Showing 154 items matching " city beautiful"
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Melbourne Tram MuseumBook, Nucolorvue Publishing, "Melbourne - a Beautiful City", c1953
... "Melbourne - a Beautiful City"..."Melbourne - a Beautiful City" Book Nucolorvue Publishing ...Published by Nucolorvue Productions of Mentone Melbourne, c1953 featuring colour photos of many locations in Melbourne, including an introduction. Has photos of Melburne landmarks, Collins St, Flinders St, Bourke St (with cable tram track), Flinders St Station, trams in streets, (W2 389, W5 777) St Kilda Road, the various parks, Royal Melbourne Hospital, St Kilda Beach, Yarra River, and Elizabeth St.Demonstrates a Nucolorvue production about Melbourne in the early 1950s.Book - 36 pages, colour printed, centre stapled. Printed on stippled paper.Has the stamp of "Queensland Book Depot, 61 Adelaide St Brisbane" on the inside front cover and pencil notes.mmtb, trams, tramways, souvenirs, melbourne, travel books -
Robin Boyd FoundationDocument - Manuscript, Robin Boyd, Canberra, 1967
... ... City Beautiful...Walter Burley Griffin Canberra John Overall Lake Burley Griffin Oscar Niemeyer le Corbusier Chandigarh City Beautiful Garden City urban planning robin boyd manuscript Typewritten (p/copy), quarto, 6 pages Canberra Document Manuscript Robin Boyd ...Boyd outlines the history of Canberra's design and construction. He argues that Canberra's strength is its planning and axially-based landscaping, but that it lacks the buildings which make the Le Corbusier's Chandigarh interesting. Boyd is highly critical of Chandigarh as an urban environment and concludes that for non-architects, planning and connection to nature is more important than buildings.Original manuscript published as 'Canberra Master Plan: Walter Burley Griffin' in World Architecture 4, John Donat (ed.), Viking Press 1967, pp 202-205.Typewritten (p/copy), quarto, 6 pageswalter burley griffin, canberra, john overall, lake burley griffin, oscar niemeyer, le corbusier, chandigarh, city beautiful, garden city, urban planning, robin boyd, manuscript -
Sunshine and District Historical Society IncorporatedPostcard - Back to Ballarat Postcard
... Front - Back to Ballarat The City Beautiful - December 3 1997 December 3 1998|Back - Come to Ballarat in 1998. ...Ballarat Front - Back to Ballarat The City Beautiful - December 3 1997 December 3 1998|Back - Come to Ballarat in 1998. ...Front - Back to Ballarat The City Beautiful - December 3 1997 December 3 1998|Back - Come to Ballarat in 1998. Front covered adapted from original 1927 Home to Ballarat Posterballarat -
Warrnambool and District Historical Society Inc.Programme - Back to Warrnambool Souvenir program, 1934
... Back cover is in black and white, Black text at the top reads Warrnambool the Capital City of the West—The city Beautiful. Underneath is a large photo of the Hopkins Falls. ...Back cover is in black and white, Black text at the top reads Warrnambool the Capital City of the West—The city Beautiful. Underneath is a large photo of the Hopkins Falls. ...This program provides information for the week of festivities in 1934The Back to celebrations were an important event on the social calendar and this program gives an insight into the kinds of events which were prevalent during the early to mid 20th century. White cover printed in dark blue with red and green accents. Picture of Warrnambool main beach centre front. Back cover is in black and white, Black text at the top reads Warrnambool the Capital City of the West—The city Beautiful. Underneath is a large photo of the Hopkins Falls. The inside four pages contain a brief history of the city, the program for the week and words of the song Back to Warrnambool. A map is on the inside back cover.Particulars supplied by the W’bool Progress Association.warrnambool, back to warrnambool, 1934 official program, reg. a. a. stoneham., reginald alberto agrati stoneham, 1934, program, programme -
Bendigo Historical Society Inc.Document - LONG GULLY HISTORY GROUP COLLECTION: REASONS FOR PLACEMENT OF PLAQUES IN THE NEW CHUM PARK
... Twenty years later thanks to U/ground mining Bendigo rivalled Ballarat as a beautiful city to which the residents of Long Gully played a major role. ...Twenty years later thanks to U/ground mining Bendigo rivalled Ballarat as a beautiful city to which the residents of Long Gully played a major role. ...Two reasons for placement of Plaques in The New Chum Park. One is to acknowledge the contribution that both the Cornish and German people who lived and worked in Long Gully made to the establishment of City of Greater Bendigo. The second, Famous Journalist Anthony Trollop visited Bendigo just as Underground Mining was starting to blossom. His remarks of Bendigo were uncomplimentary as that of Ballarat, which he complimented as a beautiful city. Twenty years later thanks to U/ground mining Bendigo rivalled Ballarat as a beautiful city to which the residents of Long Gully played a major role. Heading at top of page - Long Gully History Group.bendigo, history, long gully history group, the long gully history group - reasons for placement of plaques in the new chum park, long gully history group, city of greater bendigo, anthony trollop -
Ringwood and District Historical SocietyNewspaper, Scrapbook Clipping, Library Collection, Ringwood, Victoria, `
... Greg Mealmaker, co-ordinator of Maroondah Council's LEAP prograM, proudly holds the Keep Australia Beautiful City Pride Award which was presented to Maroondah Council at an award ceremony in Frankston recently. ...Ringwood and District Historical Society 125A Warrandyte Road Ringwood North melbourne ` ` ` Greg Mealmaker, co-ordinator of Maroondah Council's LEAP prograM, proudly holds the Keep Australia Beautiful City Pride Award which was presented to Maroondah Council at an award ceremony in Frankston recently. ...``Newspaper clipping from "The Post", 22-11-95, P 2. City's pride Greg Mealmaker, co-ordinator of Maroondah Council's LEAP prograM, proudly holds the Keep Australia Beautiful City Pride Award which was presented to Maroondah Council at an award ceremony in Frankston recently. Joining Greg was Council's resident services manager, Lydia Philipou, commissioner John Nathan and Parks East team leader Rod McKenna` -
Bendigo Historical Society Inc.Book - STRAUCH COLLECTION: THE AVENUE OF HONOUR BALLARAT
... The Avenue Of Honour Ballarat, the enclosed list of three thousand seven hundred names of Soldiers from the beautiful City of Ballarat, who offered their services to the Empire for active service abroad and in whose Honour the Employees of E.Lucas and Co have planted the Avenue has been compiled, and a tree planted for each Soldier in the order of their enlistment, as near as it has been possible to obtain this information. ...History House 11 Mackenzie Street Bendigo goldfields BOOKS Military ballarat Ballarat-Military-WW1-Memorials The Avenue Of Honour Ballarat, the enclosed list of three thousand seven hundred names of Soldiers from the beautiful City of Ballarat, who offered their services to the Empire for active service abroad and in whose Honour the Employees of E.Lucas and Co have planted the Avenue has been compiled, and a tree planted for each Soldier in the order of their enlistment, as near as it has been possible to obtain this information. ...The Avenue Of Honour Ballarat, the enclosed list of three thousand seven hundred names of Soldiers from the beautiful City of Ballarat, who offered their services to the Empire for active service abroad and in whose Honour the Employees of E.Lucas and Co have planted the Avenue has been compiled, and a tree planted for each Soldier in the order of their enlistment, as near as it has been possible to obtain this information. The name of each Soldier who has made the supreme sacrifice is marked with an asterisk. Soft cover of 108 pages with black and white photographs & illustrations, printed by Ballarat Litho & Printing Co.books, military, ballarat, ballarat-military-ww1-memorials -
Federation University Art CollectionPainting - Artwork - Painting, 'Angel' by Susan Paterson, 2013
... city of Jerusalem. Angels have significance in the three monotheistic religions which have grown together in harmony in this beautiful holy city. ...city of Jerusalem. Angels have significance in the three monotheistic religions which have grown together in harmony in this beautiful holy city. ...Susan PATERSON Born Melbourne Dr Susan Paterson is an artist, curator, writer and lecturer. Her research includes artistic practice and theory. Susan Peterson has worked as an art educator in many Australian States, China, England and New Guinea. Framed painting of an angelic figure with halo. Artist's statement: This work is inspired by those who love angel hunting in the old city of Jerusalem. Angels have significance in the three monotheistic religions which have grown together in harmony in this beautiful holy city. JUDAISM, CHRISTIANITY and ISLAM emerged historically in this order to be religions of peace and prosperity. PILGRIMS from these three religions visit the Holy City of Jerusalem in Israel to celebrate their respective religious traditions. susan paterson, angel, halo, available -
Ballarat Clarendon CollegePostcard
... It is a very busy city and the taxis and cars make a dreadful noice - far greater noise than in London. Though traffic is just as great - We are having lovely weather to see this beautiful city. ...It is a very busy city and the taxis and cars make a dreadful noice - far greater noise than in London. Though traffic is just as great - We are having lovely weather to see this beautiful city. ...Postcard sent to Ballarat College boarder, William L Sloss, by his mother Bernice A Sloss during a visit to Paris with his father in 1929.Its slightly formal phrasing gives insight into parent-child relations of the era. Black and white illustrated postcard; photograph of Paris scene on front; hand-written letter on back and 90p stamp attached;Address: Master Bill Sloss / Ballarat College / Ballarat - Victoria / Australia Letter: 21/3/29 / This is just a tiny corner of Paris. It is a very busy city and the taxis and cars make a dreadful noice - far greater noise than in London. Though traffic is just as great - We are having lovely weather to see this beautiful city. We are all well. Hope you are. Daddy is visiting hospital. Love from us all - Your loving mother, Bernice A Sloss.bernice-a-sloss, ballarat college, boarding, 1929, bill-sloss, william-l-sloss-1934, postcard -
Bayside Gallery - Bayside City Council Art & Heritage CollectionPainting - oil on linen, Rob McHaffie, Why did we go further than monkeys, monkeys know how to be monkeys, 2008
... Despite Paris being a beautiful city, McHaffie also found the experience challenging and felt that on a bad day, the city was no more than an ornately decorated concrete jungle. ...Bayside Gallery - Bayside City Council Art & Heritage Collection Corner Wilson and Carpenter Streets Brighton melbourne This work was painted following Rob McHaffie’s Australia Council Residency at Cité Internationale des Arts in Paris in 2007. Despite Paris being a beautiful ...This work was painted following Rob McHaffie’s Australia Council Residency at Cité Internationale des Arts in Paris in 2007. Despite Paris being a beautiful city, McHaffie also found the experience challenging and felt that on a bad day, the city was no more than an ornately decorated concrete jungle. In this painting a monkey looks out from a green building onto an imagined scene abound with art historical references. A classical European figurative sculpture is surrounded by flowers from Monet’s gardens, while a contemporary sculpture by Franz West dominates the foreground of the work. McHaffie questions the so-called evolution of cultured humanity in comparison to the imagined contentedness of our pre-evolved species.oil on linenmonkey, sculpture, painting, rob mchaffie, paris, flowers, franz west -
Kew Historical Society IncPhotograph, C Stuart Tompkins, Junior Section, Kew Public Library, 15 May 1945
... It reopened in December 1937 and remained there for more than 35 years. 1973: When the Civic Centre opened in Charles Street, Kew, the library moved in. 1987: Kew Library moved to its current location in the converted city hall, overlooking the beautiful Alexandra Gardens. The library was officially opened at this site on Friday 23 October 1987 by the Mayor of Kew, Cr James Tutt. ...It reopened in December 1937 and remained there for more than 35 years. 1973: When the Civic Centre opened in Charles Street, Kew, the library moved in. 1987: Kew Library moved to its current location in the converted city hall, overlooking the beautiful Alexandra Gardens. The library was officially opened at this site on Friday 23 October 1987 by the Mayor of Kew, Cr James Tutt. ...1860: Kew's first library was the Kew Literary and Scientific Society, which opened on 6 August 1860. 1884: Kew Town Hall was extended and the library transferred to a room on the upper floor. This was not an ideal arrangement as the room was required for Council purposes. 1904: A cottage adjoining Kew Town Hall was purchased for use as a library. 1937: The library was closed for a major overhaul of stock and renovation of the building. It reopened in December 1937 and remained there for more than 35 years. 1973: When the Civic Centre opened in Charles Street, Kew, the library moved in. 1987: Kew Library moved to its current location in the converted city hall, overlooking the beautiful Alexandra Gardens. The library was officially opened at this site on Friday 23 October 1987 by the Mayor of Kew, Cr James Tutt. (Source: Boroondara Library Service)Early original photograph of a children's library service taken by a notable Melbourne photographerOriginal photograph, in original frame, of the Junior Section of the Kew Public Library in Walpole Street, Kew. The photograph was taken by Stuart Tompkins who was the photographer of choice by the City of Kew from the 1930s to the 1960s. The details of the photograph are inscribed on the water-damaged mount, with the photographers signature at lower right. . "Junior Section, Kew Public Library, May 15th 1945"kew public library, photographers - c. stuart tompkins - camberwell (vic), children's libraries -
Kew Historical Society IncDocument, City of Kew, City of Kew Municipal Library, Children's Section, 1953
... It reopened in December 1937 and remained there for more than 35 years. 1973: When the Civic Centre opened in Charles Street, Kew, the library moved in. 1987: Kew Library moved to its current location in the converted city hall, overlooking the beautiful Alexandra Gardens. The library was officially opened at this site on Friday 23 October 1987 by the Mayor of Kew, Cr James Tutt. ...It reopened in December 1937 and remained there for more than 35 years. 1973: When the Civic Centre opened in Charles Street, Kew, the library moved in. 1987: Kew Library moved to its current location in the converted city hall, overlooking the beautiful Alexandra Gardens. The library was officially opened at this site on Friday 23 October 1987 by the Mayor of Kew, Cr James Tutt. ...1860: Kew's first library was the Kew Literary and Scientific Society, which opened on 6 August 1860. 1884: Kew Town Hall was extended and the library transferred to a room on the upper floor. This was not an ideal arrangement as the room was required for Council purposes. 1904: A cottage adjoining Kew Town Hall was purchased for use as a library. 1937: The library was closed for a major overhaul of stock and renovation of the building. It reopened in December 1937 and remained there for more than 35 years. 1973: When the Civic Centre opened in Charles Street, Kew, the library moved in. 1987: Kew Library moved to its current location in the converted city hall, overlooking the beautiful Alexandra Gardens. The library was officially opened at this site on Friday 23 October 1987 by the Mayor of Kew, Cr James Tutt. (Source: Boroondara Library Services)Historically and socially significant set of regulations governing the use of the children's library in Kew in the early 1950sOriginal framed rules and regulations of the junior section of the Kew Library, dated 16.6.1953, authorised by the Mayor (W.E.R. Hope) and Town Clerk (W.D.Birrell). The document also lists opening hours of the Kew and East Kew branches.kew public library - kew (vic), kew public library - east kew (vic), city of kew - library guidelines -
Kew Historical Society IncPhotograph, Stuart Tompkins Studios, Kew Municipal Library: Opening of Extentions by The Hon. L.W. Balvin M.L.A. Chief Secretary, 19 October 1954
... It reopened in December 1937 and remained there for more than 35 years. 1973: When the Civic Centre opened in Charles Street, Kew, the library moved in. 1987: Kew Library moved to its current location in the converted city hall, overlooking the beautiful Alexandra Gardens. The library was officially opened at this site on Friday 23 October 1987 by the Mayor of Kew, Cr James Tutt....It reopened in December 1937 and remained there for more than 35 years. 1973: When the Civic Centre opened in Charles Street, Kew, the library moved in. 1987: Kew Library moved to its current location in the converted city hall, overlooking the beautiful Alexandra Gardens. The library was officially opened at this site on Friday 23 October 1987 by the Mayor of Kew, Cr James Tutt. ...Kew Library history: 1860: Kew's first library was the Kew Literary and Scientific Society, which opened on 6 August 1860. 1884: Kew Town Hall was extended and the library transferred to a room on the upper floor. This was not an ideal arrangement as the room was required for Council purposes. 1904: A cottage adjoining Kew Town Hall was purchased for use as a library. 1937: The library was closed for a major overhaul of stock and renovation of the building. It reopened in December 1937 and remained there for more than 35 years. 1973: When the Civic Centre opened in Charles Street, Kew, the library moved in. 1987: Kew Library moved to its current location in the converted city hall, overlooking the beautiful Alexandra Gardens. The library was officially opened at this site on Friday 23 October 1987 by the Mayor of Kew, Cr James Tutt.An historically interesting photographic record of investment in public infrastructure and services by municipal councils during the 1950s. Framed photographic collage showing the opening of Extensions to the Kew Municipal Library by The Hon. L.W. Balvin M.L.A. Chief Secretary on 19 August 1954. The photos are in their original mount and frame.[Inscription] "Kew Municipal Library: Opening of Extentions by The Hon. L.W. Balvin M.L.A. Chief Secretary 19.8.1954, with Cr. A.S.C. Stevens J.P. Mayor and Cr. W.D. Vaughan J.P. Chairman Library Council". [Photographer] "Stuart Tompkins Studios."kew library, cr a.s.c. stevens, cr w.d. vaughan, australian photographers - stuart tompkins studio -
Federation University Historical CollectionLetter - Correspondence, Walter M. Hitchcock, Letters from Walter M. Hitchcock concerning a model of a Ballarat tent (and more), 1911, 1911 (exact)
... HRH Prince of Wales has graciously accepted a photo of it – and in my letter to him when sending it for his acceptance I said – as he would probably ere long visit Australia as did his grandfather and father, which ought to (and certainly will) include at least a day or two in seeing your beautiful City, and also something of your mines &c instead of the hurried visit of his father (2 hours) when he, as Duke of York, unveiled a statue to the memory of those slain in the sad Boer War, which now is admitted by almost everybody to have been a big political mistake, - though in the future with England’s present wise policy towards that country it will prove for Africa’s welfare. ...HRH Prince of Wales has graciously accepted a photo of it – and in my letter to him when sending it for his acceptance I said – as he would probably ere long visit Australia as did his grandfather and father, which ought to (and certainly will) include at least a day or two in seeing your beautiful City, and also something of your mines &c instead of the hurried visit of his father (2 hours) when he, as Duke of York, unveiled a statue to the memory of those slain in the sad Boer War, which now is admitted by almost everybody to have been a big political mistake, - though in the future with England’s present wise policy towards that country it will prove for Africa’s welfare. ...The tent model mentioned in the letters was displayed in the Ballarat School of Mines Museum. During the 1960s it was transferred to the Ballarat Historical Society. Two handwritten letters on paper with black mourning edge written by Walter M. Hitchcock to the Ballarat School of Mines, and another written by Walter's brother George M. Hitchcock.Letter transcription follow: Letter from Walter M. Hitchcock regarding the death of James Oddie and early gold mining at Ballarat, 1910 and 1911 48 The Memorial Hall Farringdon St London Dec1/10 The Secretary Ballarat Museum Dear Sir, I am just now sending you this line, i anticipation of further correspondence later on, simply to forward you a Post Card of the 1st mining tent erected 1851 on the site of he then newly proclaimed Township of Ballarat, which, as the sole survivor of the party who built the original, I have had the pleasure in making, and have decided to present it to your museum, Sir Jno Lasenor out Agent General for Victoria came to a Bazaar recently held in London. where I had it on view in the museum from 3 days, - and desired I would allow its [ ? ] exhibited in the first large window of the beautiful new building of the Victoria Agency situate in the Strand. It is there for the past few days and he may wish it to remain a week or two longer, I know of no other exhibition of it to delay it being packed and shipped to my relatives in Geelong (Mr [?] Bright of Hitchock's Firm) who may wish to show it in one of their windows before forwarding it to your museum - I have had an itemised pane glass case made for it with drop down end and [?} it stands on a plateau of moss, to represent grass 32 x 13 x 13 high and chimney 14 1/2 - the case is made 34 x 26 x 20 high inside - I shall have it very carefully packed - tent emptied tools, beds, &c &c in separate packing and insured for 50 pounds - I will send you full details later on. I hope and believe your President will accept it in due time Meantime believe me to be very truly Cat Walter Hitchcock G.F.B. 48 The Memorial Hall Farringdon St London March 15th 1911 The Secretary Ballarat School of Mines Dear Sir, Thanks for your letter received last week – I have unaccountably mislaid it, so cannot address you personally, shall no doubt find it among office papers. The model is being fetched today from Victorian Agent General’s (Sir John [Lavernor?] office window in the Strand where many thousands, he tells me, have stopped in passing to see it (their first peep of Ballaarat). It will be on view at Blackheath (Kent) for a week, then packed and shipped without further delay. I shall enclose in the glass case (which is 26 x 34 x 16 in high) some spare minced moss and gas (smoke) in case in transit the plateau suffers by shaking (though it is well glued down). All the tools, mining appliances, cradle, windlass, &c will be separately packed enclosed – which you can easily place in respective positions. HRH Prince of Wales has graciously accepted a photo of it – and in my letter to him when sending it for his acceptance I said – as he would probably ere long visit Australia as did his grandfather and father, which ought to (and certainly will) include at least a day or two in seeing your beautiful City, and also something of your mines &c instead of the hurried visit of his father (2 hours) when he, as Duke of York, unveiled a statue to the memory of those slain in the sad Boer War, which now is admitted by almost everybody to have been a big political mistake, - though in the future with England’s present wise policy towards that country it will prove for Africa’s welfare. It may interest you to know that when I ascertained that Geelong was not to be visited by the Royal Pair – I went up to St James’s Palace by appointed time the Duke’s private Secy Sir Arthur Bigge – taking with me a specially illustrated paper issued in Melb. showing many pictures of the beauties and industries of Geelong – Sir Arthur was impressed but said all the arrangements for the Royal stay in Victoria (10 days) were made locally, by Lord Hopetoun and collegues and committee, and were practically closed – which meant that only a brief trip to Ballarat to uncover the memorial was intended outside Melbourne. Perhaps if we were Melbourne residents we should have succumbed to the prevailing spirit of selfishness – forgetting (or trying to forget) that there are many beauty spots in Victoria and centres of great interest - Ballarat, Geelong, Bendigo, &c that ought to have been visited instead of Melbourne only. Finding Sir Arthur favorably impressed about Geelong I thanked him and returned to City work again. I at once called to Geelong whose mayor and friends had been twice unsuccessful in trying for the Melbourne functions programme being altered to include a visit to Geelong and lovely spots in the Western District, reporting my interview with Sir A B and his favourable reception of my representations, but that any alteration to the programme of engagements during the Royal visit must be made locally and by the local authorities. This had the desired success for on receipt of my message the Geelong mayor and colleagues again reopened the question and went to Melbourne, resulting in a concession (but what an altogether inadequate one) and they graciously ? consented to the train, on its way with the Duke and Duchess to your city, to stop at the Geelong stn (15 minutes) and so it came about that by a hasty local effort, 3,000 school children, and not a few of the leading people including the Mayor &c were gathered to welcome them in Geelong. The National anthem being sung, an Address read and presented and kindly replied to. Now Ballarat should doubtless has influence. See to it when our P. Of Wales visits Victoria – an unselfish ¬ programme is fixed up – and HRH afforded ample opportunity of visiting leisurely your city, Geelong, Bendigo and other centres of beauty and importance. The Prince himself will be the gainer by such an equitable and enlightened programme, - and come back with all the more favourable views of the marvellous development ever since our family first settled in Geelong in 1850. A far preferable result of such a visit than night after night having Melbourne Banquets and the visiting of its undoubted attractions - whilst all the rest of the State remained unvisited. Such an official mistake must not be made again. I will write you again, stating name of steamer of which the model is shipped and date of departure – it is firmly built on a backing of 3/8 in oak tall uprights so through the 7/8 in plateau and am entrusting the packing be very careful. I expressed firm – so that except possibly any breakage in glass case – it should reach you in due time all right. The top of case will be screwed so that it can be readily removed temporarily to enable my [ ? ] firm to show it in one of their windows. Believe me Yours very truly Captn Walter M. Hitchcock My brother will deliver it on my a/c – all carriage paid. Mt very kind regards to my friend since 1850 Jas Oddie. University of Ballarat Historical Collection Cat. No. 8133.3 & .4 Letter from Walter M. Hitchcock regarding the death of James Oddie and early gold mining at Ballarat, 1911 48 The Memorial Hall Farringdon St London April 20th 1911 My Dear Sir, It is with no ordinary feeling of regret that I received the tidings of the death of my good friend, your fellow citizen for many years, Mr James Oddie. Living at Geelong from March 1850 I came to know him there as carrying on a foundry business in Ashby. With the discovery of gold at Ballarat started off almost of the working people, as well as of all other classes of the male population. Mr Oddie arrived in Ballarat I believe on or about September 1st 1851. My three comrades and I arrived October 1st 1851 – among the many thousands soon gathered within a mile or so of Golden Point – my friend Oddie and I often met. I returning to Geelong after a year mining – my friend on the other hand remaining at Ballarat ever since – a marvellous record, and I am sure his life has been one of unique value to your City in many ways, - his age (87) naturally prepared me for his call home – and only two mails before the news came I received from him on of his kindly chatty letters in which amongst other things – he referred with pleasure to having received from me two 10 x 12 photos – one being of my model and that he was arranging to have it placed in a shop window in your city. I am interested in the fact of your having known each of my three comrades of 1851/52. It was J.M. Garrett and I who got permission to conduct public Sunday morning service in their large Marquee – used all the week for issue of Licenses in the absence of any church buildings, and it being on wet Sundays impossible to have services as usual under the trees – Ballarat then was more like a Gentleman’s Park – than bush country – but the axe soon did its work – and all were felled for our cooking, and hencewith to make our kindling etc. Shafting of holes not being at first done because too shallow – our deepest (at Eureka) was only 115 ft. Bendigo I hear had now mines of 4,000 ft in depth (deeper than our tin or coal mines here). I fortunately have, in excellent state of preservation, my last of 12 licenses dated October 1 1852 and have recently purchased here a Miner’s Right dated 1864, to that when explaining on matters re Gold Licensing I can show sample of each. With kind regards Believe me Yours sincerely Walter M. Hitchcock Geelong June 20/11 Dear Sir, By rail to day through Messrs Bannister I send the model of miner’s tent packed in a case 50 donated by my brother Captain Walter M. Hitchcock of London. This model was made by my brother and represents the tent he worked in on the Ballarat Gold Fields in the year 1851 or 2. In a separate parcel a few extras omitted from the case. Please send me receipts in duplicate, one for my brother, the other for the Customs, Geelong, as being donated to your institution, after some little correspondence it was admitted [??] any payment for duty. You probably have my brother’s address and would like to acknowledge its arrival, direct. I hope it is in good order. I did not open it for show in Geelong, as there would be less risk of breakage on repacking. With kind remembrances. I am Yours Faithfully Geo. M. Hitchcock. A Mr G. F. B. Sharick who is living near my home called in to see my model – he said he knew FM [Fred Martell] and was lately at Ballaratballarat school of mines, frederick martell, fred martell, james oddie, walter m hitchcock, walter hitchcock, f m garratt, george hitchcock, hitchcock, golden point, gold discovery, j m garrett, gold license, j.m. garrett, t.m. hall, george m. hitchcock, f.m. garratt, walter m. hitchcock -
Warrnambool and District Historical Society Inc.Booklet - Centenary Souvenir of Warrnambool, H. J. Paynter, 1934
... Front cover: Centenary Souvenir of Warrnambool Warrnambool Centenary Festivities 13th to 24th November 1934 Price 9d Rear Cover: Beautiful Warrnambool "City of the West" Victoria Australia...The souvenir booklet contains a brief history of Warrnambool, a map and description of Warrnambool and its facilities in 1934.The last three pages include a business directory which would be useful for research. warrnambool frank h. ford foyle photos a. wilkins photos warrnambool centenary festivities 1934 warrnambool souvenir warrnambool business directory Front cover: Centenary Souvenir of Warrnambool Warrnambool Centenary Festivities 13th to 24th November 1934 Price 9d Rear Cover: Beautiful Warrnambool "City of the West" Victoria Australia A twenty page booklet printed on shiny paper. ...In 1934, Victoria and Melbourne celebrated their centenaries. Realising how impossible it would be for the majority of Warrnambool residents to participate in the Victorian celebrations, the organising committee of the Warrnambool Centenary celebrations devised a week long comprehensive programme of activities including exhibitions, a pageant re-enactment at the breakwater and a mass children's display at the showgrounds. Sir Harold Gengoult Smith officially opened the Warrnambool Centenary Exhibition of Arts, Crafts, Antiques and Historical Relics. This booklet was designed and written in 1934 for the Warrnambool Centenary festivities by Frank H. Ford, Lava Street, Warrnambool. The souvenir booklet contains a brief history of Warrnambool, a map and description of Warrnambool and its facilities in 1934.The last three pages include a business directory which would be useful for research.A twenty page booklet printed on shiny paper. The front cover has a black and white photo of nine swimmers in the water (five male & four female) some with surfboards. There is a 4mm green line printed 12mm from the upper edge and a 3mm green line printed 6mm from the lower edge of the cover. There is green printing over the photograph on the front cover. On the rear cover there are two small black and white photographs of an aerial view of the city of Warrnambool and the Hopkins Falls in flood. The green line extend across the rear cover and are intersected by a perpendicular 4mm green line running from the upper to the lower edge 18mm to the left of the spine. Words are printed in black on the rear cover and the printer details are printed in green at the bottom edge.Front cover: Centenary Souvenir of Warrnambool Warrnambool Centenary Festivities 13th to 24th November 1934 Price 9d Rear Cover: Beautiful Warrnambool "City of the West" Victoria Australiawarrnambool, frank h. ford, foyle photos, a. wilkins photos, warrnambool centenary festivities 1934, warrnambool souvenir, warrnambool business directory -
Warrnambool and District Historical Society Inc.Domestic object - Dressing bag, Mary Glass Dickson, Circa1885
... city and traded for nearly 150 years. It therefore has social significance to Warrnambool. The item is well provenance with the case initialed and items within the case monogrammed. The case and its items are aesthetically quite beautiful ...John Glass Cramond 1829 and James Dickson 1831-1910 were founders of a large drapery store. Both were Scots and both came separately to Australia in 1852. Cramond initially came for gold but soon opened a store in St Kilda with a post Office attached and he was the first post master there. Dickson was a farmer’s son but became a draper and while he was unsuccessful on the Bendigo diggings and then returned to Melbourne where he met Cramond and soon after they opened a store on Lonsdale Street. They opened their business in Warrnambool in 1855 as a general store with groceries, drapery and ironmongery. Both partners were involved with the community and James Dickson was an original director of the Warrnambool Woollen Mill 1909 and the Warrnambool Cheese and butter factory. He also served on the committee of management of Warrnambool Base Hospital. This case was a wedding gift from James Dickson Jnr to his wife Mary Glass Cramond on the occasion of their wedding. This item has significance on a number of levels. It belonged to a member of one of Warrnambool’s earliest pioneering families and it marks the occasion when the two families of Cramond and Dickson were linked through the marriage of James Dickson jnr and Mary Glass Cramond. The firm played a significant part in the development of the city and traded for nearly 150 years. It therefore has social significance to Warrnambool. The item is well provenance with the case initialed and items within the case monogrammed. The case and its items are aesthetically quite beautiful as well as being typical of travelling or dressing cases of the more well to do, of the time. Mappin & Webb were manufacturers of some standing with the Mappin name appearing in manufacturing as early as 1775.The company has held a royal warrant as silversmiths since 1897 to the present day and as crown jeweler since 2012. Throughout this time, they have manufactured quality items for the luxury market. It provides an insight into the way ladies travelled and the items which they considered essential. This consists of a black leather with leather handle attached with brass fittings. Middle opening with side pocket on one side with metal catches. Inside has removable sections for holding the numerous containers and items belonging to the case. Interior of the case is dark blue satin. The items contained within the case are as follows: 321.1 Luggage case 321.2 Glass bottle rectangular, silver monogrammed lid, empty. 321.3 Tall round glass bottle, silver monogrammed lid, empty. 321.4 Small glass bottle with pink powder, silver monogrammed lid. 321.5 Small multi sided bottle with stopper and brass hinged lid. 321.6 Tall round bottle with silver monogrammed lid. 321.7 Tall thin multi sided bottle with brass lid. 321.8 Cream coloured monogrammed jar cotton wool inside. 321.9 Clothes brush rectangular cream back. 321.10.1Glove stretcher bone coloured .10.2 Case black leather. 321.11.1 hair comb cream with silver edge .11.2 Case black leather 321.12 Hair brush cream handle 321.13Spatula cream monogrammed 321.14 Mirror, silver round with handle. 321.15 Writing compendium .1 Case black leather .2 Pen with nib .3 Lead pencil .4 Navy satin covered blotting book 321.16 Inkwell glass bottle in small black leather case. 321.17 Match striker in leather case. 321.18 Mirror in black leather case rectangular 321.19 Small case for visiting cards. 321.20Sewing kit rectangular, contains threads and needles pkts x 3 321.21Container, small, hinged tortoise shell patterned. 321.22.1 Manicure set .2 Scissors small .3 Scissors large .4Corkscrew with Mother of pearl handle .5 Pocket knife with Mother of pearl handle .6Tweezers with Mother of pearl handle .7 File with Mother of pearl handle .8 Fine hook Mother of pearl handle .9 Bodkin .10 Bodkin 321.23 Hairbrush oval silver backed 321.24 Mirror silver handled hand mirror. 321.25 Hairbrush wooden handled with Mother of pearl inlay. 321.26 Cylinder, silver with removable lid and small phial of iodine labelled Felton’s pocket iodine. 321.27 Phial small glass with gold decorations. 321.28 Inhaler with insert 321.29 Thimble, metal. 321.30 Silver backed hair brush 321.31 silver backed clothes brushEngraved on side pocket: M.G.D. Mappin and Webb Sheffield and London. Some of the items are monogrammed as per the list above. A number of the glass bottles have lids hallmarked Mappin & Webb London and Sheffield makers stamped inside lid with hall marks history of warrnambool, cramond and dickson, mary glass cramond, dressing bag, woman's toiletry bag 1880 -
Kiewa Valley Historical SocietyFolder - Tidy Towns, Tidy Towns Mount Beauty, 1984/85
... cities. The psychological and physical benefits of living in smaller rural centres is clearly demonstrated by the contents of this "Tidy Towns", keep Australia Beautiful, competition. ...This folder represents the true "Aussie" and the pride felt living in small rural communities. It was present in the period before the 1990's but fell so ever slightly away through the faster pace of the "modern" life evolution into a more "introspective" life style. The changes brought on by technology e.g. computers, mobile telephone "texting" and the internet has slowly impinged upon those community "get togethers" of the 1900's. Life in small rural towns and regions however have only slowly moved away from the community self worth attitudes which were so strong when life in rural areas was more insulated through physical and technologically isolation.This Tiny Towns Folder with its content is highly significant to the small town of Mount Beauty and the Kiewa Valley and its region because it represents the "true" value of rural life in the "modern" Australia. The "old" values of "mateship" and looking after the community is still very strong in the rural sector, as compared with living in the cities. The psychological and physical benefits of living in smaller rural centres is clearly demonstrated by the contents of this "Tidy Towns", keep Australia Beautiful, competition. The value of "the true blue, dinky die mateship" is still very much alive in country towns and rural environments. Although the physical isolation of yesteryear may not be so strong as the technology and population growths boost a greater interaction between city and rural folk, the ingrained attitude of comradeship still prevades. This large blue coloured lever arch folder (cloth with a red lined border) has 104 plastic pockets each with two sheets of documentation for the appraisal of the decision makers/judges of the "Keep Australia Beautiful Council (Vic), "Tidy Towns" competition.Adhesive stickers on front cover "Tidy Towns" "Keep Australia Beautiful" below this "Mount Beauty" community beautification programs, rural town pride, community pride, a town's self wrth -
4th/19th Prince of Wales's Light Horse Regiment Unit History RoomPhoto Albums - set of two, c. 1919
... Capt Hurley official photographer - AWM Melbourne 87 14th AGH at PORT SAID 88 Human bones at Dead City ABBASSIA 89 3rd ALH Bde at HELIOPOLIS 90 Men wearing gloves 91 Wireless station in course of erection at MATARIA - 28 masts 92 Old slave market at ABBRASSIA. Many excavations performed on projecting wooden frame at corners 93 3rd guns on the move. The beautiful...Capt Hurley official photographer - AWM Melbourne 87 14th AGH at PORT SAID 88 Human bones at Dead City ABBASSIA 89 3rd ALH Bde at HELIOPOLIS 90 Men wearing gloves 91 Wireless station in course of erection at MATARIA - 28 masts 92 Old slave market at ABBRASSIA. Many excavations performed on projecting wooden frame at corners 93 3rd guns on the move. The beautiful ...Memorabilia of 908 Dvr Thomas Edward Whyte, 3rd Light Horse Field Ambulance, World War 1 READ THIS. During the last war I sent these pictures home through devious channels. When I lobbed back I found them all pasted in these albums by my young brother Billy. He was only a kid then! Nowadays he is serving up North. Went away with the original 9th Battn. Was in the Blitz on England and served in Libya, Tobruk, Greece, Crete and Palestine and was twice knocked. It's not long since the last upheaval 1914-18 and I wonder if these boys think as we did. This will be the last war? I sincerely hope so. TWSet of two photo albums. Photos pasted into albums with captions in white ink. Photo captions - Vol 1. (? = not legible) 1. Prisoners from ES SALT 2. Dust scene at AUJA FORD. 4th LH BDE 3. ? ? CHEOPS PYRAMID 4. Houses and domain WASSA battle 5 .Pontoon at SERAPELAI 6. SPINX (sic) & PYRAMID 7. The Nile floods occur once yearly and all irrigation centres are alternatively flooded 8. Pontoon bridge over SUEZ Canal at SERAPEUM . Constructed by Aust Engineers 9. The arrival of newspapers and mail 10. Lake IIMSAH-ISMALIA 11. Camp outside Jerusalem. Walls of old city easily discernible 12. Roman walls on beach at MONTAZEH 13. ? ? These boats are used for conveying between steamer & shore 14. Interest shown in the new issue. Through the scarcity of horses Batmen/Grooms and drivers ? allotted donkeys ? ? 15. DAMASCUS GATE JERUSALEM 16. Trumpeter ? 17 Indians making ? for railroad 18. 'SPELLO' Sinai Country 19. Police searching Egyptian labourer 20. Cavalry ?? SHA? 21. Entering ? WADI ? 22. Bedouins at ? 23 No caption 24 No caption 25 Bolar trees EZBEKIEH Gardens CAIRO 26 .Flamingos at NOUZEH Gardens ALEXANDRIA 27 BARAGE 28 KASR-ELNILL Bridge 29 NOUZEH GARDENS 30 AMGS on beach at ? 31 NOUZEH GARDENS - ALEX 32 Mascot of 7th M.V.G. 3RD ALHR 33 Printing on walls inside St Mary's Church. Depicting the Flight from Herod. (Corner torn off photo) 34 Inside Virgin Mary's Church at MATARA 35 ? painting in Church ?? 36 SUEZ Canal. Finish of Arab pony race. ZAL-A-ZIA 37 Admiralty offices at PORT SAID 38 A corner of CHEOP"s PYRAMID 39 The Spinx (sic). Nose was blown off by a shell from one of Napoleon's guns. 40 Monastry on the MT of TEMPTATION 41 Mess orderlies. Foodstuffs in locker given to troops by the AIF 42 Mid day meal on treck 43 Ambulance sand carts for conveying wounded and sick over desert sand 44 3rd ALHB 45 Kaisers Church JERUSALEM. Inside is a large painting figuring the Kaiser & Kaiserine holding a model church. 46 Bedouin women drawing water from well at EL-ARISH 47 2nd ALH BGDE doing route march on JERUSALEM-JERICHO ROAD 48 GEN HODSON GOC Anzac Mounted Divn presenting decorations & investitures on the sands at SHEIKS-ZOWAID 49 Armoured Car 50 Snow at the CEEDERS (sic) on Mt LEBANON 51 Compulsory phenyle bath for all troops in front line area 52 Austrian guns taken at point of bayonet by NZ & 2nd BGDE at GAZA 53 CACHOLETS for carrying wounded 54 The boys found some timber and made a spring board on SUEZ Canal 55 Bedouin wedding. The Bride travels in state amongst rubbish on top of camel. Her father leads conveyance. 56 Australian graves at SHALLAL 57 Camel Transport Company bring rations along beach 58 Billy the mascot holds an offensive & checks advancement 59 Exercising horses at HELMIEH Egypt 60 PONT-DE-QUOBBA Egypt. A suburb of well-to-do Egyptian merchants 61 Demolition stunt at ASLU. Bridge destroyed by Australian Engineers 62 Swimming horses in Great Bitter Lakes Egypt 63 On the move along Wadi 64 On the shores of the Bitter Lakes EL-EGYTE 65 A leave party waiting for the pontoon to swing into position 66 Carting grain 67 Egyptian Brass Band 68 French warboat (sic) in Canal 69 Russian Troops from Mesopotamia passing through SUEZ Canal 70 Prisoners coming in under escort. Turkish & German officers in lead mounted on ponies 71 Turkish prisoners 72 T.B.D in Canal 73 Old trenches on SUEZ CANAL near BITTER LAKES on W Bank 74 Monitor in Canal 75 Block house, trenches & entanglements near Post 62 76 A halt in an Egyptian village EL-MARO' 77 Mobile wireless plant 78 On the road from Canal to Railhead 79 Old Turkish guns in ancient fort at ALEXANDRIA 80 Francenia steaming through Canal 81 After MAGHDABA stunt. Convoy taking wounded form EL-ARISH to railway at 139 82 Indian Camelry 83 Virgin Mary's Church 84 Sluice gate at BARAGE Egypt 85 Hospital at lower W bank of Canal 86 Virgin Mary's tree 87 Sweetwater Canal at ISMAILIA Egypt 88 Halt and Feed. The A.M.C. attached to flying column. 89 Bringing stores ashore at JAFFA 90 H Videon & J Britton astride donks. Horses became scarce through casualties etc and units had donkeys issued to them 91 RAMLEH. The traditional burial place of St John the patron saint of England (sic). 92 Jewish Synagogue at RISHON-COUR-LE-LION (Richard the Lion Hearted) 93 Water tower at HELIOPOLIS 94 Portion of camp on HELIOPOLIS Racecourse 95 Arrival of papers 96 Sand sleigh 97 Boring plant & prisoners taken on the JIFF-JAFFA stunt. Two Austrian officers and party of Turks taken whilst building a concrete gun emplacement 98 The obelisk at MATARIA 99 In an avenue of Australian gums at ZEITOUA 100 Mountain battery gun 101 The 3rd ALH BGDE camped at HELIOPOLIS Racecourse 102 Captured Turkish guns 103 Turkish and Austrian prisoners. JORDAN VALLEY 104 The MT of Temptation Monastery built over spot where Christ spent his 40 days 105 Refugees from ES-SALT at JERICHO 106 3rd LHFA and 8th LH REGT at HELIOPOLIS 107 Fig trees at Roman Wells JIFF JAFFA 108 Inside the Blue Mosque CAIRO 109 Lagoon that was destroyed on JIFF JAFFA stunt 110 Section race at Brigade sports 111 Another tombstone at ALEX 112 Innoculating female date palm 113 Bronze tombstone in a cemetary at ALEXANDRIA 114 Luna Park at HELIOPOLIS 115 Egyptian water buffalo. Used by natives for ploughing etc 116 Russian church. Some call it the "Church of St Mary Magdelene" 117 At pyramids GIZA. Billingsley lost leg & McMullin KIA 118 Pontoon bridge over Suez Canal 119 DURBAN 120 Rescue work 121 Paddy Hanly 122 Motor train for conveying rations between Canal and Railhead. 123 At MUCKSHUBE ? 124 British ??? 125 Bedouins bringing in their harvest from the fields of ABBASSAN-EL-KEBIR Palestine 126 German HD QTRS BEERSHEBA 127 Date ? SINAI 128 Military railroad running through ? at EL-ARISH 129 Street scene at KHAN-YUNIS Palestine. Samson often called at this place to visit his girl. Napoleon narrowly escaped capture here during his ? in 1799 130 Date palms bearing fruit. These do not ? they are ?? 131 Motor ambulance convoy 132 Turkish hospital BEERSHEBA 133 MT CALVARY 134 Town Hall BEERSHEBA 135 Railway station BEERSHEBA 136 ASLUJ 137 Turkish depot MAGDABA 138 DURAN 139 3rd ALAB Hospital 140 Main Street PORT SAID 141 Stock Exchange ALEXANDRIA 142 The "Bull Ring" 14th AGH 143 (Double exposure) 144 Jewish School at DURAN Palestine 145 Damascus Gate JERUSALEM 146 Roller used for grinding clay for making bricks 147 The Harbour at ALEXANDRIA 148 Part of Napoleons Road along sea shore opposite BEELAH 149 Hotel at ALEX. Barred to the troops of course. 150 HELIOPOLIS 151 -153 ALEXANDRIA 154 Ambulance treck 155 Cacholets at the casually clearing station 156 Refugees from ES-SALT entering the Jordan Valley. Mts of MOAB in background 157 Cameliers bring in prisoners 158 The "Niagara". Casualties were from the front line by all descriptions of transport and passed through several field hospitals until they eventually reached the railway. They were sent to KANTARA by train. Despatched from there to PORT SAID by this boat 159 JERICHO 160 Turkish prisoners in JORDAN VALLEY 161 Bedouin nippers of SINAI 162 Bridge destroyed by ALH at ASLUJ 163 Railway sheds at BEERSHEBA. Portion was set afire by retreating Turks 164 ASLUJ Station 165 German Hospice 166 at ASLUJ 167 Suez Canal offices PORT SAID 168 MENA Village from top of Cheops. White lines at left are roads made by Australian troop. First Aust Contingent camped here. 169 A felukeh passing through gate at BARAGE 170 Military railway terminal EL ARISH 171 (No caption) 172 Egyptian family waiting for a train 173 Turkish prisoners and captured material coming in 174 Turkish wounded at BEERSHEBA awaiting removal 175 Two hospital ships at ALEXANDRIA 176 Some of the Bd boys 177 Race meeting 3rd ALHB at TRIPOLI- SYRIA 178 The blacksmith and Rodney Thomas swimming horse in SUEZ CANAL 179 Natives grinding grain 180 Thoroughbred 181 MUKATTAM HILLS 182 Trenches at JIFF JAFFA 183 MacBoyd as a Padre 184 Egyptian Syce having shave by travelling barber 185 The creek outside ALMINA 186 Cameliers 187 Clearing Station on beach at EL-ARISH 188 Wadi at TALLAT-EL-DUMM 189 Motor transport park 190 Some of the boys 191 Pompeys Pillar 192 at MAGHDABA 193 Hospital at JERUSALEM 194 Cheop's Pyramid 195 Golden Gate JERUSALEM 196 Hustling Turks through BEERSHEBA 197 Holy City 198 Mosque of Omar Jerusalem 199 Railway bridge destroyed by ALH at ASLUJ 200 Enemy material captured at SHERIA BEERSHEBA 201-3 These Mosques built with alabaster taken from pyramids at GIZA 204 Pontoon bridge built by our Engineers over RIVER JORDAN 205 3rd Bgde in Koil at MASAID 206 Billy McGhie throwing the weight 207 Nirazeh ? Gardens 208 Motor Ambulance Park 209 Bedouin women in Palestine village 210 ALEXANDRIA 211 Junction Stn 212 Indian Lancers 213 Motor convoy at ESSANI 214 A & B Sections 215 JERUSALEM. Once known as the 'City of Palms' and presented to Cleopatra by Anthony 216 Monastery on the Mount of Temptation. Situated on the Hills of Solomon on E side of Jordan Valley just behind JERICHO 217 DURAN A Jewish village in Palestine 218 One of our planes meets with a mishap on landing 219 Bedouin flocks around NABLUS 220 ES-SALT Road just above Jordan River 221 Halt! Action Front! Getting guns into action from pack 222 Village well 223 Gun inspection 224 WADI GHUZZEE Bridge 225-6 At GIZA Zoo Egypt 227 Syrians gathering olives 228 Smashed plane 229 MacBoyd 230 Bridge across Jordan at GORRONHOER 231 Competitors for Gretna Green. 3rd Bgde sports at TRIPOLIA 232 EL ARISH 233 Main street JAFFA 234 The beach at MARI-KHEB 235 Scene of old Cairo 236 Bedouin market 237 Bridge built over Wadi EL-ARISH. The biblical "River of Egypt". 238 Old water reservoir in native village 239 A "spello" on the track 240 Plane going out on reconnaissance 241 Bomb attached to carrier on a plane 242 Ancient Turkish gun at forts in TRIPOLI - SYRIA 243 Gun inspection 3rd AMGS 244 Old Turkish trenches outside GAZA 245 Wadi KHUZEL Bridge at SHALLA 246 BEERSHEBA 247 Street scene ZAG-A-ZIG 248 Spinx (sic) & Pyramid - GIZA 249 Egyptian Coastguards at ALEXANDRIA 250 A Palestine camp E Troop 3rd MG Sqn 251 B class horses killed in Syria 252 Scene from summit of Pyramid 253 Bert Richmond & an old Turkish Howitzer on MONTAZEH 254 LION'S WELL 255 Australian trenches outside Ferry's Post near Hill 70 256 A street scene in HELIO{PLIS 257 Electric trams at ALEXANDRIA 258 Cleaning harness 259 Swinging pontoon bridge into position at SERAPEUM 260 British Monitor in Suez Canal 261-2 Scenes of Turkish buildings at MAGHDABA. Taken by the ALH The first time in history mounted troops have attacked and taken entrenched positions 263 Aussies at Egypt's ancient monuments 264 Scenes of old CAIRO from MOKATTAM Hils 265 Bridge across canal at BARAGE, 16 miles outside CAIRO 266 Curly and Vic Norton 267 Stumpy McIntyre & Long Pikington 268 In Wadi GHUZZEL near TELL-EL-JEMM 269 Digging post holes for stables 270 Cameliers bring in prisoner. Austrian Officer in black 271 White washing mess shed 272 F Troop 3rd AMGS Sqn 273 Jews at Recruiting Depot at JERUSALEM, forming Jewish Battalion 274 In Jordan Valley, 3rd Machine Gunners have 8 horses killed by an aerial torpedo 275 Turkish prisoners 276 Cocos Island 277 Snow on the Lebanon Ranges 278 Egyptian Hotel 279 Gordon Wake. Note intruders 280 Electric trams at HELIOPOLIS Egypt. Heliopolis built by Belgian firm in 7 years 281 Sweetwater Canal at SERAPEUM 282 The ? wells at JIFF-JAFFA 283 Virgin Mary's well at MATARIA. Boyd, Simpkin & Crowley 284 Cricket for convalescents at MONTAREH 285 Indians working at cutting for military railway 286 Australian Hospital BEERSHEBA 287 Removing wrecked ambulance car from rail road 288 Engineers depot in ? at EL-ARISH 289 Water preservation scheme at SHALLAL 290 German Princes Palace at HELIOPOLOLIS 291 Some of the boys 292 Aussie aerodrome BEELAH 293 EL-JALLAH outside BETHLEHEM 294 Some of the gunners 295 Trying camels in gun carriages. Note sand caterpillar 296 Street outside old city JERUSALEM 297 D.H QRS In EL-ARISH. Hod 298 Cairo Museum 299 Wadi bridge built by Army Engineers 300 A two storied building at GALM used as German HQrs until reached by our guns 301-2 No caption 303 Ambulance with Flying Column 304 Jack Pegg 3 AMGS 305 KHAN YUNIS 306 In the Jewish village of "Rischon le Lion" 307 Wet Canteen BEELAH 308 Motor Transport LATRON 309 Gen Chauvel OC Desert Mounted Column 310 10th LH - Inverness Battery "Railhead" 311 3rd LHFA "SERAPIUM" 312 ESBEKIEN Gardens "LE CAIRE" 313 Camel training and wireless station Hill 60 314 ZAG-A-ZIG Rly Stn 315 One of the Irrigation Canal locks "HELOUAN" 316 Indian Camel Corps 317 Base at Hill 60 318 Aussie transport arriving "ALEXANDRIA" 319 3 ALHB at AL MINA 320 Main entry to city of JAFFA 321 Mosque at DAMASCUS 322 A Turk brought to earth by one of our patrols 323 Brigade boxing contrst 324 Ostrich farm ZEITOUN 325 MATERIA 326 No caption 327 Mail day 328 3rd LHFA entering HELIOPOLIS from MENA 329 M Boyd, L Simpkins, S Crowley 330 Stretcher bearers 331 French Hosp JERUSALEM 332 SERAPIUM 333 Gippo crushing wheel 334 On the move - bully and biscuits 335 V Morton, F Stokes, L Simpkins & Hanley 336 Turkish prisoners - SHERIA 337 Getting used to the mask J Antonio MM 338 Sand carts 339 Model house - MONTAZA Hospital 340 "Abdul" 341 Wood Depot "ESDUD" 342 On troop ship - from Syria 343 Turkish prisoners "JULIUS" 344 TRIPOLI 345 3rd AMGS cook house "BEELAH" 346 Breaking camp "ZEITOUN" 347 Turkish prisoners "GAZA" 348 One of our tanks. About nine were blown out of action at GAZA 349 Camp in HOD-EL-ARISH 350 German HQRS BEERSHEBA 351 Race Course TRIPOLI 352 A Locke & P Leeming 353 Sea planing in Suez Canal 354 MOASCR detail camp 355 KANTARE Suez Canal 356 Four boys of MG Sqn at cards while convalescing . Marked X was a prisoner of war for three days. Got him back with us when we countered. 357 Signal station at CANA 358 H Videon in german rig 359 ROD-EL-FARAC 360 Sweetwater Canal ZAG-A-ZOG 361 Hospital train on beach EL-ARISH 362 Jerusalem Road 363 Bedouin camel and young'un 364 Admiralty Offices, PORT SAID 365 Suez Canal PORT SAID 366 Taking wounded to clearing station 367 Hills of 10-60 MALHA 368 Junction Station 369 EL ARISH 370 Wine Distillery LATRON 371 White figures how entrance to Pyramid 372 RAPC Wireless Station 373 Sports in Canal. ANZAC Day 1916. Prince of Wales is aboard white launch. 374-5 Captured Austrian boat. 40,000 cases of benzine aboard. She was brought into Canal at Port Said. Spies set her afire. She burnt for some considerable time and eventually blew up. 376 Pumping water from Wadi on Muckshabee stunt 377 On trenches 378 Bringing in disabled battle plane 379 Giving a motor transport a lift 380 Old Turkish howitzer. MONTAZZA 381 Jerusalem country 382 Palm Hod in SINAI. Trees do not bear dates until 14 years old. No bees here. Palms innoculated by Bedouin. 383 Camel cacolets for conveying wounded 384 ESKBEKIEL Gardens Cairo 385 LAKE TIMBAH 386 Xmas dinner 1916 387 Gift billies from ACF 388 Section competition 389 In big marquees HELIOPOLIS 390 HM Landships 391 Capt Aberdeen inspecting horses 392 Football. Black vs White 393 The game 394 Old Napoleon fort. 10 mile along coast from ALEX 395 Jewish Cemetery AKRON 396 Ration fatigue 397 Blowing bottom out of Turkish Reservoir to allow soakage 398 Tilley & Farley - 14th AGH 399 At GIZA Zoo. Note height of giraffe 400 On this stunt we destroyed Turkish reservoir of 2 1/2 million gallons 401 Demolition party at wells MUCK-SHUBE 402 3rd ALH Bde HELIOPOLIS Race course 403 HMLS "Lady Wingate" 404 Turks blew out our tanks at GAZA 405 One of our aviators captured by German. Note German wearing Iron Cross. Snapped behind Turkish lines. Original of this snap was dropped at Aust aerodrome to let them know Aussie airman was alright and not killed in capture. Chivalry 406 Sausage observation balloon 407 READY 408 Bomb on carrier 409 Testing 410 B Richmond, Wireless Operator RAFC 411 Loading Bomb 412 Crash in desert 413 Bomb in YMCA at MAZRAR 414 No caption 415 LW Simpkin - Late 3LHFA 416 LEMNOS 417 Shelling the MARSDEN 418 Pontoon across Jordan River 419 Shells on Walkers Ridge 420 Sweetwater Canal 421 LAKE ISMAILIA 422 Indian Lancers on Canal 423 CAIRO Railway Station 424 Destroying Turkish water supplies. Explosives used for breaking clay at bottom of lagoon, help to absorb water 425 Exercising horses at ZEITOUN Egypt 426 In Wadi on MUG-SHUBEE stunt 427 Tractor drawing 60 lb gun towards front line 428 Sultan's mother's place at HELIOPOLIS = City of the Sun 429 Camped on the sands outside RAILHEAD, Jump off for SINAI campaign 430 G Turner & A Lockwood out for a camel ride. 431 GAZA and Nile floods from top of Pyramid 432 Baby refuses to carry his harness and his pal wears an astonished look 433 No caption 434 Turkish Officers 435 Regt HQRS at IBEETA 436 No caption 437 3rd Machine Gun Squadron 3rd ALH Bgde (my unit) 438 Camel Corps at dinner 439 KHEFREN Pyramid snapped from top of Cheops 440 CHEOPS 441 Pyramids 442 MENA from top of Pyramids 443 Snap from Pyramid showing MENA-CAIRO road running through Nile floods 444 MENA village from Pyramid 445 Band of British West Indies Regt 446 Gippo Band 447 Swimming on Med Sea 102 KmA 448 H Maddocks 449 Bedouin and Egyptians utilise any animals for their fields 450 Captured Turkish train - BEERSHEBA 451 Gardens ISMAILIA 452 Gippos used for horse lines etc 453 Canteens at HELIOPOLIS 454 3 ALHB watering in Wadi on ESSANI stunt 454 JAFFA 455 ALEX, Napoleon relics 456 Egyptian water wheel 457 SUEZ 458 WADI GHUZZEE 459 On Reconnaissance at 10-60 460 Goats and sheep captured from hostile Bedouins 461 Pontoon SERAPIUM 462 Aust trenches - Suez Canal. Turks attacked FEB 1916 463 Camel transport 464 3 ALHB Wireless Station. Col Scott 9 LH got DSO on this stunt (MUCK SHUBE) 465 ALEXANDRIA 466 Canal Hospital Ships 467 Ambulance - Sand cart 468 At old Cairo 469 No 1 Casualty Clearing Station 470 3rd Brigade on move 471 3rd LHFB- Making camp SERAPIUM 472 Watering horses 473 Moving up wadi 474 The wells at Wadi GHUZZEE 475 Camel transport SINAI 476 Turkish reservoir destroyed by ALH 477 Wall in a Luxor tomb 478 Entrance to "Temple of Bulls" 479 Bob White 480 Bedouin crops 481 Harem of Montazza, Turkish prince 482 Jack Holmes, Billy McGhee 483 MUDERIA, B Troop post 484 JIFF JAFFA 485 Natives on railroad construction 486 Aust graves SHALLAL 487 The Stumpy Mirror 488 R Nile at MANSUREH 489 Aust graves - BEELAH 490 NOUZEH Gardens - ALEXANDRIA 491 On issue from QMS. Take what comes. Fit does not matter 492 MATARA 493 German Yacht Club - ALEX 494 Old Turkish Howitzer and cannon ball 495 Field hospital 496 Gardens at BARAGE 497 A dispute's ending 498 Snow. MT LEBANON 499 Bedouin sheep 500 Combat in the air 501 no caption 502 Old Napoleon gun 503 Gordon Wake HQ car 504-5 Burying the dead at GAZA 506 Water Polo 507 Brigade boxing comp 508 Field cooker 509 Bridge on Jerusalem road, Blown up by Turks 510 Teaching horses to lay quiet. For protective purposes 511 "Major" and "Bitsy" 512 Bedouin Scarabs 513 Convalescent 514 1. W Billings. Returned to Aust 2. W McMahon KIA 515 Hospital 516 Coming good 517 1st day up - 14th AGH PORT SAID 518 Back again in Regt 519 Billy and Taffy 520 Stew 521 KHAN YUNIS 522 MENA 523 Casualties PORT SAID 524 Washing 525 Mail 526 Gun from the "Emden" mounted in Syney 527 MARSURES 528 Desert bivouac 529 HASSED 530 3RD ALH Bde. Good camp (Extra) All conv's 531 New issue 532 On to another camp (8 LH Regt) 533 Shore - JAFFA on MED SEA Photo Captions Volume 2 (Illegible = ?) 1 The Cedars on Mt Lebanon, according to tradition originated from the staves of the 12 Apostles 2000 years ago. 2 TIBERIUS taken 27th Sept '18 3 NAZARETH taken 20th Sept. German officer and Arab pony 4 TIBERIUS fell on 27th Sep. Von Saunders was the GOC of Turkish Forces in Palestine 5 Jordan Valley & Plains of Jericho run between Mts of Moab & Hills of Solomon. Distance across valley from foot of each range of hills abt 13 miles, looks ? 6 Storm on Sea of Galilee 7 DAMASCUS fell on 1st October. German vehicle park. 8 German funeral near Jerusalem 9 JENIN. German Headquarters. Fell 20th Sept. German field bakery 10 Three pages back will be seen a storm on GALILEE. Note now calm here. This photo taken near spot from which the previous one was taken. German motor launch on Galilee. 11 Captured intact on 20th Sept. German workshops JENIN 12 Turkish aerodrome captured here. Hostile aircraft landed whilst it was in our hands. Aviators greatly surprised and even indignant. Motor smash near EL FULE. 13 German Orderly Room (Ammunition box full of gold), DAMASCUS. All this gold Turkish coin secured by our troops. 14 German artillery on the way to the front near KENETRA. The ALH swooped down on the artillery around this vicinity & captured many field guns. 15 German Despatch Rider on the road to ES SALT. Unsuccessful raids carried out on ES SALT on 30th April & 4th May. This country was hard on men and horses. Goat tracks were used at times but horse were led most of the time. Stunt lasted 14 days in wet weather & horses were only unsaddled for about 2 hours during stunt. 16 Strand, ? , Tiberius, Gallilee 17 German workshop. Captured by ALH 18 One of the dead lying outside GAZA. Killed 19th April 17. We could not bury them before November 19 Some of the boys that fell in the charge at BEERSHEBA. Tibby Cotter 20 Collecting our dead for burial. They were K in A on the 19th April at GAZA. Buried seven months later, 23,000 casualties in one day 21 German U-Boat 22 Page of postage stamps and money - Struck to commemorate Gallipoli victory - Turkish war postage stamps - War duty - Turkish war bank notes 23 Pamphlet. With paper badges affixed These badges were worn by young Egyptian students. Arabic translation means "Egypt for Egyptians Long Live Egypt" This pamphlet was printed under German influence & distributed around ZAG-A-ZIG, the chief centre of hostilities during the recent Egyptian riots. The Young Egyptian Students influenced the Natives to oppose British Administration, what they called Tyranny. They professed to have sufficient competent educated men to govern their own affairs, but our Heads would not hear of it. Consequently the riots. Many ? and soldiers killed. All railways and communications disorganised. It took several months to bring things to their normal ? Pictures of medals 1. In honour of General Falkenhaugh GOC Turkish Forces 2. The Victorious Emperors of Germany, Austria and Turkey 3. Egypt Awakening 24 Those large photographs I sent you were procured for me by a pal who knew the chap that owned the negatives. The owner of these snaps belongs to the 5th Regiment of the 2nd Brigade, and he took the camera from a Turkish Officer. It had only 6 snaps of a spool of 10, and the BIll Jim finished off the spool by taking 4 of the special entry into Jerusalem. The cross indicates those taken by the Australian, the remainder were taken by the Jackos in the vicinity of BEERSHEBA and SHERIA Turkish field bakery 25 Cavalry going up to support their own line. However never had much action against the Turkish horsemen 26 Turkish Electricians in the field. I have an idea that this photo was taken to get the centre figure. He looks dinkum Australian. Note Australian leggings on Turk on the right 27 Turkish machine gunners ready for action. This is very much like the Beersheba country. Turkish officers on the right, and along side him is the range taker with his Barand Stroud. We use these instruments in the Sqn and they cost about 83 (Pound) 28 Turkish General Head Quarters just beyond SHERIA. Note hard rocky country 29 Turkish Cavalry watching a fight and getting ready to go into action. This is at SHERIA, and the heavy fighting lasted several days. Plenty of water and the Jacko's tried their hardest to hold on to this pozzie. Often our chaps met the gamer Turks in the dead of night, because both sides were on the same game, crawling down for water. This stunt is known as the Junction Fight. 30 Official entry Dec 11th. The official entry into Jerusalem. Sir G Allenby in the lead with his staff officers of the French and Italian troops accompanying him. Guard represents New Zealand, Australia, England Wales Scotland Ireland and India entering theJaffa Gate 31 Sir Ronald Storrs made Governor of JERU. Captured 9th Dec 17. Reading the Proclamation, General Allenby wearing white breeches. Troops of other nations were present, and the notables of Jerusalem. It was read from the foot of the Tower of David, a place that has been standing since the time of Christ 32 The first of the British troops entering Jerusalem. A few Turkish officers may b seen walking at the head of the column. Populace in a bad plight, very poor and no tucker, and all were greatly overjoyed at the ?? of the British Hundreds and kiddies ill treated ?? (Part of caption missing) 33 10th LH Regt first to enter JERUSALEM. Mounted officer on the right supposed to be the CO of the first troops to enter Jerusalem. Note mud on the horses. Had very wet and muddy weather 34 Dead Jacko 35 Turkish machine gun and crew 36 Hanging Armenian doctors who refused to join Turkish Army 37 Outside Damascus Gate Jerusalem 38 Turkish patrol lying outside trench at EL BUAJ 39 Burying Aussies at DAMASCUS 40 1. Djemel Pasha 2. General Limon Von Saunders GOC Turkish Forces in Palestine 41 One execution in Egypt. Executing an Egyptian offender 42 Turkish atrocities DAMASCUS 43 Turks occupying trenches outside JERICHO 44 On ASLUJ demolition stunt. Feeding and spelling. Arrived at Rendezvous too early 45 Turkish saw bayonet 46 Captured guns taken at BEERSHEBA & SHERIA 47 Our gunners obtained a direct hit on ammunition train 48 The large and small of the game. At GAZA. 74th CCS in background 49 Around JULIOUS. These Turkish shell dumps were very numerous around this vicinity 50 Captured Turkish Cavalry 51 Cavalry leaders 52 Turkish machine gun & crew 53 Enemy officers. One on left is wearing Iron Cross ribbon 54 Captured Austrian boat afire, Suez Canal Port Said. 40,000 cases of benzine aboard. Fire a mysterious outbreak 55 ? Hotchkiss gunners and enemy aircraft over ? TELL-EL-FARA 56 Types of enemy officers. One of our bikes in their possession. Recaptured later. The five pointed medals worn by these officers is called the Gallipoli Star. Issued to commemorate the Turkish victory at Gallipoli 57 Our batteries put in some good shooting amongst Turkish transport 58 Showing compactness of Turkish trenches 59 Desert homes. The only time we had cover in SINAI was when we camped near a Hod. Then we could use date palm leaves 60 JIFF JAFFA 61 ZAITZOUN 62 10th Regt MGS amongst hills outside JERUSALEM 63 Jews wailing place JERUSALEM 64-5 German post card characters 66 Post Card PHYLAE The Kiosk 67 Post Card Vue du Canal de Suez 68 Post Card No 93 Queen Street, Fort, Colombo 69 Snipers at NALIN Sth Syria. Lousy country for richochets. Nast wounds. (Aust War Memorial Melbourne) 70 Myself on Ginger. This little neddie is boshter jumper 71 Magazine cutting - Lt C H Vautin & German airman G Felmy 72 9th Regt 3rd LHB Judean Hills outside JERUSALEM. (Aust War memorial Melbourne) 73 Sand hills SINAI ? Desert (Aust War Memorial Melbourne) 74 3rd LHB spelling at GALILEE (AWM Melbourne) 75 Jordan Valley outside JERICHO (AWM Melbourne) - lovely Jordan Valley, dust and heat, 1280 ft below sea level 76 Copy of no 69 77 Watering at MATARIA 78 A desert grave - Tpr H R Olver MM 6th LH MGS Beneath this simple cross there lies a comrade true and tried He fought as fights a soldier And like a soldier died 79 B Section. When they first took our Stetsons and issued cumbersome helmets 80 Palestine types of Turkish and German officers 81 Some of the gunners amongst the snows in MT LEBANON 82 The country around JERUSALEM 83 JERUSALEM 84 Fishing ? ? at GALLILEE 85 Jerusalem taken Dec 9th. Official entry on the 11th. Jerusalem (showing) Holy City and Mosque of Omar 86 Turkish shell hits old tomb at ZERNUKAH. Capt Hurley official photographer - AWM Melbourne 87 14th AGH at PORT SAID 88 Human bones at Dead City ABBASSIA 89 3rd ALH Bde at HELIOPOLIS 90 Men wearing gloves 91 Wireless station in course of erection at MATARIA - 28 masts 92 Old slave market at ABBRASSIA. Many excavations performed on projecting wooden frame at corners 93 3rd guns on the move. The beautiful scenery between LATRON & JERUSALEM 94 Bedouin agents 95 Collecting captured enemy material 96 Captured double-engined plane 97 On the march. Country at Eastern SINAI 98 Anzac mosaic found at SHALLAL whilst trench digging now covered with gun etc ready for removal. Was sent to Canberra. 99 A Troop watering. A rotten job at a small well when horses are thirsty 100 The new Jericho road. Running through Hills of Solomon Valley in distance 101 Gun inspection 102 Draining pools at WADI AUJA. Keeping down Malaria carrying mosquitos 103 8th Regt and 3rd AMGS at BEELAH 104 A rendezvous in the Jordan Valley 105 2nd ALHB camped outside JERUSALEM 106 WADI AUJA in the Jordan Valley 107 Hospital train on the beach at EL -ARISH 108 Jacko's 109 Jerries 110 Stables of Turkish Headquarters SHALLAL 111 Early training. Every man to throw and quieten his horse for purpose of taking cover 112 A Troop 3rd Guns at TAALAT-EL-DUMM 113 Watering at WADI GHUZZEE 114 J Rushden KIA at ES-SALT 115 J Carling F Troop 3rd AMGS. Taken prisoner at EL-BURJ. Repatriated after Armistace 116 Captured enemy plane 117 Jacko gun 118 Brig-Gen Galloping Jack Royston. OC 3rd ALH Bde 119 Cleaning ammunition belts in the Hod at MASAID 120 Bringing up the fodder at ABBASSAN-EL-KEBIA 121 Some of the boys amongst the snow on MT LEBANON 122 Turkish barley crops at SHALLAL in Southern Palestine 123 The crops a few weeks after our horses had been in this vicinity 124 Clearing up after a stunt 125 On the move. 5 minute spells for the horses 126 In Jordan Valley. An airial torpedo lobbed amongst 3rd MG Transport horses & killed 28 127 Camel ration convoy coming along beach 128 Field Hospital at ET MALER 129 Desert graves at ROMANI 130 A day on the beach. Wash self, horse and clothing 131 Watering on the beach at BEELAH. Note how close fresh water is to the seashore 132 A patrol caught by a shell 133 Spello 134 Crossing the Wadi 135 Halt! Weights off and feed 136 Gas instruction 137 F Troop at TELL-EL-FARI 138 Xmas Dinner at MASAID 1916-17. Arrived back at this camp Xmas Eve after 5 nights & 4 days in saddle & the capture of MAGHDABA 139 Exercising along the beach at MARA-KHEB 140 Watering at a Bedouin well 141 At Sheikh's ZOWAID 142 3rd Gun Squadron at ABBASSAN-EL-KEBIR 143 Captured plane on its way to Australian Aerodrome 144 One of our planes about to pass over Hod 145 E & F Troop horse lines and horses 146 Sun set on Med Sea 147 Beach scene at EL-ARISH 148 Turkish transport. Small animals but they can pull big loads and they possess large hearts 149 The dressing station JIFF JAFFA ? 150-8 Types of Egyptian women - Nubian - Fellaheen - Sudanese - Low class Gippo - Egyptian - Middle Class -Egyptian Aristocracy - Turkish 159 French girls on beach at PORT SAID 160 Bedouin girls drawing water 161 Egyptian flappers at ALEXANDRIA 162 Post Card- Dame Turque 163 Post Card - Jeunne Fille Arabe 164 Graves of New Zealanders at RISCHON 165 Graves of Australians at DEIR-EL-BELAH 166 Race day. The saddling paddock 167 Bivouacs 168 3rd ALH Brigade at TRIPOLI 169 Advance party putting down horse lines at KHAN YURIS 170 Breaking the desert monotony 171 WADI QUELT. Taken from one of its precipitous banks 172 Turkish stores on N shore of DEAD SEA 173 Watering at Solomon's Pools 174 Waiting for action at - ES DUN (AWM Melbourne) 175 Camel Corps in action SINAI (AWM Melbourne) 176 ALH Time to Camp (part missing) (AWM Melbourne) 177 3rd Machine Gun Squadron IBU-HARITH, Lieut Breed, McLeod, Guppy, Whyte 178 Cartoon sketch - "A Digger" 179 Turkish Cavalry 180 Gun crew of No 2 Sub F Troop, 3rd Gun Sqdn 181 Operating base of JIFF JAFFA stunt 182 One of the British war boats that cooperated with the Land Force 183 Military railway line passing through a Hod in SINAI 184 AL-MINAH The sea port of Tripoli, Syria 185 NAZARETH Taken on 20 Sep 18 186 The Monastery on the Mt of Temptation, Taken from a cave on opposite hill. 187 JAFFA From the beach 188 In Monastery on the Mt of Temptation Rock on which Christ spent his 40 days 189 Cross indicates Garden of Gethsemane. Arrow at Russian Church of St Magdalene. MT of Olives on left 190 The Roman Bath at MONTAZAH. Hewn out of solid rock 191 Mine sweeper ashore near SHEIK'S ZOWAIL 192 Throwing "Chester" for an operation 193 The swimming pozzie at LAKE TIMSAH, ISMAILIA. Half a mile from MOASCAR, the Aust Training Depot 194 The remains of Napoleon's road. Portions can be seen running between BEELAH & GAZA 195 Camels utilised for ambulance work 196 TULKERAM taken on 19th Sep. This stunt started the previous night and this position fell to us the first day. About 60 miles from starting point 197 German officer at mess, JERUSALEM 198 German Headquarters SEMAK 199 TIBERIAS 200 Water preservation scheme at SHALLAL 201 A dip in the Jordan River. Crossed river on night 21-22 April 18 202 Watering and a wash up 203 JERICHO Taken on 21 Feb 18 204 Turkish graves 205 KHAN YUNIS. Southern Palestine, Note how sand ridges from the beach meet vegetation area. Fertile land 20 miles in width. the beginning of PHILISTIA 206 TAUBE-OVER 207 Drawing drinking water in Wadi GHUZZEE 208 The swimming pozzie in JORON 209 Landing stores at EL-ARISH 210 A camp near the wadi 211 Railway line and bridge crossing wadi above SHALLAL 212 The mid-day halt 213 Turks and Aussies at Dressing Station on beach 214 Washing day 215 Bringing supplies ashore 216 Trying mules in a 60 pounder 217 The desert winds have blown away and left this piece standing 218 Pontoons used by the Turks in their attempt to cross Suez Canal Feb 15 219 "HASSEIN" 220 "GIPPO" Mascot of 3rd AMG Sqdn 221 "Biddy" 222 Railhead camp 223 Typical Bedouin 224 Motor Submarine chaser dvr whyte, photos, ww1, light horse field ambulance -
Federation University Historical CollectionBook, Andrew Jamieson, An Elementary Manual on Steam and the Steam Engine: : specially arranged for the use of first-year science and art, city and guilds of London Institute and other elementary engineering students, 1904
... Beautiful coloured pullouts. An Elementary Manual on Steam and the Steam Engine: : specially arranged for the use of first-year science and art, city and guilds of London Institute and other elementary engineering students Book Book Andrew Jamieson Charles Griffen and Company ...Maroon covered book of 330 "With numerous diagrams, arithmetical examples, and examination questions" and index. Beautiful coloured pullouts.non-fictionsteam, steam engines -
Bendigo Historical Society Inc.Newspaper - AILEEN AND JOHN ELLISON COLLECTION: 1989 PICTORIAL LIFTOUT TURNING BACK THE CLOCK
... city. the liftout as pictures from the early days, the changes in Charing Cross, an article on Pall Mall, Bendigo's beautiful historic landmarks, pictures worth a thousand words and an article on Miss Madge Welsh first lady of the Capital....History House 11 Mackenzie Street Bendigo goldfields NEWSPAPER Bendigo advertiser Pictorial Liftout A 12 pages pictorial liftout published in 1989 by the Bendigo Advertiser as part of Bendigo: a capital city. the liftout as pictures from the early days, the changes in Charing Cross, an article on Pall Mall, Bendigo's beautiful historic landmarks, pictures worth a thousand words and an article on Miss Madge Welsh first lady of the Capital. ...A 12 pages pictorial liftout published in 1989 by the Bendigo Advertiser as part of Bendigo: a capital city. the liftout as pictures from the early days, the changes in Charing Cross, an article on Pall Mall, Bendigo's beautiful historic landmarks, pictures worth a thousand words and an article on Miss Madge Welsh first lady of the Capital.newspaper, bendigo advertiser, pictorial liftout -
The Beechworth Burke MuseumDrawing, Ernest Marcuse, Beechworth I, c1972-1976
... 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...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 ...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 coloured pencil landscape drawing on paper.Obverse: MARCUSE / B.worth (in pen) Reverse: BEECHWORTH NOSTALGIA / BW – 01 (crossed out) / B2 / CORNER CAMP + FORD STREET / (on masking tape) 001 (pencil) 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 -
The Beechworth Burke MuseumDrawing, Ernest Marcuse, Yackandandah I, 1983
... 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...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 ...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 coloured pencil landscape drawing on paper.Obverse: MILLS / DISPENSARY / MARCUSE 83 / YACKANDANDAH Reverse: Y 12 / 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, yackandandah -
The Beechworth Burke MuseumDrawing, Ernest Marcuse, Beechworth III, c1972-1976
... 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...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 ...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 coloured pencil landscape drawing on paper.Obverse: BEECHWORTH / VIC. / MARCUSE Reverse: BEECHWORTH NOSTALGIA / BW – 03 (on masking tape) 003 (pencil) 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 -
The Beechworth Burke MuseumDrawing, Ernest Marcuse, Beechworth – Opposite Crown Hotel (Tanswell Hotel), c1972-1976
... 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...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 ...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 coloured pencil landscape drawing on paper.Obverse: Opposite Crown Hotel / Tanswell Hotel / BEECHWORTH / (on tape) Reverse: BEECHWORTH NOSTALGIA / BW – 05 (on masking tape) 004 (pencil) 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 -
The Beechworth Burke MuseumDrawing, Ernest Marcuse, Beechworth – Old Court House, 1972
... 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...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 ...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 coloured pencil landscape drawing on paper.Obverse: Marcuse / Beechworth Old Courthouse / Reverse: B4 / BEECHWORTH OLD COURTHOUSE / BW - 09 (on masking tape) COURTHOUSE / BEECHWORTH / VICTORIA / NATIONAL TRUST / CLASS (A) ERNEST MARCUSE / 17 CADDOCK AVE / CAUFIELD / VIC / 53-7374 001 (pencil) 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 -
The Beechworth Burke MuseumDrawing, Ernest Marcuse, Courthouse - Beechworth, 1974
... 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...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 ...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 coloured pencil landscape drawing on paper.Obverse: Marcuse 74 / Courthouse / Visitor Ned Kelly . B'worth Reverse: BEECHWORTH / COURTHOUSE / B5 / 06 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 -
The Beechworth Burke MuseumDrawing, Ernest Marcuse, Beechworth Carriage Museum IV, c1972-1976
... 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...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 ...Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: B'worth / Marcuse Reverse: B6 / Beechworth Nostalgia / BW - 07 (crossed out)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 -
The Beechworth Burke MuseumDrawing, Ernest Marcuse, Beechworth Carriage Museum III, c1972-1976
... 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...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 ...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: ABBOT BAGGY / B'WORTH / CARRIAGE MUSEUM Reverse: B7 / Beechworth Nostalgia / BW - 07 B (crossed out) / 008ernest 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 -
The Beechworth Burke MuseumDrawing, Ernest Marcuse, Beechworth Carriage Museum II, c1972-1976
... 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...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 ...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: Charatome / Corning Buggy / Braise & Drag / believed to (illegible) built by Crawford and (illegible) / COBB & CO / WAGONETTE / B'WORTH MUSEUM Reverse: BEECHWORTH NOSTALGIA / BW-07(a) / B 8 / 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 -
The Beechworth Burke MuseumDrawing, Ernest Marcuse, Beechworth Carriage Museum I, c1972-1976
... 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...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 ...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
