A cream coloured cardboard with black writing. This is a folded booklet with four sections and all eight pages have information on themaustralia - armed forces - service manuals, enemy mines, booby traps, contact drills, scouting

A cream coloured cardboard with black writing. This is a folded booklet with four sections and all eight pages have information on themaustralia - armed forces - service manuals, enemy mines, booby traps, contact drills, scouting

Three part exhibit featuring mine body, curved block of C4 explosive and firing device. Olive drab in colour and metal composition.Front towards enemy - on mine body. Test set electrical M18. Firing device electrical.m18 claymore mine, sas

Denis Gibbons (1937 – 2011) Trained with the Australian Army, before travelling to Vietnam in January 1966, Denis stayed with the 1st Australian Task Force in Nui Dat working as a photographer. For almost five years Gibbons toured with nine Australian infantry battalions, posting compelling war images from within many combat zones before being flown out in late November 1970 after sustaining injuries. The images held within the National Vietnam Veterans Museum make up the Gibbons Collection. A black and white photograph of General Creighton Abrams, Officer Commanding Military Assistance Command Vietnam (MACV) accompanied by Maj Aalan Vickers and watched by the 1st Australian Task Force Commnader, Brig C M I Sandy Pearson inspects an Australian Centurian tank which hab been damaged by an enemy mine. General Abrams was making his first visit to Australian Forces in the field.photograph, general creighton abrams, macv, maj aalan vickers, 1st atf base, centurion tank, gibbons collection catalogue, officer commanding, 1st australian task force, brigadier "sandy" c.m.i. pearson, australian forces, denis gibbons

The M18A1 'Claymore' Directional Fragmentation Mine which is used as part of the perimeter defences at, for example Fire Support Base or for use in ambush situations. The convex side is faced toward the enemy and the mine is configured to be electrically detonated from a remote location, (these mines can be connected by white "det cord" & detonators from the detonator wells show to link a series of mines)). It is raised off the ground by a small stand to maximise the blast radius. Claymore mines contain 700 steel ball bearings impressed into 650 grams of plastic explosive. The M18A1 has a lethal range of up to 100 metresA replica of the M18A1 'Claymore' Directional Fragmentation Mine. The convex side is faced toward the enemy and the mine is configured to be electrically detonated from a remote location. In practice this mine type is raised above the ground slightly by a small legs designed to maximise the blast radius. These mines contain approximately 700 small steel ball bearings impressed into 650 grams of plastic explosive. The M18A1 has a lethal range of up to 100 metresOn the front"Front Toward Enemy" on the reverse "Back M18A1 Apers Mine"

Australian war correspondent Denis Gibbons lived and worked in South Vietnam for five years. He arrived in Vietnam in January 1966 and operated from the 1st Australian Task Force Headquarters during his time in Vietnam. His unique photographs were shot in the thick of action, giving them an immediacy and a real sense of the danger that Australian soldiers lived for most of the time in Vietnam. During his time in Vietnam. He took tens of thousands of his black-and-white and colour photographs. Gibbons was flown out of Vietnam in November 1970, after being wounded when an Armoured Personnel Carrier he was travelling in hit an enemy mine; he was wounded six times over the course of his five years in Vietnam.Camoflague shirt with two pockets on chest with two buttons on each. One button missing from top of shirt. One button missing from bottom of jacket. Tailor made in Vietnam.clothing, camoflague shirt, denis gibbons, war photographers - australia

Australian war correspondent Denis Gibbons lived and worked in South Vietnam for five years. He arrived in Vietnam in January 1966 and operated from the 1st Australian Task Force Headquarters during his time in Vietnam. His unique photographs were shot in the thick of action, giving them an immediacy and a real sense of the danger that Australian soldiers lived for most of the time in Vietnam. During his time in Vietnam. He took tens of thousands of his black-and-white and colour photographs. Gibbons was flown out of Vietnam in November 1970, after being wounded when an Armoured Personnel Carrier he was travelling in hit an enemy mine; he was wounded six times over the course of his five years in Vietnam.Black and silver FX SLE with FL lens canon camera with attachment for flash on top (no flash), no straps. Takes film. On Front of camers - Canon FX. On back - Canon Camera Company Inc. No: 223389. On inside film compartment F612camera, denis gibbons, war photographers - australia

Australian war correspondent Denis Gibbons lived and worked in South Vietnam for five years. He arrived in Vietnam in January 1966 and operated from the 1st Australian Task Force Headquarters during his time in Vietnam. His unique photographs were shot in the thick of action, giving them an immediacy and a real sense of the danger that Australian soldiers lived for most of the time in Vietnam. During his time in Vietnam. He took tens of thousands of his black-and-white and colour photographs. Gibbons was flown out of Vietnam in November 1970, after being wounded when an Armoured Personnel Carrier he was travelling in hit an enemy mine; he was wounded six times over the course of his five years in Vietnam.Black and silver camera - Nikkormat FT SLR with a zoon lens and attaching plate for flash. No straps. Takes film. Quite heavy. Has provision for michrphone and tripodcamera, dennis gibbons, war photographers - australia

Bob Miles enlisted in the Royal Australian Air Force in May 1940. He trained as Fitter in 1941, then as an Air Gunner in 1942. He was in 11 Squadron and 20 Squadron. Both Squadrons flew Catalinas on special missions dropping sea mines into enemy controlled harbors. These Catalinas were painted black for night missions and were known as the Black Cats. The Black Cat Catalina flying boats were serviced at the No 1 Flying Boat Repair Depot, Lake Boga, during World War II.Corporal Bob Miles' logbook shows he was at the No 1 Flying Boat Repair Depot, Lake Boga, on February 1st - 2nd 1945 for air testing. He was in Catalina A24-304.Black and white photograph of 13 enlisted men. 2 rows of men, 7 men standing in the back row, 6 men squatting in the front row. Corrugated iron buildings in the background. Front of Photo -2ND RIGHT BOTTOM ROW BOB MILES Back of Photo - Bob Miles/2nd Right Bottom Row. 14 signatures. /HUT 73/No 2 B.A.G.S./PORT PIRIE/13-10-1941(8HRS DAY /MARCH)bob miles, catalina, wwii, lake boga, flying boat depot, black cats

Bob Miles enlisted in the Royal Australian Air Force in May 1940. He trained as a Fitter in 1941, then as an Air Gunner in 1942. He was in 11 Squadron and 20 Squadron. Both Squadrons flew Catalinas on special missions dropping sea mines into enemy controlled harbors. These Catalinas were painted black for night missions and were known as the Black Cats. The Black Cat Catalina flying boats were serviced at the No 1 Flying Boat Repair Depot, Lake Boga, during World War II.Corporal Bob Miles' logbook shows he was at the No 1 Flying Boat Repair Depot, Lake Boga, on February 1st - 2nd 1945 for air testing. He was in Catalina A24-304.Khaki green buckram covered RAAF Member's pay bookOfficial No. 26586 Pay Book No. 16118/Surname MILES/Christian Names Robert George/ROYAL AUSTRLAIAIN AIR FORCE/MEMBER'S PAY BOOKbob miles, wwii, catalina, black cats, no 1 flying boat repair depot

Bob Miles enlisted in the Royal Australian Air Force in May 1940. He trained as a Fitter in 1941, then as an Air Gunner in 1942. He was in 11 Squadron and 20 Squadron. Both Squadrons flew Catalinas on special missions dropping sea mines into enemy controlled harbors. These Catalinas were painted black for night missions and were known as the Black Cats. The Black Cat Catalina flying boats were serviced at the No 1 Flying Boat Repair Depot, Lake Boga, during World War II.Corporal Bob Miles' logbook shows he was at the No 1 Flying Boat Repair Depot, Lake Boga, on February 1st - 2nd 1945 for air testing. He was in Catalina A24-304.Rectangular cream card, Navy writingFront cover: Air Force/ Course 68/ 2a Fitters/Passing Out Dinner/House of Commons Hotel/19th February 1941 Inside: Menu Rear cover: Autographs (of course participants including Bob Miles')wwii, bob miles, catalina, black cats, no 1 flying boat repair depot

Bob Miles enlisted in the Royal Australian Air Force in May 1940. He trained as a Fitter in 1941, then as an Air Gunner in 1942. He was in 11 Squadron and 20 Squadron. Both Squadrons flew Catalinas on special missions dropping sea mines into enemy controlled harbors. These Catalinas were painted black for night missions and were known as the Black Cats. The Black Cat Catalina flying boats were serviced at the No 1 Flying Boat Repair Depot, Lake Boga, during World War II.Corporal Bob Miles' logbook shows he was at the No 1 Flying Boat Repair Depot, Lake Boga, on February 1st - 2nd 1945 for air testing. He was in Catalina A24-304.blue cloth covered book, black writing on cover, flight entries handwritten insideFORM A.73/(June, 1933)/ROYAL AUSTRALIAN AIR FORCE/OBSERVER'S AIR GUNNER'S AND W/T OPERATO'S FLYING LOG BOOK Name 26586 MILES RGcatalina, black cats, bob miles, wwii, flying boat repair depot, lake boga, log book

Bob Miles enlisted in the Royal Australian Air Force in May 1940. He trained as a Fitter in 1941, then as an Air Gunner in 1942. He was in 11 Squadron and 20 Squadron. Both Squadrons flew Catalinas on special missions dropping sea mines into enemy controlled harbors. These Catalinas were painted black for night missions and were known as the Black Cats. The Black Cat Catalina flying boats were serviced at the No 1 Flying Boat Repair Depot, Lake Boga, during World War II.Corporal Bob Miles' logbook shows he was at the No 1 Flying Boat Repair Depot, Lake Boga, on February 1st - 2nd 1945 for air testing. He was in Catalina A24-304.Black and white photograph of 6 servicemen standing, 3 seatedBack of photo: Caterlina No.20 Squadron Taken Islands/Bob Miles - 1st Row Left sidebob miles, wwii, catalina, black cats, no 1 flying boat repair depot

Bob Miles enlisted in the Royal Australian Air Force in May 1940. He trained as a Fitter in 1941, then as an Air Gunner in 1942. He was in 11 Squadron and 20 Squadron. Both Squadrons flew Catalinas on special missions dropping sea mines into enemy controlled harbors. These Catalinas were painted black for night missions and were known as the Black Cats. The Black Cat Catalina flying boats were serviced at the No 1 Flying Boat Repair Depot, Lake Boga, during World War II.Corporal Bob Miles' logbook shows he was at the No 1 Flying Boat Repair Depot, Lake Boga, on February 1st - 2nd 1945 for air testing. He was in Catalina A24-304.Black and white photo of 49 servicemen, in three rowsRear of photo: 2 B.A.G.S./June 1942/B SECTION MAINTENANCE RGMiles/(PART)bob miles, wwii, catalina, black cats, no 1 flying boat repair depot

Bob Miles enlisted in the Royal Australian Air Force in May 1940. He trained as a Fitter in 1941, then as an Air Gunner in 1942. He was in 11 Squadron and 20 Squadron. Both Squadrons flew Catalinas on special missions dropping sea mines into enemy controlled harbors. These Catalinas were painted black for night missions and were known as the Black Cats. The Black Cat Catalina flying boats were serviced at the No 1 Flying Boat Repair Depot, Lake Boga, during World War II.Corporal Bob Miles' logbook shows he was at the No 1 Flying Boat Repair Depot, Lake Boga, on February 1st - 2nd 1945 for air testing. He was in Catalina A24-304.A recent photo taken of a black and white photograph with Bob Miles in uniform coat and hatbob miles, wwii, catalina, black cats, no 1 flying boat repair depot

Bob Miles enlisted in the Royal Australian Air Force in May 1940. He trained as a Fitter in 1941, then as an Air Gunner in 1942. He was in 11 Squadron and 20 Squadron. Both Squadrons flew Catalinas on special missions dropping sea mines into enemy controlled harbors. These Catalinas were painted black for night missions and were known as the Black Cats. The Black Cat Catalina flying boats were serviced at the No 1 Flying Boat Repair Depot, Lake Boga, during World War II.This Airforce Association badge belonged to Robert George (Bob) Milesgold lapel pin, blue, white and red enamel shield, gold eagle and crown, light blue scroll with textAirforce Associationwwii, badge, airforce, bob miles

Bob Miles enlisted in the Royal Australian Air Force in May 1940. He trained as a Fitter in 1941, then as an Air Gunner in 1942. He was in 11 Squadron and 20 Squadron. Both Squadrons flew Catalinas on special missions dropping sea mines into enemy controlled harbors. These Catalinas were painted black for night missions and were known as the Black Cats. The Black Cat Catalina flying boats were serviced at the No 1 Flying Boat Repair Depot, Lake Boga, during World War II.Sergeant Lois Baird WAAAF married Bob Miles, Catalina Squadron member.sepia photograph of Lois Baird in WAAAF uniformon back of photograph: Sergeant - W.A.A.A.F./Lois Baird/Brisbane 1942/(Married Robert/George Miles/1947/(Malvern Meth. Church)catalina, waaaf, wwii, bob miles

Bob Miles enlisted in the Royal Australian Air Force in May 1940. He trained as a Fitter in 1941, then as an Air Gunner in 1942. He was in 11 Squadron and 20 Squadron. Both Squadrons flew Catalinas on special missions dropping sea mines into enemy controlled harbors. These Catalinas were painted black for night missions and were known as the Black Cats. The Black Cat Catalina flying boats were serviced at the No 1 Flying Boat Repair Depot, Lake Boga, during World War II.Corporal Bob Miles' logbook shows he was at the No 1 Flying Boat Repair Depot, Lake Boga, on February 1st - 2nd 1945 for air testing. He was in Catalina A24-304.Khaki green buckram covered RAAF Member's pay bookOfficial No. 26586 Pay Book No.C 208648/Surname MILES/Christian Names Robert George/ROYAL AUSTRALIAN AIR FORCE/MEMBER'S PAY BOOKbob miles, wwii, catalina, black cats, no 1 flying boat repair depot

Bob Miles enlisted in the Royal Australian Air Force in May 1940. He trained as a Fitter in 1941, then as an Air Gunner in 1942. He was in 11 Squadron and 20 Squadron. Both Squadrons flew Catalinas on special missions dropping sea mines into enemy controlled harbors. These Catalinas were painted black for night missions and were known as the Black Cats. The Black Cat Catalina flying boats were serviced at the No 1 Flying Boat Repair Depot, Lake Boga, during World War II.Corporal Bob Miles' logbook shows he was at the No 1 Flying Boat Repair Depot, Lake Boga, on February 1st - 2nd 1945 for air testing. He was in Catalina A24-304.Green buckram covered RAAF Member's pay bookOfficial No. 26586 Pay Book No. C 292056/Surname MILES/Christian Names Robert George/ROYAL AUSTRALIAN AIR FORCE/MEMBER'S PAY BOOKwwii, bob miles, catalina, black cats, no 1 flying boat repair depot

Bob Miles enlisted in the Royal Australian Air Force in May 1940. He trained as a Fitter in 1941, then as an Air Gunner in 1942. He was in 11 Squadron and 20 Squadron. Both Squadrons flew Catalinas on special missions dropping sea mines into enemy controlled harbors. These Catalinas were painted black for night missions and were known as the Black Cats. The Black Cat Catalina flying boats were serviced at the No 1 Flying Boat Repair Depot, Lake Boga, during World War II. Bob married Lois Baird WAAAF in 1947. When Bob passed in 1969 Lois was awarded a War Widows Pension and received the Legacy Badge.Lois Baird served in WWII in the WAAAF. Her husband Robert George (Bob) Miles served in the RAAF, a member of 20 Squadron, flying the Catalinas.Gold lapel pin, round emblem with gold torch and wreath, blue scroll with textLegacywwii, catalina, legacy, lois miles, bob miles

The Dead Man’s Penny is a commemorative medallion which was presented to the next-of-kin of the men and women from England and the Empire who died during World War One. The Dead Man’s Penny was accompanied by a letter from King George V, stating ‘I join with my grateful people in sending you this memorial of a brave life given for others in the Great War’.[http://nma.gov.au/blogs/education/2010/11/14/dead-mans-penny/] Popularly known as the "Dead Man’s Penny", because of the similarity in appearance to the somewhat smaller penny coin. 1,355,000 plaques were issued, which used a total of 450 tonnes of bronze, and continued to be issued into the 1930s to commemorate people who died as a consequence of the war. [http://en.wikipedia.org/wiki/Memorial_Plaque_(medallion)] It was decided that the design of the plaque was to be picked from submissions made in a public competition. Over 800 designs were submitted and the competition was won by the sculptor and medallist Edward Carter Preston with his design called Pyramus, receiving a first place prize of £250.[http://en.wikipedia.org/wiki/Memorial_Plaque_(medallion)] They were initially made at the Memorial Plaque Factory, 54/56 Church Road, Acton, W3, London from 1919. Early plaques did not have a number stamped on them but later ones have a number stamped behind the lion's back leg. [http://en.wikipedia.org/wiki/Memorial_Plaque_(medallion)] Ted Cannon's plaquette does not have a stamped number. Ted Cannon was a gifted artist and cartoonist who studied at the Ballarat School of Mines Technical Art School. During the Battle of Pozieres on the Western Front Ted Cannon worked with the Scout Platoon sketching the enemy's gun emplacements. Ted proved invaluable to the Brigade and brought he came under the attention of the Australian High Command. On 13 September 1916 Ted was given a special assignment for General C.B.B. White. Ted was sent out forward of the Old Mill at Verbrandenmolen (in the Ypres Salient) to draw a panorama of the German lines in the area from Hill 60 to The Bluff. It was a hazardous task and Ted was warned to be careful. Tragically he was sniped by an enemy machine-gunner and sustained severe abdominal wounds. Stretcher-bearers rushed him to the 17th Casualty Clearing Station where he was operated on by the doctors at 8.30 that night. With little chance of success, but ever resilient, Ted remained conscious almost to the end. He died early in the morning of the 14 September 1916. His body was buried in the large Military Cemetery at Lijssenthoek. The effects of the late Ted Cannon were returned to his parents. These were an autograph book, three brushes, prayer book, housewife, whistle, book, hymn book, curios. Another listing gives his effects as "identity disc, letters, photos, wallet, 2 books, Mexican Dollar, 1 cent (Ceylon), 3 German Straps, Fountain Pen, Cigarette-holder, Franc Note, 50 centimes Note, devotional book, mirror, rosary, scapula, metal ring, two combs, book of views, nail clippers, badges, tie clip, Egyptian stamp.[http://recordsearch.naa.gov.au/scripts/Imagine.asp?B=3202589] Ted Cannon was an only child. It is not known how the 'Dead Man's Penny' came into the ownership of the donor, but it is thought that it may have been left in a house owned by the donor's mother. Further information on Ted Cannon can be found at http://bih.ballarat.edu.au/index.php/Edwin_J._Cannon and http://www.ballarat.edu.au/about-ub/history/art-and-historical-collection/ub-honour-roll/c/edwin-joseph-ted-cannon-1895-1916Large bronze medallion or plaquette featuring an image of Lady Britannia surrounded by two dolphins (representing Britain’s sea power) and a lion (representing Britain) standing over a defeated eagle (symbolising Germany). Around the outer edge of the medallion are the words ‘He died for freedom and honour’. Next to Lady Britannia is the deceased solider’s name, with no rank provided to show equality in their sacrifice. (http://nma.gov.au/blogs/education/2010/11/14/dead-mans-penny) The plaque was distributed throughout the British Empire, and the first plaques were distributed in Australia in 1922 "Returned home" by W. & O. Mayne, 2013. ted cannon, edwin joseph cannon, cannon, world war 1, world war

The editor of the Ballarat School of Mines Students' Magazine for 1963 was T. Brauer. The President of the SRC was R. Coutts. The Eric McGrath Award is given to the student who distinguishes themselves in extra-curricular activities, with special emphais on work concerned with the Revue and School Magazine. The winner was selected by the executive of the Students' Representative Council.Orange soft covered booklet of 104 pages. Articles include: King Island, Look Back in Wonder, Journey into Darkness, The Sensible Enemy, Strictly for Girls, The pH Factor, Diploma Conferring Ceremony, Diplomas Conferred, Personality Tests and the Individual, Poison to Poison SMB Students' Revue, In Search of Truth, Gliding With the Birds, Income Tax, Newtonian Observations Extended, Friends, The Idealist View of Life, Rustling Rags, Where Mankind Has Failed, Sports report, School Council and Members of Staff listing, Roll Call, Images Include: Bob Coutts, Paul Pusari, Tony Brauer, Jemi Milbourne, Kerry Penna, Brian McLennan, Bob Grubb, John Davis, Netta Walta, Kevin Brady, Oscar Rogers, Kuo Yiew See, S. White, Anne Morrehouse, Gerry Liston, Bob Coutts, Gary Robert, Ray Megee, Pater Smith, Daila Berzins, Tony Brauer, Bob Grubb, Peter Donaldson, Don Yates Snippets include: Tony Brauer won the Eric McGrath Award; The R.W. Richards Medal was won by K.A Sculley in 1962.ballarat school of mines, kelvin whitford, greg hunter, ray megee, daila berzins, bob grubb, gary roberts, stephen drew, david bell, bob coutts, gerry liston, michael moissinac, neil mudge, arthur patterson, edward scull, eric mcgrath award, bobby ong, paul pusari, toby brauer, jeni melbourne, kerry penna, brian mclennan, john davis, netta walta, kevin crady, oscar rogers, kuo view see, anne moorehouse, robert grubb, peter donaldson, peter smith, geoogy demonstration, lake relay

Ballarat School of Mines Students' Magazine, 1963. Editorial, Prominent Personalities, King Island - Vacation Wonderland, Look back in Wonder, The Sensible Enemy, Diploma Conferring Ceremony, R. W. Richards Medal, Diplomas Conferred, Personality Tests and the Individual, Poison to Poison - Students' Revue for 1963, Malaya, Income Tax, Rustling Rags, Where Mankind has Failed, Sports Awards 1963, Sports, School Council, Members of Staff, Roll Call Yellow soft cover with red inscriptions and black figures on front cover, 104 pages including advertisements.ballarat school of mines students' magazine 1963, staff, sports, tony brauer, bob coutts, paul pusari, jeni milbourne, kerry penna brian mclennan, bob grub, john davis, netta walta, kevin brady, oscar rogers, kuo yiew see, h. e. arblaster, stanley white, quentin reynolds smyth, l. p. coombes - chief superintendent aeronautical research laboratories melbourne, graeme george redman, robert skewes, chookiat tanaksaranond, alan james bethune, lachlan stewart campbell, graham william hall, john rash, alan kenneth webb, peter agrums, sr. mary chanel fitzsimmons, david ewan clarke kirton, william joseph lannen, neil frances menz, keith houston alexander, john alexander pollock, john peter russell, francis william hunting, chookiate sirivongse, chong thung tay, keith stanley waller, bryan magson, anne moorehouse, stephen drew, gerry liston, gary roberts, ray megee, peter smith, daila berzins, don yates, kelvin whitford, greg hunter, david bell, michael moissinac, neil mudge, arthur patterson, edward scull, joseph heller, g. roberts, j. humphreys, bobby ong, alan cox, p. l. day, r. coutts, wayne johnson, prasert mahattanakul, l. t. negri, ooi kok hai, photography

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

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

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

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

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