Sophie Thomas assisted Elizabeth Chatham (nee Holmes) and her mother, Edith Holmes (nee Pickford) with household chores and child care at "Launchley" Ascot and at 15 Wendouree Parade, Ballarat during the 1950s - 1970s. Sophie was an important, loved member of the family.Small black and white photograph in oval frame with standsophie thomas, mary elizabeth chatham, family helper, launchley, chatham - holmes family archive

Families struggling with a loved-one's drug addiction can get help through "Family Drug Help" at Banyule Community Health. News clipping, black text and colour image.banyule community health, drug addiction, family drug help

During WWII the local boys formed a salvage band, they would go around town collecting papers and bottles and would return them for a deposit that would then be donated to the war fund that helped families in need who had people serving in the war

Contents: • Next meeting, guest speaker; Vivien Williamson: Banyule Heritage Study • Annual General Meeting • Banyule Heritage Study • Eastern Region Conference • Other Events • War Memorial News • Eltham Family Connections • Help Wanted • Help Given • Wurundjeri Signs Installed The Shire of Eltham Historical Society was formed in October 1967. The first newsletter of the Society was issued May 1978 and has been published continuously ever since on a bi-monthly basis. With the cessation of the Shire of Eltham in late 1994, the Society's name was revised to Eltham District Historical Society and this name first appeared with issue No. 103, July 1995. The collection of the Society's newsletters provides a valuable resource on the history of the Society's activities, office bearers and committee members, guest speakers and subjects of historical interest pertinent to the former Shire of Eltham and the Eltham District.A4 photocopied newsletter distributed to membersnewsletter, eltham district historical society, shire of eltham historical society

As part of centenary celebrations, portraits were commissioned of all previous presidents of the AAFB and AAB. William Quayle (1861-1910) was President of the Association for the Advancement of the Blind in 1905. His grand daughter Coral Graham lent some family photographs to help the painter capture his likeness.1 sepia and 1 black and white photograph of large group of family memberswilliam quayle, association for the advancement of the blind

Return to your families. They miss you and yearn to be near you. Reverse: Friends - Return ! Your families need you. They worry about your health and happiness. They know that you will die if you don't pay attention to their pleas. the Government also desires your return. Contact soldiers of the Republic or your nearest government officials. You will be well treated. You and your families will be helped immediately that you return to the National Government. don't delay any more - return immediately !!Return to your Families. They miss you and yearn to be near you. Picture of sad family on front. Vietnamese writing writing on back.pamphlet, psycological warfare, propaganda, nva/vc, viet cong, 7th battalion, 1st battalion, terry michael collie, 2790361, the royal australian regiment

Photo of a white tram painted to celebrate 75 years of Legacy work. As well as the 75 Legacy logo, it says "Legacy - Helps the families of our departed Veterans" and "75 years on ... Legacy still caring. 1923-1998" The tram is parked near a marquee, other photos show there were speeches and refreshments held there for the launch.A record of a way to promote Legacy during the anniversary in 1998.Colour photo of the launch of a tram painted to promote to Legacy's 75th Anniversary.legacy promotion, tram, 75th anniversary

This is an example of Melbourne Legacy promotional material. It is a poster from early 2000s. The slogan "Help the Families of Our Deceased Veterans" was used with an image of two boys. The main time of year for fundraising is September when Legacy holds 'Badge Week'. Similar to other marketing material from the 1990s to 2009, see items 01240 to 01258. The collection shows the types of marketing materials that were produced and the celebrities that were helping Legacy.An example of promotional material from the 2000s. Marketing material and photos were compiled and released to newspapers, also printed as brochures and sometimes as stickers and collection tin wrappers.Colour A4 promotional leaflet for Legacy Week, featuring two boys.legacy promotion, badge appeal, legacy week, marketing

Linda Blundell had been employed as a social worker to help Broadmeadows families who had fallen into financial difficulties. The Rev. Brace Bateman had established the position within the Maribyrnong Valley Presbytery. Linda herself had experienced financial difficulties in earlier life, brought about by the unscrupulous tactics of some local businesses who encouraged over-spending and borrowing, so she was well equipped to assist families work through the difficulties.Linda Blundell was the first person to be employed as a social worker in the Presbytery of Maribyrnong Valley.B&W photo of Mrs Linda Blundell talking to the Rev. Brace Bateman.linda blundell; brace bateman; presbytery of maribyrnong valley; broadmeadows, social worker, broadmeadows

Photo of a white tram painted to celebrate 75 years of Legacy work. As well as the 75 Legacy logo, it says "Legacy - Helps the families of our departed Veterans" and "75 years on ... Legacy still caring. 1923-1998". Photos show Legacy President Tom Butcher and Robin Cooper the Victorian Minister for Transport after they cut the ribbon. Also Tom Butcher speaking and a band playing in the marquee with refreshments. The lady in red jacket is Carmel McConnell who was the public relations officer of Legacy.A record of a way to promote Legacy during the 75th anniversary in 1998.Colour photo x 4 of a tram painted to promote to Legacy's 75th Anniversary being launched with an event at a marquee.legacy promotion, tram, 75th anniversary

Photo of a white tram painted to celebrate 75 years of Legacy work. As well as the 75 Legacy logo, it says "Legacy - Helps the families of our departed Veterans" and "75 years on ... Legacy still caring. 1923-1998". Photos show widows boarding for a ride. The tram is possibly parked near the Shrine as it is at Stop 19 which is the usual stop on St Kilda Road for visiting the Shrine. Other photos show there were speeches and refreshments held in a marquee and a ribbon being cut by Legacy President Tom Butcher and Robin Cooper the Victorian Minister for Transport.A record of a way to promote Legacy during the anniversary in 1998.Colour photo x 2 of a tram painted to promote to Legacy's 75th Anniversary and widows boarding for a ride.legacy promotion, tram, 75th anniversary

Three unrelated Advertiser articles all dated 1/9/1984 stapled together- Simes (Symes?)family; Golden Square railway station; One Tree Hill. Simes family: Letter asking for help in assistance with information about the Simes family (1905-1924); Golden Square (railway) station buildings - some history of the building but article is about dilemma of old and 'not needed' buildings ''I wonder whether anybody want Golden Square/'' author - Andrew Ward, Bendigo Advertiser; article by John Hattam re the origin of the name ''One Tree Hill'' and history of the cutting down of The Tree (1879 - prosecution of a Jerry Ryan for vandalism); the road to the top being constructed (1892); lookout-tower constructions - the first being in 1894.document, newspaper, old rail stations, golden square rail station

A press release from Melbourne Legacy in 1975 which relates a story of how Legacy works. The information was intended to be used by press and magazines etc. The title 'Rising prices worrying you?' and makes the point that the average cost of a family is rising, and now Legacy is a family of 107,000 people. Throughout Australia Legacy was supporting 80,000 widows and 27,000 children of deceased ex-servicemen who died in or since, the two World Wars, and the conflicts in Korea, Malaya and Vietnam. 'Legacy counsels these families in their daily life, that costs nothing for Legacy members give freely of their time' 'What does cost money, and plenty, is providing the tangible things these fatherless families need. Help with education up to an including tertiary studies. Firewood and other forms of heating in the colder climates. Maintenance of residences where country children can live, with all provided, when they have to come to the city for reasons of welfare, study or employment. Housing projects to care for aged widows, in both city and country areas. Subsidising nursing home beds for the infirm. An impressive list? In the calendar year of 1974 if cost Legacy in Australia almost $2.5 million and with rising prices, the coming year is going to cost considerably more. This is where Legacy seeks your help.' Note that in the 1970s inflation and cost of living was rising quickly.A record of how Legacy promoted their work in the 1970s.Pink foolscap page x 2 with black type of a press release in 1975.Rising prices worrying you?'press release, case studies

Copy of an article from the Bendigo Weekly titled Discover Bendigo The Mine Flooding Crisis - Finale of the Victoria Quartz by James Lerk. The lack of suitable machinery, insufficient knowledge of where the water was coming from, need for Government support, and the pegged price of gold, all contributed to the cessation of deep mining. The Victoria Quartz decided to allow tributers for work the upper levels. By 1913, the Company found it uneconomic to allow the tributers to continue working the upper levels and the poppet head and machinery were sold. During the Great Depression Ernest Smith, Davic Holden, Jack Harrison and David Patullo worked above the water line and did well enough to help their families from the worst effects of the Great Depression. Later Dave Patullo continued to work at the Victoria Quartz while the other three obtained employment in other mines. The article has a photo of David Patullo.bendigo, history, long gully history group, the long gully history group - the mine flooding crisis - finale of the victoria quartz, bendigo weekly, james lerk, victoria quartz mine, brough smyth, bendigo advertiser, victoria quartz company, great depression, ernest smith, david holden, jack harrison, david patullo, government battery eaglehawk

During periods of harsh persecution, Hmong women developed a way to record their history by weaving it directly into their clothing. Called "pajntaub" , which means "flower cloth", and it was traditionally practiced only by the women of the community. Using a variety of complex stitching techniques, they created intricate geometric patterns. These designs were not just for decoration on clothes, collars and baby carriers. At times when their own language was suppressed, these symbols served as a form of communication and cultural documentation, with history hidden in the very pleats of their skirts. This tradition took on a new powerful meaning in the late 1970's after the wars in Southeast Asia. Forced into refugee camps in Thailand, Hmong women began creating "story cloths". These were larger tapestries that documented their lives, their traditions, and their harrowing journey from their homelands to the camps. These story cloths became a way to tell the world what had happened to them . They also became a vital source of income, sometimes selling for just one dollar, which helped families survive in the camps. Hmong Archives; Library of Congress. Hill Tribe clothing panel in progress in fuchsia pinks and royal blue, with white, green, orange highlights. Embroidered in buttonhole stitch and satin stitch filling. Worked on black even weave linen.

During periods of harsh persecution, Hmong women developed a way to record their history by weaving it directly into their clothing. Called "pajntaub" , which means "flower cloth", and it was traditionally practiced only by the women of the community. Using a variety of complex stitching techniques, they created intricate geometric patterns. These designs were not just for decoration on clothes, collars and baby carriers. At times when their own language was suppressed, these symbols served as a form of communication and cultural documentation, with history hidden in the very pleats of their skirts. This tradition took on a new powerful meaning in the late 1970's after the wars in Southeast Asia. Forced into refugee camps in Thailand, Hmong women began creating "story cloths". These were larger tapestries that documented their lives, their traditions, and their harrowing journey from their homelands to the camps. These story cloths became a way to tell the world what had happened to them . They also became a vital source of income, sometimes selling for just one dollar, which helped families survive in the camps. Hmong Archives; Library of Congress. Hill Tribe clothing panel in fuchsia pinks and royal blue, with white, green, orange highlights. Embroidered in buttonhole stitch and satin stitch filling. Worked on black even weave linen.

During periods of harsh persecution, Hmong women developed a way to record their history by weaving it directly into their clothing. Called "pajntaub" , which means "flower cloth", and it was traditionally practiced only by the women of the community. Using a variety of complex stitching techniques, they created intricate geometric patterns. These designs were not just for decoration on clothes, collars and baby carriers. At times when their own language was suppressed, these symbols served as a form of communication and cultural documentation, with history hidden in the very pleats of their skirts. This tradition took on a new powerful meaning in the late 1970's after the wars in Southeast Asia. Forced into refugee camps in Thailand, Hmong women began creating "story cloths". These were larger tapestries that documented their lives, their traditions, and their harrowing journey from their homelands to the camps. These story cloths became a way to tell the world what had happened to them . They also became a vital source of income, sometimes selling for just one dollar, which helped families survive in the camps. Hmong Archives; Library of Congress. Hill Tribe clothing panel in fuchsia pinks and royal blue, with white, green, orange highlights. Embroidered in buttonhole stitch and satin stitch filling. Worked on black even weave linen.

During periods of harsh persecution, Hmong women developed a way to record their history by weaving it directly into their clothing. Called "pajntaub" , which means "flower cloth", and it was traditionally practiced only by the women of the community. Using a variety of complex stitching techniques, they created intricate geometric patterns. These designs were not just for decoration on clothes, collars and baby carriers. At times when their own language was suppressed, these symbols served as a form of communication and cultural documentation, with history hidden in the very pleats of their skirts. This tradition took on a new powerful meaning in the late 1970's after the wars in Southeast Asia. Forced into refugee camps in Thailand, Hmong women began creating "story cloths". These were larger tapestries that documented their lives, their traditions, and their harrowing journey from their homelands to the camps. These story cloths became a way to tell the world what had happened to them . They also became a vital source of income, sometimes selling for just one dollar, which helped families survive in the camps. Hmong Archives; Library of Congress. Hill Tribe clothing panel in fuchsia pinks and royal blue, with white, green, orange highlights. Embroidered in buttonhole stitch and satin stitch filling. Worked on black even weave linen.

FROM - R A NORTHFIELD of Noradjuha This horse-drawn wagon was owned and used by R. A. Northfield of Noradjuha, a farming district located south of Horsham in Victoria's Wimmera region. Wagons of this type were essential items of farm equipment during the late nineteenth and early twentieth centuries, before motor trucks became widely available. Used behind teams of horses, wagons transported a wide variety of agricultural products and supplies, including bagged wheat, wool bales, hay, fencing materials, firewood, livestock feed and general farm produce. They also served as the principal means of moving goods between farms, railway sidings and rural townships. The heavy construction of the wagon reflects the demanding conditions of broadacre farming in the Wimmera, where large loads often had to be hauled across unsealed roads and paddocks. Such wagons were frequently used for decades and were often repaired and modified as required throughout their working lives. Significance: This wagon is significant as a representative example of the horse-powered transport technology that supported agricultural development throughout the Wimmera. Before the introduction of tractors and motor vehicles, wagons such as this formed the backbone of rural transport and were indispensable to farming operations. Its association with R. A. Northfield of Noradjuha provides an important local connection to one of the district's farming families and helps document the working methods employed on Wimmera farms during the horse-drawn era. The wagon demonstrates the craftsmanship of traditional wagon building and provides a tangible link to the period when horses supplied the primary motive power for transport and agriculture. As a surviving example of rural transport equipment, it contributes to the understanding of farming, settlement and community life in western Victoria.A substantial horse-drawn farm wagon constructed from timber and iron, mounted on four large wooden-spoked wheels fitted with iron tyres. The wagon features a rectangular timber tray with removable side rails and a robust undercarriage designed to carry heavy agricultural loads. Long timber shafts extend from the front axle assembly for attachment to a horse team. The wagon incorporates a turntable steering mechanism at the front, allowing the front wheels to pivot independently when negotiating corners. Iron braces, fittings and reinforcing straps strengthen the timber construction. The wagon displays considerable wear, weathering and evidence of long service in agricultural use.farm equipment, transport, northfield

Photo of a white tram painted to celebrate 75 years of Legacy work. As well as the 75 Legacy logo, it says "Legacy - Helps the families of our departed Veterans" and "75 years on ... Legacy still caring. 1923-1998". Photos show people posing before boarding for a ride. The photo with 4 women includes Joan Miller, who was a valuable staff member as well as being a Legacy widow and Carmel McConnell who was the public relations officer for Legacy. Another photo shows widows and handicapped dependents posing, the lady on the top step is Margaret Anderson. The tram is possibly parked near the Shrine. Other photos show there were speeches and refreshments held in a marquee and a ribbon being cut be Legacy President Tom Butcher and Robin Cooper the Victorian Minister for Transport.A record of a way to promote Legacy during the anniversary in 1998.Black and white photo x 4 of a tram painted to promote to Legacy's 75th Anniversary.legacy promotion, tram, 75th anniversary

Photo supplied by B. Heddle reproduced on p137 of The Diamond Valley Story by Dianne H. Edwards, Shire of Diamond Valley 1979. "Albert Jones, photographer. Born in 1879, Albert Jones owned the property Golden Glen at Wattle Glen. He was an orchardist and a very busy photographer, travelling over the Diamond Valley area recording everyday events, street scenes, and visiting homes to take family groups. With the help of Claude Burrows, cousin of Mrs Arthur Jones, he built hides from which to photograph local bird life. His hundreds of glass negatives lay forgotten in the basement darkroom until A,J. Spark of Balwyn purchased Golden Glen from Albert Jones's widow in the 1970s. His unclassified negatives are gradually being sorted by Mr Spark. All photos in this book from the Spark/Jones Collection are the work of Albert Jones."Black and white copy of photo printed on glossy photographic paper 30.5 x 40.5 cm (12 x 16 inch); image size approx. 18.5 x 28 cmalbert jones, diamond valley story, golden glen, photographer, wattle glen

Bennie Simcox first came to the Monbulk area about 1860, following the first important gold discovery at the end of 1858. As the gold rush was short lived Simcox returned to Collingwood but later came back to Monbulk, built himself a hut to live in and become its first known permanent resident. The hut was burnt in the 1913 fires. Monbulk was thrown open to selection in 1894, and that's when the first farmers including Bennie Simcox went into Monbulk. It was a big, timbered country in those days. Once Ben had cleared some of his land he started to grow raspberries on it. He would be up before daylight ready to start picking. Ben also picked for a local family, the Camms to help make ends meet. When Ben Simcox was virtually at the retired stage, he wanted to develop his bit of the gully as a tourist attraction, As his nephew Fred Gay who owned the 10 acres below Ben wanted to farm, he was happy to swap his treed block with Ben. At a time when most settlers were clearing their properties, Ben Simcox, by contrast, cultivated the native plants and planted most of the large trees seen on the property today. And so Nathania Springs was developed as a tourist resort, and a mini-botanical garden. He diverted the natural water supply to form ornamental garden pools stocked with trout and tame native black fish. There were many visitors came to the Dandenongs, Some arriving in motor cars others in converted furniture vans lined with seats or charabancs with the long extended chassis and the open canvas roofs. Identities such as Billy Hughes, Madame Melba would often come to look through Nathania Springs. Bennie sold Nathania Springs to Councillor Ferdinand Thomas Le Juge, a boarding house proprietor and later the town baker in 1909 then in about 1921 Ben’s nephew Fred and his wife and family continued to open Nathania Springs to the public. It was not unusual in around 1924-25 for up to a thousand people a day to arrive at Nathania Springs to go through the gardens. At sixpence a time, that was a lot of money in those days. This photo is part of a collection of historic and social significance of the early settlement of Monbulk. Copies of photographs can be purchased from the Monbulk Historical Society.simcox, nathania springs, monbulk, 1860, berries

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

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