Article in "Woman's World" about Burnley graduate, Joan Kilby (1950). Landscape gardener. woman's world, female students, graduates, joan kilby, landscape gardener

Article in "The Age" by Megan Backhouse on June 30, 2018 p 4 'Spectrum'. Sandi Pullman's research on garden designer and Burnley School of Horticulture graduate, Ina Higgins.the age, spectrum, megan backhouse, sandra pullman, sandi pullman, ina higgins, female students

Illustrations selected from book showing views of "The Station Plenty" (Yallambie), the Bakewell family home, illustrated by Edward La Trobe Bateman, an artist and garden designer.Photocopy of illustrations from book, 6 pages. 2 copies.yallambie, bakewell family, plenty station, edward la trobe bateman

Charles Platt was born in New York in 1861 and died in 1933. He studied art at the National Academy of Design. In 1880, Charles went to Paris to study landscape painting and, while there, he travelled to Italy with his brother. Though he was influenced by Italian detailing, his designs were not copies of Italian gardens He was known as an architect and illustrator not as a garden designer. In 1880, he trained as an etcher with Stephen Parrish in Gloucester, Massachusetts. He also trained at the National Academy of Design and the Art Students League in New York and later in Paris with Gustave Boulanger and Jules Joseph Lefebvre at the Académie Julian. Charles exhibited his paintings and etchings and gained his first audience in Paris Salon of 1885. Betweem 1880 – 1890 , he made hundreds of etchings of architecture and landscapes. In 1900, Charles received a bronze medal at the Paris Exposition Universelle. In 1907 he designed a townhouse for Sara Delano Roosevelt on East 65th Street in New York. Eleanor Roosevelt called Charles A. Platt "an architect of great taste" who with the townhouse had "made the most of every inch of space." and in 1918, he de­si­gned the Freer Art Gal­lery in Wa­shing­ton. Book, Hard brown Cover. Title on the spine "The work of Charles A. Platt". Manufactural details on spine. Page no. 181. Black & white plates and plans. Stamped on page 43, 93, 123, 135, 161, 171"Picton Hopkins & Sons PTY.LTD"architecture design, domestic architecture, designs and plans, landscape gardening

The Daylesford Botanic Gardens are of historic, scientific (botanic), and aesthetic significance to the State of Victoria. The Daylesford Botanic Gardens are historically significant as a fine example of a regional botanic garden demonstrating the typical characteristics of a carriage drive, informal park layout, decorative structures and works such as the memorial tower, conservatory, rotunda, cascade and fernery, which contrasts with the open lawns planted with specimen trees, areas of intensive horticultural interest and close proximity to a township developed during the mid to late nineteenth century. The Daylesford Botanic Gardens are historically significant for the design input by noted landscape designer William Sangster, and for the survival of his 1884 plan, which is a rare example of a plan from this prolific garden designer. The Daylesford Botanic Gardens are of scientific (botanic) significance for the extensive conifer collection and cool climate plants. The Gardens contain an outstanding collection of conifers and other mature trees, many of which were donated by renowned botanist Ferdinand von Mueller. Significant trees include Pinus ponderosa (Western Yellow Pine), Pinus coulteri (Big Cone Pine), twoAbies nordmanniana (Caucasian Fir), Abies pinsapo, (Spanish Fir) and a Cedrus atlantica f. glauca(Blue Atlas Cedar), Pinus wallichiana (Bhutan Pine), Pinus pinaster (Maritime Pine), Sequoiadendron giganteum (Giant Redwood), (Monkey Puzzle) and Aesculus hippocastanum (Horse Chestnut), many the largest or finest examples in Victoria. Other outstanding trees include a Tilia cordata (Small-leaved European Linden), a row of Cupressus lusitanica (Mexican cypress), a Quercus robur (English Oak) planted in 1863, avenues of Dutch Elms and a rare Quercus leucotrichophora (Himalayan Oak). The Daylesford Botanic Gardens are of aesthetic significance as a rare example of a botanic garden spectacularly sited on an extinct volcanic cone which allows a panoramic view, aided by the 1938 Pioneers’ Memorial Tower, as well as vistas within and out of the gardens and from the township to the gardens. As the most prominent local landmark, the Garden’s vertical dominance in the landscape provides a dark contrast to the elms avenues, oaks and other deciduous species. (Heritage Victoria Register, )Black and white postcard of Wombat Hill Botanical Gardens, Daylesford.wombat hill botanical gardens, daylesford, gardener, wombat hill botanic gardens

The Daylesford Botanic Gardens are of historic, scientific (botanic), and aesthetic significance to the State of Victoria. The Daylesford Botanic Gardens are historically significant as a fine example of a regional botanic garden demonstrating the typical characteristics of a carriage drive, informal park layout, decorative structures and works such as the memorial tower, conservatory, rotunda, cascade and fernery, which contrasts with the open lawns planted with specimen trees, areas of intensive horticultural interest and close proximity to a township developed during the mid to late nineteenth century. The Daylesford Botanic Gardens are historically significant for the design input by noted landscape designer William Sangster, and for the survival of his 1884 plan, which is a rare example of a plan from this prolific garden designer. The Daylesford Botanic Gardens are of scientific (botanic) significance for the extensive conifer collection and cool climate plants. The Gardens contain an outstanding collection of conifers and other mature trees, many of which were donated by renowned botanist Ferdinand von Mueller. Significant trees include Pinus ponderosa (Western Yellow Pine), Pinus coulteri (Big Cone Pine), twoAbies nordmanniana (Caucasian Fir), Abies pinsapo, (Spanish Fir) and a Cedrus atlantica f. glauca(Blue Atlas Cedar), Pinus wallichiana (Bhutan Pine), Pinus pinaster (Maritime Pine), Sequoiadendron giganteum (Giant Redwood), (Monkey Puzzle) and Aesculus hippocastanum (Horse Chestnut), many the largest or finest examples in Victoria. Other outstanding trees include a Tilia cordata (Small-leaved European Linden), a row of Cupressus lusitanica (Mexican cypress), a Quercus robur (English Oak) planted in 1863, avenues of Dutch Elms and a rare Quercus leucotrichophora (Himalayan Oak). The Daylesford Botanic Gardens are of aesthetic significance as a rare example of a botanic garden spectacularly sited on an extinct volcanic cone which allows a panoramic view, aided by the 1938 Pioneers’ Memorial Tower, as well as vistas within and out of the gardens and from the township to the gardens. As the most prominent local landmark, the Garden’s vertical dominance in the landscape provides a dark contrast to the elms avenues, oaks and other deciduous species. (Heritage Victoria Register, 2025)A large tree in the Wombat Gardens. wombat botanical gardens, daylesford botanical gardens, daylesford, trees, lisa gervasoni, wombat botanic gardens

The Daylesford Botanic Gardens are of historic, scientific (botanic), and aesthetic significance to the State of Victoria. The Daylesford Botanic Gardens are historically significant as a fine example of a regional botanic garden demonstrating the typical characteristics of a carriage drive, informal park layout, decorative structures and works such as the memorial tower, conservatory, rotunda, cascade and fernery, which contrasts with the open lawns planted with specimen trees, areas of intensive horticultural interest and close proximity to a township developed during the mid to late nineteenth century. The Daylesford Botanic Gardens are historically significant for the design input by noted landscape designer William Sangster, and for the survival of his 1884 plan, which is a rare example of a plan from this prolific garden designer. The Daylesford Botanic Gardens are of scientific (botanic) significance for the extensive conifer collection and cool climate plants. The Gardens contain an outstanding collection of conifers and other mature trees, many of which were donated by renowned botanist Ferdinand von Mueller. Significant trees include Pinus ponderosa (Western Yellow Pine), Pinus coulteri (Big Cone Pine), twoAbies nordmanniana (Caucasian Fir), Abies pinsapo, (Spanish Fir) and a Cedrus atlantica f. glauca(Blue Atlas Cedar), Pinus wallichiana (Bhutan Pine), Pinus pinaster (Maritime Pine), Sequoiadendron giganteum (Giant Redwood), (Monkey Puzzle) and Aesculus hippocastanum (Horse Chestnut), many the largest or finest examples in Victoria. Other outstanding trees include a Tilia cordata (Small-leaved European Linden), a row of Cupressus lusitanica (Mexican cypress), a Quercus robur (English Oak) planted in 1863, avenues of Dutch Elms and a rare Quercus leucotrichophora (Himalayan Oak). The Daylesford Botanic Gardens are of aesthetic significance as a rare example of a botanic garden spectacularly sited on an extinct volcanic cone which allows a panoramic view, aided by the 1938 Pioneers’ Memorial Tower, as well as vistas within and out of the gardens and from the township to the gardens. As the most prominent local landmark, the Garden’s vertical dominance in the landscape provides a dark contrast to the elms avenues, oaks and other deciduous species. (Heritage Victoria Register, 2025)An avenue of trees in the Wombat Hill Gardens. wombat botanical gardens, daylesford botanical gardens, daylesford, trees

The Daylesford Botanic Gardens are of historic, scientific (botanic), and aesthetic significance to the State of Victoria. The Daylesford Botanic Gardens are historically significant as a fine example of a regional botanic garden demonstrating the typical characteristics of a carriage drive, informal park layout, decorative structures and works such as the memorial tower, conservatory, rotunda, cascade and fernery, which contrasts with the open lawns planted with specimen trees, areas of intensive horticultural interest and close proximity to a township developed during the mid to late nineteenth century. The Daylesford Botanic Gardens are historically significant for the design input by noted landscape designer William Sangster, and for the survival of his 1884 plan, which is a rare example of a plan from this prolific garden designer. The Daylesford Botanic Gardens are of scientific (botanic) significance for the extensive conifer collection and cool climate plants. The Gardens contain an outstanding collection of conifers and other mature trees, many of which were donated by renowned botanist Ferdinand von Mueller. Significant trees include Pinus ponderosa (Western Yellow Pine), Pinus coulteri (Big Cone Pine), twoAbies nordmanniana (Caucasian Fir), Abies pinsapo, (Spanish Fir) and a Cedrus atlantica f. glauca(Blue Atlas Cedar), Pinus wallichiana (Bhutan Pine), Pinus pinaster (Maritime Pine), Sequoiadendron giganteum (Giant Redwood), (Monkey Puzzle) and Aesculus hippocastanum (Horse Chestnut), many the largest or finest examples in Victoria. Other outstanding trees include a Tilia cordata (Small-leaved European Linden), a row of Cupressus lusitanica (Mexican cypress), a Quercus robur (English Oak) planted in 1863, avenues of Dutch Elms and a rare Quercus leucotrichophora (Himalayan Oak). The Daylesford Botanic Gardens are of aesthetic significance as a rare example of a botanic garden spectacularly sited on an extinct volcanic cone which allows a panoramic view, aided by the 1938 Pioneers’ Memorial Tower, as well as vistas within and out of the gardens and from the township to the gardens. As the most prominent local landmark, the Garden’s vertical dominance in the landscape provides a dark contrast to the elms avenues, oaks and other deciduous species. (Heritage Victoria Register, )A tree in the Wombat Hill Gardens.wombat botanical gardens, daylesford botanical gardens, daylesford, trees, wombat hill botanic gardens

The Daylesford Botanic Gardens are of historic, scientific (botanic), and aesthetic significance to the State of Victoria. The Daylesford Botanic Gardens are historically significant as a fine example of a regional botanic garden demonstrating the typical characteristics of a carriage drive, informal park layout, decorative structures and works such as the memorial tower, conservatory, rotunda, cascade and fernery, which contrasts with the open lawns planted with specimen trees, areas of intensive horticultural interest and close proximity to a township developed during the mid to late nineteenth century. The Daylesford Botanic Gardens are historically significant for the design input by noted landscape designer William Sangster, and for the survival of his 1884 plan, which is a rare example of a plan from this prolific garden designer. The Daylesford Botanic Gardens are of scientific (botanic) significance for the extensive conifer collection and cool climate plants. The Gardens contain an outstanding collection of conifers and other mature trees, many of which were donated by renowned botanist Ferdinand von Mueller. Significant trees include Pinus ponderosa (Western Yellow Pine), Pinus coulteri (Big Cone Pine), twoAbies nordmanniana (Caucasian Fir), Abies pinsapo, (Spanish Fir) and a Cedrus atlantica f. glauca(Blue Atlas Cedar), Pinus wallichiana (Bhutan Pine), Pinus pinaster (Maritime Pine), Sequoiadendron giganteum (Giant Redwood), (Monkey Puzzle) and Aesculus hippocastanum (Horse Chestnut), many the largest or finest examples in Victoria. Other outstanding trees include a Tilia cordata (Small-leaved European Linden), a row of Cupressus lusitanica (Mexican cypress), a Quercus robur (English Oak) planted in 1863, avenues of Dutch Elms and a rare Quercus leucotrichophora (Himalayan Oak). The Daylesford Botanic Gardens are of aesthetic significance as a rare example of a botanic garden spectacularly sited on an extinct volcanic cone which allows a panoramic view, aided by the 1938 Pioneers’ Memorial Tower, as well as vistas within and out of the gardens and from the township to the gardens. As the most prominent local landmark, the Garden’s vertical dominance in the landscape provides a dark contrast to the elms avenues, oaks and other deciduous species. (Heritage Victoria Register, )Colour photograph of Wombat Hill Botanical Gardens, Daylesford.heritage, daylesford, townscape, wombat hill, wombat hill botanical gardens, wombat hill botanic gardens

The Daylesford Botanic Gardens are of historic, scientific (botanic), and aesthetic significance to the State of Victoria. The Daylesford Botanic Gardens are historically significant as a fine example of a regional botanic garden demonstrating the typical characteristics of a carriage drive, informal park layout, decorative structures and works such as the memorial tower, conservatory, rotunda, cascade and fernery, which contrasts with the open lawns planted with specimen trees, areas of intensive horticultural interest and close proximity to a township developed during the mid to late nineteenth century. The Daylesford Botanic Gardens are historically significant for the design input by noted landscape designer William Sangster, and for the survival of his 1884 plan, which is a rare example of a plan from this prolific garden designer. The Daylesford Botanic Gardens are of scientific (botanic) significance for the extensive conifer collection and cool climate plants. The Gardens contain an outstanding collection of conifers and other mature trees, many of which were donated by renowned botanist Ferdinand von Mueller. Significant trees include Pinus ponderosa (Western Yellow Pine), Pinus coulteri (Big Cone Pine), twoAbies nordmanniana (Caucasian Fir), Abies pinsapo, (Spanish Fir) and a Cedrus atlantica f. glauca(Blue Atlas Cedar), Pinus wallichiana (Bhutan Pine), Pinus pinaster (Maritime Pine), Sequoiadendron giganteum (Giant Redwood), (Monkey Puzzle) and Aesculus hippocastanum (Horse Chestnut), many the largest or finest examples in Victoria. Other outstanding trees include a Tilia cordata (Small-leaved European Linden), a row of Cupressus lusitanica (Mexican cypress), a Quercus robur (English Oak) planted in 1863, avenues of Dutch Elms and a rare Quercus leucotrichophora (Himalayan Oak). The Daylesford Botanic Gardens are of aesthetic significance as a rare example of a botanic garden spectacularly sited on an extinct volcanic cone which allows a panoramic view, aided by the 1938 Pioneers’ Memorial Tower, as well as vistas within and out of the gardens and from the township to the gardens. As the most prominent local landmark, the Garden’s vertical dominance in the landscape provides a dark contrast to the elms avenues, oaks and other deciduous species. (Heritage Victoria Register, )Digital imagesdaylesford, snow, weather, climate, winter, daylesford botanic gardens, botanic gardens, wombat hill, wombat hill botanic gardens, pinetum, trees, reservoir

The Daylesford Botanic Gardens are of historic, scientific (botanic), and aesthetic significance to the State of Victoria. The Daylesford Botanic Gardens are historically significant as a fine example of a regional botanic garden demonstrating the typical characteristics of a carriage drive, informal park layout, decorative structures and works such as the memorial tower, conservatory, rotunda, cascade and fernery, which contrasts with the open lawns planted with specimen trees, areas of intensive horticultural interest and close proximity to a township developed during the mid to late nineteenth century. The Daylesford Botanic Gardens are historically significant for the design input by noted landscape designer William Sangster, and for the survival of his 1884 plan, which is a rare example of a plan from this prolific garden designer. The Daylesford Botanic Gardens are of scientific (botanic) significance for the extensive conifer collection and cool climate plants. The Gardens contain an outstanding collection of conifers and other mature trees, many of which were donated by renowned botanist Ferdinand von Mueller. Significant trees include Pinus ponderosa (Western Yellow Pine), Pinus coulteri (Big Cone Pine), twoAbies nordmanniana (Caucasian Fir), Abies pinsapo, (Spanish Fir) and a Cedrus atlantica f. glauca(Blue Atlas Cedar), Pinus wallichiana (Bhutan Pine), Pinus pinaster (Maritime Pine), Sequoiadendron giganteum (Giant Redwood), (Monkey Puzzle) and Aesculus hippocastanum (Horse Chestnut), many the largest or finest examples in Victoria. Other outstanding trees include a Tilia cordata (Small-leaved European Linden), a row of Cupressus lusitanica (Mexican cypress), a Quercus robur (English Oak) planted in 1863, avenues of Dutch Elms and a rare Quercus leucotrichophora (Himalayan Oak). The Daylesford Botanic Gardens are of aesthetic significance as a rare example of a botanic garden spectacularly sited on an extinct volcanic cone which allows a panoramic view, aided by the 1938 Pioneers’ Memorial Tower, as well as vistas within and out of the gardens and from the township to the gardens. As the most prominent local landmark, the Garden’s vertical dominance in the landscape provides a dark contrast to the elms avenues, oaks and other deciduous species. (Heritage Victoria Register, )Digital imagesvictoria, 150, anniversary, botanic, gardens, wombat hill, botanic gardens, heritage, celebration, garden party, daylesford, people, crowd, community, john hawker, john madigan, stilt, trees, owls, wombat hill botanic gardens

The Daylesford Botanic Gardens are of historic, scientific (botanic), and aesthetic significance to the State of Victoria. The Daylesford Botanic Gardens are historically significant as a fine example of a regional botanic garden demonstrating the typical characteristics of a carriage drive, informal park layout, decorative structures and works such as the memorial tower, conservatory, rotunda, cascade and fernery, which contrasts with the open lawns planted with specimen trees, areas of intensive horticultural interest and close proximity to a township developed during the mid to late nineteenth century. The Daylesford Botanic Gardens are historically significant for the design input by noted landscape designer William Sangster, and for the survival of his 1884 plan, which is a rare example of a plan from this prolific garden designer. The Daylesford Botanic Gardens are of scientific (botanic) significance for the extensive conifer collection and cool climate plants. The Gardens contain an outstanding collection of conifers and other mature trees, many of which were donated by renowned botanist Ferdinand von Mueller. Significant trees include Pinus ponderosa (Western Yellow Pine), Pinus coulteri (Big Cone Pine), twoAbies nordmanniana (Caucasian Fir), Abies pinsapo, (Spanish Fir) and a Cedrus atlantica f. glauca(Blue Atlas Cedar), Pinus wallichiana (Bhutan Pine), Pinus pinaster (Maritime Pine), Sequoiadendron giganteum (Giant Redwood), (Monkey Puzzle) and Aesculus hippocastanum (Horse Chestnut), many the largest or finest examples in Victoria. Other outstanding trees include a Tilia cordata (Small-leaved European Linden), a row of Cupressus lusitanica (Mexican cypress), a Quercus robur (English Oak) planted in 1863, avenues of Dutch Elms and a rare Quercus leucotrichophora (Himalayan Oak). The Daylesford Botanic Gardens are of aesthetic significance as a rare example of a botanic garden spectacularly sited on an extinct volcanic cone which allows a panoramic view, aided by the 1938 Pioneers’ Memorial Tower, as well as vistas within and out of the gardens and from the township to the gardens. As the most prominent local landmark, the Garden’s vertical dominance in the landscape provides a dark contrast to the elms avenues, oaks and other deciduous species. (Heritage Victoria Register, )Black and white photograph of a treed landscape covered with fog. The trees are in the Daylesford Botanical Gardens on Wombat Hill.wombat hill botanic gardens, wombat hill, daylesford, daylesford botanic gardens, fog, weather, arboretum

The Wombat Hill Botanic Gardens 150 anniversary event organiser was Gael Shannon. The Daylesford Botanic Gardens are of historic, scientific (botanic), and aesthetic significance to the State of Victoria. The Daylesford Botanic Gardens are historically significant as a fine example of a regional botanic garden demonstrating the typical characteristics of a carriage drive, informal park layout, decorative structures and works such as the memorial tower, conservatory, rotunda, cascade and fernery, which contrasts with the open lawns planted with specimen trees, areas of intensive horticultural interest and close proximity to a township developed during the mid to late nineteenth century. The Daylesford Botanic Gardens are historically significant for the design input by noted landscape designer William Sangster, and for the survival of his 1884 plan, which is a rare example of a plan from this prolific garden designer. The Daylesford Botanic Gardens are of scientific (botanic) significance for the extensive conifer collection and cool climate plants. The Gardens contain an outstanding collection of conifers and other mature trees, many of which were donated by renowned botanist Ferdinand von Mueller. Significant trees include Pinus ponderosa (Western Yellow Pine), Pinus coulteri (Big Cone Pine), twoAbies nordmanniana (Caucasian Fir), Abies pinsapo, (Spanish Fir) and a Cedrus atlantica f. glauca(Blue Atlas Cedar), Pinus wallichiana (Bhutan Pine), Pinus pinaster (Maritime Pine), Sequoiadendron giganteum (Giant Redwood), (Monkey Puzzle) and Aesculus hippocastanum (Horse Chestnut), many the largest or finest examples in Victoria. Other outstanding trees include a Tilia cordata (Small-leaved European Linden), a row of Cupressus lusitanica (Mexican cypress), a Quercus robur (English Oak) planted in 1863, avenues of Dutch Elms and a rare Quercus leucotrichophora (Himalayan Oak). The Daylesford Botanic Gardens are of aesthetic significance as a rare example of a botanic garden spectacularly sited on an extinct volcanic cone which allows a panoramic view, aided by the 1938 Pioneers’ Memorial Tower, as well as vistas within and out of the gardens and from the township to the gardens. As the most prominent local landmark, the Garden’s vertical dominance in the landscape provides a dark contrast to the elms avenues, oaks and other deciduous species. (Heritage Victoria Register, )Four people photographed at the 150th anniversary event at the Wombat Botanic Gardens.victoria, 150, anniversary, botanic, gardens, wombat hill, botanic gardens, heritage, celebration, garden party, daylesford, people, crowd, community, organiser, tour, gael shannon, don henderson, wombat hill botanic gardens

Alistair Knox Park, an oasis of peace and beauty. Covered under National Trust of Australia (Victoria) Landscape Significance and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p173 It is hard to imagine that the Alistair Knox Park, an oasis of peace and beauty beside busy Main Road, Eltham, was once the township’s rubbish dump. It was only in the 1970s that the tip was transformed into this beautiful six hectare space, which later earned it a National Trust Landscape classification. Before its life as a dump, the area was used for small farms. Thanks largely to the foresight and efforts of local environmental builder Alistair Knox, the park was designed sympathetically with the character of the wider Eltham landscape. Then, appropriately, the park was named after Knox, who was an Eltham Shire Councillor from 1971 to 1975 and Shire President in 1975. The park designers were four major forces in the urban bush landscape garden –Knox, landscape designer Gordon Ford, artist Peter Glass and landscaper Ivan Stranger. The National Trust citation for the park, originally called Eltham Town Park, includes the Eltham railway trestle bridge and the Shillinglaw Cottage. The citation states ‘the semi-natural setting of the parkland provides a landscape which is evocative of the history of the area’. Manna Gums (Eucalyptus viminalis) and Candlebarks (Eucalyptus rubida) are significant features. Most of the park’s construction was directed by Bob Grant, Superintendent of the Parks and Gardens Department for the Eltham Shire Council. First plantings occurred in Arbour Week in 1973, then the lake and botanic area were completed in 1975, with Federal Government funding, and the toilet block in 1978. Bounded by the Eltham railway line, Panther Place, Main Road, Bridge and Susan Streets, the park is in a valley about a kilometre wide overlooked by steep hills at the east and west. The Diamond Creek flows through it and the picturesque historic timber trestle railway bridge edges the north. Informal plantings of Australian indigenous and native species in open and undulating grassed settings blend with the natural landscape of the Diamond Creek to the west. The bush-style plants, particularly around the creek, balance with open lawns, paths and a cascade flowing from a small lake to another below. A footbridge over the creek leads to the park’s west. The park includes an adventure playground and barbecue areas. The park stands on part of the land bought from the Crown in 1851 by Josiah Holloway, who subdivided it into allotments and which he called Little Eltham. Most of the land was subdivided into residential lots, but the creek valley, on which the park stands, was subdivided into farm-size lots, used mainly for orchards and grazing. One of the earliest owners was John Hicks Petty, who in 1874 bought a plot from Holloway. Other families who owned properties in that area, included Rees, Clark, Waterfall, Graham, Hill and Morant. In 1901 the railway was built through the area. Jock Read, an Eltham resident since around 1920, remembers several farms in the 1920s and ’30s that occupied the site of today’s park. A poultry farm, which extended from present day Panther Place, was owned by the Gahan family. Next to that farm was another for grazing cattle owned by Jack Carrucan. Beside this was land owned by John Lyon. A doctor lived beside this, and at the north-west corner of Bridge Street and Main Road stood a memorial to the soldiers who died in World War One, which was later moved to the RSL site. Mr Read also remembers other farms and orchards west of the creek In the early 1960s the Eltham Council began buying these farms and in the late 1960s turned the areas east of the Diamond Creek into a garbage tip. When this was filled above the creek’s flood plain, the tip was moved to the west of the creek.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, alistair knox park, eltham

Considered the best of the early mud-brick houses built by Alistair Knox. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p143 The Busst house hidden by trees at the corner of Silver Street and Kerrie Crescent is considered the best of the early mud-brick houses built by Eltham architect, Alistair Knox. Knox himself said, that the Busst house was the most mature mud-brick house designed at that period. ‘It related with true understanding to its steep site and expressed the flexibility of earth building ………to develop a new sense of flowing form and shape’. Built in 1948 for artist Phyl Busst, a former art student at Montsalvat, the house helped usher in Eltham Shire’s distinctive mud-brick residential character. Knox was the pivotal figure of the style developed from the 1950s to the 1970s. Scarcity of building materials after World War Two encouraged mud-brick building because earth was a cheap and plentiful building medium. But when Knox began building in mud-brick in 1947, no council in Victoria knew anything of this ancient art and he needed a permit. Fortunately the Commonwealth Experimental Building Station at Ryde in NSW, had been experimenting with earth construction to help overcome the shortages of that time. They published a pamphlet that became available in Melbourne on the same day the Eltham Council was to consider whether the earth building should be allowed. Knox caught one of the three morning trains to the city in those days and bought several copies of the pamphlet to give to each councillor. On his return he found the councillors standing on the steps of the shire offices after lunch at the local hotel. He heard that earth building had been discussed before lunch and that they were not in favor of it. Knox gave each councillor a pamphlet. They passed that plan and by doing so, opened the door for all future earth building in Victoria and by default, in Australia. Mud-brick houses attracted artists to Eltham, for their aesthetic appeal and because they were cheap. Those who built their own houses, included film maker Tim Burstall, artists Peter Glass, Clifton Pugh, Matcham Skipper, Sonia Skipper and husband Jo Hannan. For Knox, mud-brick building was more than just a cheap building medium. He saw it as harmonising with the surrounding bush and as a way of counteracting the growing materialism of the age. He wrote of its impact on ‘ 20th century man. It should counteract the confusion that the perpetual flow of high technology products have upon him ..’ Building the Busst house on a steep site was difficult because most earth-moving equipment was then in its infancy. For instance drilling for explosives was done by hand, which was a slow and painful process. Knox, assisted by his foreman Horrie Judd and Gordon Ford (who was to become a famous landscape designer), built two large main rooms - a living room/ kitchen downstairs - and upstairs, a studio/bedroom. The studio/bedroom opens onto the balcony, which covers the living area. The bath made of solid concrete by stonemason Jack Fabro, is particularly deep. Sunshine pours through the three French windows of the north-east facing kitchen/living area, which is lined with timber. The large hearth can fit a family around the fire while the timber floors and solomite (compressed straw) ceilings add to the cosy atmosphere. The garden is thick with trees, and in the late 1990s, Ford put in a pool near the original dry wall he had built as a young man.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, alistair knox, alistair knox design, busst house, kerrie crescent, mudbrick construction, mudbrick houses, silver street

'Fulling', the half-hectare property at Pitt Street, Eltham was the home of landscape designer Gordon Ford and his wife Gwen. Ford bought the property in 1948, originally part of an orchard. The garden encapsulates the major trends of Australian garden design in the second half of the 20th century. The garden design is based on mass (plants) and void (paths and pools), textures and forms. It epitomises the Eltham style because of its relaxed informality and attraction to native wildlife. The mud brick house and designed and built by Ford commenced in 1948. Several extensions were added up to 1970 and were built by Graham Rose (Source: information panel for exhibition, n.d.) Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p147 A narrow timber gate opens onto a garden that has had a huge impact on natural garden development in Australia since the 1950s.1 Fulling, the half-hectare property at Pitt St, Eltham, was the home of the landscape designer, Gordon Ford, who died in 1999. The garden ‘encapsulates the major trends of Australian garden design in the second half of the 20th century...and epitomises the Eltham style of garden’.2 It in turn, was influenced by several Victorian major landscape designers of the mid 20th century – Ellis Stones, Peter Glass and Edna Walling. The gate opens onto a sandy gravel path, one of several, which wind around dramatic pools and what appear to be natural bush, but on close inspection are carefully integrated native, indigenous and exotic plantings. Retaining walls and steps of rock through the garden link different terrace levels. Lichen-covered boulders serve as steps across a pool, leading to the triple level mud-brick house. Ford bought the property, which was originally part of an orchard, in 1948. As the son of a Presbyterian minister, Ford received a good education, which included learning Latin. This was advantageous when he worked in plant sales for the Forestry Commission, before the Second World War. In the late 1940s, however, Ford turned to building and landscape gardening. He worked on the Busst house, an early mud-brick building designed by Alistair Knox and at the same time, Ford was employed by Ellis Stones. Knox described Ford as, ‘one of the funniest men of the district. ...Rocky’s (Ellis Stones) Depression stories and Gordon’s memory and quick tongue made the jobs the most enjoyable of all those hysterical times that made Eltham the centre of the eternal laugh, between the years of 1945 and 1950’.3 Ford’s house, like so many after the war, was built progressively, as more space was needed and formerly scarce materials became available. It began with an army-shed of timber-lined walls, now used as the kitchen. Ford then built what is now the lounge room, and the house grew ‘like topsy and on a shoestring,’ says his widow Gwen. A lot of second-hand materials such as window frames were used, a style made famous particularly with their extensive use at Montsalvat, the Eltham Artists’ Colony. The house was constructed as a joint venture with friends, including artist Clifton Pugh, who built Ford’s bedroom for £10. The polished floorboards and solomite (compressed straw) ceilings, interspersed with heavy beams, exude warmth. The result is a home of snug spaces, with soft light and garden vistas. Several other mud-brick buildings were constructed as needed, including a studio and units for bed-and-breakfast clients. The garden, which has been part of the Open Garden Scheme since the mid 1980s, is based on a balance of mass (plants) and void (paths and pools), textures and forms. It epitomises the Eltham style because of its relaxed informal ethos and attracts native animals. Wattlebirds, scrub wrens, pardalotes, currawongs, owls and even kangaroos, have been seen at Fulling. Gwen, a former English teacher who has worked on the garden since around 1970, urged and helped Ford write his book, The Natural Australian Garden.4 Several of Ford’s favourite trees are in the garden, including the native Casuarina or She-Oak. In spring, the garden is dusted with the purple Orthrosanthus multiflorus or blue native irises and rings with the calls of birds attracted to plants like the callistemons, correas and grevilleas.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, fulling, gordon ford garden, pitt street, eltham mud brick buildings, mud brick house

Folder of information on Dr Ford, Caledonian Diggings, 1860s William Ford, 1826 - 1912, Mill Proprietor Gordon Ford, Landscape Designer, and Gwen Ford, Gardener and Writer, Elthamgordon ford, gwen ford, fulling, william ford, dr ford, alistair knox, alistair knox park, eltham cemetery, gordon craig ford

Gordon Ford was a conservationist and a pioneer of natural-style landscaping. He came to Eltham in 1948 and bought a block of land in John Street extending through to Pitt Street. Artist Peter Glass lived opposite in John Street. Early on, Gordon worked for Alistair Knox on construction of the mudbrick Busst house amongst others. At the same time, with the help of friends including artist Clifton Pugh, he progressively built his own house ‘Fülling’, which "grew like Topsy" utilising a variety of second-hand materials. His main focus, which became his life-long occupation, was garden landscaping. Inspired by Edna Walling and Ellis Stones, he sought to reflect the bush settings of rural Victoria where he had grown up. Commissions included Monash University and countless industrial sites but designing for the archetypal quarter-acre block gave him the most satisfaction. He had a huge impact on the look of gardens in Australia from the 1950s, creating seemingly natural bush environments by carefully integrating indigenous and exotic plantings. Gordon died in 1999 and is buried in Eltham Cemetery; the gravesite in a natural landscape setting is marked by a plaque. Another plaque (away from his grave) notes his landscaping design work within the cemetery grounds and at Alistair Knox Park. Gordon Craig Ford 30-8-1918 - 16-6-1999 Landscape designer Loved and respected Husband of Gwen, father Of Angela, Emma, Ben, Cassie, Dailan, Caitlin. A good life lived well Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p55This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, graves, eltham cemetery, gordon craig ford, gravestones, gwen ford, memorials

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