Colour photograph of conference proceedings inside the old Eltham Courthouseeltham, edhs, courthouse

Social/ political, legalColour photo, Interior Buninyong Courthouse, view to NW corner showing entrance door.buninyong, courthouse, buninyong council chamber

gold rush era historic building, social/legal historyColour photo, Interior, South wall and Judge's bench of 1886 Buninyong Courthouse.buninyong, courthouse, town hall, shire council

gold rush era historic building, social/legal historyColour photo, Interior, South and West walls and bench of 1886 Buninyong Courthouse.buninyong, courthouse, town hall, shire council

Social/ political, legalColour photo, Interior Buninyong Courthouse, view to NE corner showing tables, benches and display board.buninyong, courthouse, buninyong council chamber

buildingsOriginal B/W Photograph, Former Courthouse, Buninyong Town Hall, about 1990, when in use as Buninyong Shire Council Chambers.courthouse, buninyong shire council

Murray Comrie Collection. This is a poor copy of an older original. Copy probably made by Murray Comrie in the late 1960s. Monochrome photograph of the Courthouse in Tarnagulla. This is a very poor quality copy of an older original.tarnagulla, courthouse, law, policing, buildings

Social/ political, legalColour photo, Interior Buninyong Courthouse, view of wood-lined ceiling, with painted ceiling rose and brass support rod for lights.buninyong, courthouse, buninyong council chamber

Social/ political, legalColour photo, Interior, central view South wall and bench of 1886 Buninyong Courthouse. Tables and chairs configured as for Buninyong Shire Council.buninyong, courthouse, buninyong council chamber

Social/ political, legalColour photo, Corner wall and mantel piece of 1886 Buninyong Courthouse. portrait of QEII framed by Australian flag and Union Jack, Victorian State Crest of Arms below portrait, group portaits of Buninyong Councillors on mantel.buninyong, courthouse, buninyong council chamber

Three colour photographs of Eltham Courthouse, Sept. 2008. Viewed from across Main Road opposite 728/730 Main Road. One view looking north towards Eltham Hotel shows some of the replacement Plane trees, part of the Avenue of Honoureltham, main road, courthouse, avenue of honour

Three colour photographs of Eltham Courthouse, Sept. 2008. Viewed from across Main Road opposite 728/730 Main Road. One view looking north towards Eltham Hotel shows some of the replacement Plane trees, part of the Avenue of Honoureltham, main road, courthouse, avenue of honour

Three colour photographs of Eltham Courthouse, Sept. 2008. Viewed from across Main Road opposite 728/730 Main Road. One view looking north towards Eltham Hotel shows some of the replacement Plane trees, part of the Avenue of Honoureltham, main road, courthouse, avenue of honour

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

Photographs of Steiglitz Courthouse.steiglitz, steiglitz courthouse

Donald Clark Collection. A colour photograph depicting the courthouse in Tarnagulla. Original photograph.

Backing sheet reads, "Courthouse 1973. Rear of Police Station".

Black and white photograph of front of Eltham Courthouse c.1960.courthouses, main road, eltham, george w bell collection

2 colour Photographs of the Interior of the old courthouse (Main Room)stawell historical society, old court house

A number of plans relating to the refurbushment of the Former Ballarat Supreme Courthouse into a theatre.ballarat court house, performing arts, theatre, ballarat school of mines, smb courthouse theatre, courthouse theatre, ewan jones and associates

Colour photographeltham, main road, courthouse

Colour photographeltham, main road, courthouse

Pleasant Creek Courthouse Longfield Street.stawell government

The Courthouse is now the location of the Heidelberg Historical Society.2 p. black print on pink paper, building planheidelberg historical society, old heidelberg court house

7006 National Trust Photographs -1 Pleasant Creek Courthouse 1860 Series of Colour Photographs of buildings of interest to National TrustJune 1993buildings, heritage buildings

Colour photographeltham, harry gilham, courthouse, russell yeoman