Transport Information Booklet" - explaining the Neighbourhood system. 8. "One Million booklets to be home delivered to explain The Met transport system" - 6/11/1983. 9. "Public Transport more cost efficient than the car" - 7/11/1983 - looks at The Met tickets pricing. 10. "Boards name for the New Transport Authorities" - 28/6/1983 - lists the names for the various authorities.Item 4 has a handwritten note in ink "NB now half a "Grand Union" at Sydney Road & Moreland Rd"trams, tramways, news broadcasts, minister for transport, mont albert, tickets, a class, doncaster, neighbourhood tickets

Sets of envelopes with preprinted and loose tickets for the various functions of the AETA's 50th anniversary convention. October 1993. .1 - brown envelope containing 21 tickets (39 to 59) in the form of a MMTB 3d ticket. Used for the 50th anniversary dinner. .2 - ditto, 12 tickets (47 to 58) in the form of Sydney pre 1950 ticket. Used for the Morning tram tour. .3 - ditto, 12 tickets (42 to 53) in the form of a Brisbane pre 1950 ticket. Used for the afternoon tram tour. .4 - ditto, 20 tickets (31 to 50) in form of a pre 1950 Adelaide ticket, used for the Restaurant tram tour. .5 - ditto, 10 tickets, same number, black and gold for the celebration of the first meeting on Sunday 3/10/1943. .6 - 10 loose tickets - no number for the Restaurant tram tour 15/4/1993. Has a waiter carrying a covered dish on the rear. Printed on off white paper. .7 - 10 loose tickets - no number for welcome and cocktail party - 8/4/1993 - Austransit. Printed on grey paper with a cocktail glass drawing on the rear.trams, tramways, aeta, 50th anniversary, tickets

Single page printed pamphlet titled "Scrap our Obsolete Trams - but replace them by modern high-speed PCC type tramcars for Economy, Comfort Dependability", dated Jan. 1954, putting a case against a statement by the Minister for Transport in Nov. 1953. Outlines Official statements, Relevant facts. Published by the Australian Electric Traction Association, NSW Branch. Has a number of handwritten corrections.Stamped "Australian Electric Traction Association" in top right hand corner.trams, tramways, trams, tramways, aeta, sydney

Three page A4 document, photocopied, stapled in top left hand corner, titled "The many and varied uses of trams", written by Norm Maddock, Assistant Secretary of the ATMOEA for the tramway record in June 1985. Looks at Restaurant trams (refers to W2 442), funeral trams, ambulance trams, prison cars, unusual issues for war or police purposes in Glasgow, Mexico City, Bradford, a polling booth, mail boxes and a traveling library in Munich.trams, tramways, tramways, sydney, restaurant tram, melbourne

Set of two full colour posters titled "Capital City Transport" for a 21 Feb. 2012 stamp issue featuring Australian transport, issued by Australia Post. Adelaide - Obahn bus Sydney - ferry Perth - electric train Melbourne - W7 tram 1015 Sydney - electric train. Has details of the stamp issue and the commemorative books. 788.1 - landscape poster 788.2 - large vertical format poster - two copies held.trams, tramways, stamps, australia post, adelaide, perth, sydney, melbourne, w7 class, tram 1015

Wall Calendar - heavy card covers, 12 gloss art pages inside, titled "Australian Trams - 1996 Calendar" containing cull colour photographs of Sydney, Adelaide, Bendigo, Ballarat, Melbourne, Fremantle 29 and Victor Harbor. Has a punched hole along the top edge to enable wall use. Provides dates for holidays, school holidays and Pension payment days and phases of the moon. Produced by Topmill Pty Ltd and distributed by Gordon & Gotch Pty Ltd. All Photos by Dr D. Ellerton. Features large format photos of 672 crossing the wooden Maribyrnong River Bridge, 672, 671, 980, X2 676, X 217, VR 52, S164 Second copy from AETA collection added 17/1/1014.trams, tramways, ballarat, bendigo, melbourne, adelaide, sydney, tram 672, tram 671, tram 980, tram 217, tram 52, tram 164

Set of three black and white photographs of the Melbourne Zoo Horse tram. .1 - view of tram with horses, a conductor, and a well dressed family in front of the tram. Photo taken at the Sydney road terminus. Has the note under the photo "Zoo Horse Tram Mr Richardson of W. Brunswick, driver." .2 - Side of view of the horse tram - No. 42 with "Royal Park" on the side. .3 - View of the zoo terminus, from the rear of the tram with "Zoological Gardens" on the rear dash panel of the tram. The conductor appears to be applying the hand brake. Note the signage on the right side of the photo. Photos c1900 to 1910. 2nd copy of .2 and .3 added from the Keith Kings collection - 14-8-2021 - see also Reg Item 5993 for another copy.On the rear of .3 -"M. G. R? collection" On rear of 2nd copy of .2 is the MMTB Stamp.trams, tramways, horse trams, royal park, zoo tram, tram 42

A4 photocopied sheet providing the location of tramcars at the various depots, includes Z and B class trams, Sydney R, Scrubbers, including Heritage cars stored at Hawthorn. Undated - 1998ctrams, tramways, tramcars, depot allocation, lists, depots

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: Marcuse / YACKANDANDAH / 83 Reverse: YACKANDANDAH / Y 7 / 019 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: BANK OF VICTORIA / YACKANDANDAH / ERNEST MARCUSE / Reverse: Y 4 / 015 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: ERNEST MARCUSE / YACKANDANDAH / Reverse: Y 10 / 016 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: YACKANDANDAH / 80 Reverse: Y 5 / 018 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: BANK OF VICTORIA / YACKANDANDAH / Reverse: Y 6 / 017 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program