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Kiewa Valley Historical Society
Papers - Alex McCullough's History of Mt Beauty Clubs
... mt beauty back to... and other copies 6) Back To Mt Beauty - Kiewa Kids 7) Miscellaneous... and other copies 6) Back To Mt Beauty - Kiewa Kids 7) Miscellaneous ...1) The Development of Mt Beauty Swimming Pool 2) Mt Beauty Gymnastics, Athletics, Gra-Y, Hy-Y, Boxing, Wrestling and Weightlifting x2 3) Tennis 1948 - 1963 4) Mt Beauty and District Progress Association: A Brief History 5) Chronology 1948 to 1963 and other copies 6) Back To Mt Beauty - Kiewa Kids 7) Miscellaneous papersAlex McCullough (1916 - 2011) was a resident of Mt Beauty and wrote a book on the History of Mt Beauty having been on many committees. The papers were compiled by him during his research for his book. The history of Mt Beauty is interesting as the town was unique as it was built by the SECV for their employees working on the Kiewa Hydro Electric Scheme. The histories of the clubs are an example of their development from the 1950s in a remote country town, giving an insight into the lives of the people living there. Papers attached with a staple and each grouped under the title of a Mt Beauty Organisationalex mccullough history, mt beauty swimming, mt beauty athletics, mt beauty tennis, mt beauty timeline, mt beauty back to -
Kiewa Valley Historical Society
Spoons - Souvenir, Mt Beauty x6
... / Made in / Australia Spoon: top of handle - Mt Beauty... in / Australia Spoon: top of handle - Mt Beauty. back of handle ...Souvenirs are sold to tourists as a moment of their visit to Mt BeautyMt Beauty is a tourist town6 spoons - 2 of each with a different picture. Silver spoon in a plastic case. The case has a black side with a ring at the top and 2 small pieces that jut out from inside to hold the spoon. The clear front cover fits on and has gold embossing. The stem of the spoon is embossed with lines on the front. At the end there is a circular coloured picture with 'Mt Beauty' below surrounded by embossed decoration.Cover: Map of Auistralia with ASM along the W.A. side / Made in / Australia Spoon: top of handle - Mt Beauty. back of handle - embossed kangaroo. back of stem - 'Swann and Hudson Made in Australiamt beauty. souvenir. silver spoon. tourism. swann and hudson -
Kiewa Valley Historical Society
Booklets - Kiewa Hydro Electric Scheme, 1. "Power From Kiewa" and 2. "Victoria's Hydro Power", 1. Made in July 1968 and 2. Made in Aug. 1985
... Station on the front and Mt Beauty township on the back. Published... Centre 31 Bogong High Plains Rd Mt Beauty high-country Booklets ...1. The State Electricity Commission of Victoria built the Kiewa Hydro Electric Scheme from the 1930's to the 1960's. This booklet was to inform visitors and to promote tourism. 2. The State Electricity Commission built several hydro power stations from 1928 - 1981. This booklet names each with a summary and explanation.The State Electricity Commission of Victoria built the Kiewa Hydro Electric Scheme establishing infrastructure such as the Bogong and Mt Beauty townships and the opportunity for tourism in the area.1. Colored soft cover with photo of McKay Creek Power Station on the front and Mt Beauty township on the back. Published by the SECV 2. Colored soft cover with Rocky Valley Dam on the front and inserted photo of a stream and snow on the back. Published by the SEC.state electricity commission of victoria; kiewa hydro electric scheme; victoria's hydro electric power; kiewa; mckay creek power station; clover power station; west kiewa power station -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth I, c1972-1976
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: MARCUSE / B.worth (in pen) Reverse: BEECHWORTH NOSTALGIA / BW – 01 (crossed out) / B2 / CORNER CAMP + FORD STREET / (on masking tape) 001 (pencil) ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Yackandandah I, 1983
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: MILLS / DISPENSARY / MARCUSE 83 / YACKANDANDAH Reverse: Y 12 / ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program, yackandandah -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth III, c1972-1976
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: BEECHWORTH / VIC. / MARCUSE Reverse: BEECHWORTH NOSTALGIA / BW – 03 (on masking tape) 003 (pencil) ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth – Opposite Crown Hotel (Tanswell Hotel), c1972-1976
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: Opposite Crown Hotel / Tanswell Hotel / BEECHWORTH / (on tape) Reverse: BEECHWORTH NOSTALGIA / BW – 05 (on masking tape) 004 (pencil) ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth – Old Court House, 1972
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: Marcuse / Beechworth Old Courthouse / Reverse: B4 / BEECHWORTH OLD COURTHOUSE / BW - 09 (on masking tape) COURTHOUSE / BEECHWORTH / VICTORIA / NATIONAL TRUST / CLASS (A) ERNEST MARCUSE / 17 CADDOCK AVE / CAUFIELD / VIC / 53-7374 001 (pencil) ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Courthouse - Beechworth, 1974
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: Marcuse 74 / Courthouse / Visitor Ned Kelly . B'worth Reverse: BEECHWORTH / COURTHOUSE / B5 / 06 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth Carriage Museum IV, c1972-1976
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: B'worth / Marcuse Reverse: B6 / Beechworth Nostalgia / BW - 07 (crossed out)ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth Carriage Museum III, c1972-1976
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: ABBOT BAGGY / B'WORTH / CARRIAGE MUSEUM Reverse: B7 / Beechworth Nostalgia / BW - 07 B (crossed out) / 008ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth Carriage Museum II, c1972-1976
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: Charatome / Corning Buggy / Braise & Drag / believed to (illegible) built by Crawford and (illegible) / COBB & CO / WAGONETTE / B'WORTH MUSEUM Reverse: BEECHWORTH NOSTALGIA / BW-07(a) / B 8 / ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth Carriage Museum I, c1972-1976
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: BEECHWORTH CARRIAGE MUSEUM / MARCUSE Reverse: BEECHWORTH NOSTALGIA / BW-08 / B 9 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth II, c1972-1976
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: (illegible) / BEECHWORTH Reverse: BEECHWORTH / MARCUSE BEECHWORTH NOSTALGIA BW-06 / B10 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 -
Kiewa Valley Historical Society
Tin Tobacco, early to mid 1900s
This early tobacco tin was manufactured in England and imported to the "colony" Australia at the beginning of the 1900s. This manufacturer had won the Gold Medal at the Liverpool International Exhibition in 1884. This tobacco would have therefore been very expensive to purchase making it a must for the wealthier client of the Kiewa Valley. The Golden Flake Cavendish smells of the man of wealth and position. In this era the type of dress and the brand of tobacco smoked showed everyone at first glance where the man using it was on the social ladder and his pecking order. With the demise of tobacco smoking in the early 2000s clothes themselves do not show the pecking order in that quickly visualised manner, as at the time of manufacture of this tobacco tin. In the 21st century the level that men are in the socio economic field is realized on "the social information" available on the internet.This tobacco tin relays a long ago era, when personal contact, and not something that has been written down by some "unknown", was valued as the true appraisal of a member of the community. This was especially relevant in a small regional area such as the Kiewa Valley. Although social networking was not as fast then as the internet provides now, appearances, manners, fashion and etiquette with first impressions high on the order of evaluating someone in the community. Pointer such as the brand of tobacco smoked was part of the rural assessment method. Up until the demise of the Australian Tobacco Industry, circa 2004, the Kiewa Valley and surrounding district was part of a vibrant producer of tobacco leaves. The remnants of this industry still remain today but the drying sheds (for tobacco leaves) are now used to store hay for the valley's dairy and beef cattle industries.A dark metal tobacco tin covered in a bright metallic gold fleck pattern with a black frame on the lid around a drawing of a woodsman with a musket and axe sitting on a stump overlooking a valley that reads "Pioneer Brand", next to a company seal incorporating a wreath, eagle and shield. The front side reads "Richmond Cavendish Co./ Limited/ Liverpool." and the right and left side "Golden Flake Cavendish". The bottom has the same woodsman feature as the lid. The back side is an elongated diagram featuring tobacco leaves and plant summit. Inside lid surface has a half torn coloured (red, black and green) sketch on paper of the woodsman scene depicted on the top lid.The following inscriptions are displayed on the top and inside lid and on the bottom tobacco tin: "PIONEER BRAND" and to the left of the scene the "SEAL OF THE COMPANY TRADE MARK" Both side of the ens have the following words in large thick print "GOLDEN FLAKE CAVENDISH" and each is contained withih a black boarder.pipe tobacco, cigarette tins, smoking accessories, personal effects, tobacco containers -
Kiewa Valley Historical Society
Book - Non Fiction History, The Kiewa Story, circa 1993
This book provides in chronological order the development of the Kiewa Hydro-electricity scheme from the first concept (1911) to final construction work (1961). It covers the first attempt to utilise the power of the Victorian Alps water system. It started from a private syndicate and developed to the current State Electricity Commission of Victoria. The incentive for the Hydro scheme was to make money and not as an alternative to the carbon producing coal fired power plants. These coal fired power plants were increasing in numbers to service an ever increasing demand made by population expansion, especially in cities and large rural settlements. This demand spiraled up after World War II when there was a tremendous spike in immigration numbers due to refugees and displaced persons in Europe. The ability to utilise the untapped water provided by the winter snow fields, for a higher yield in electricity, was a powerful incentive to overcome the physical hardships in this remote Alpine region. Future power requirements may initiate the re-installation of the other two power stations(Pretty Valley and Big Hill) covered in original Scheme. This publication not only covers the development of the Kiewa Valley region with respect to population (within a socio-economical framework) but also the subtle but yet strong physical changes of a relatively pristine alpine region. The demands that an ever growing regional population places on the environment is clearly documented in print and black and white photographs. The working and living conditions of those who constructed and gave life to this hydro scheme is well documented in this book. It may be viewed as spartan now but was relevantly good at that moment in time, especially for those workers fleeing a devastated European environment. The successful planning and consideration to minimising any intrusion upon the natural alpine forests and high plains can viewed as an example (compared to the Tasmanian Hydro schemes) of how future hydro schemes (an inevitable requirement) will proceed. Most rural towns (in the early 1900s) were built by unencumbered rural based citizens, with the exception of Mount Beauty and Falls Creek. These two settlements were brought into life by a State (Victorian) Authority for a specific function and program. They were a gated community, that is, only open to construction workers involved with the hydro scheme. All facilities within these communities were provided by the State Electricity Commission of Victoria. The impact on the social, financial and individual independency of the community, by the transition from the S.E.C .environment to one of local government (Shire of Bright), had in some cases a severe impact.This hard covered book has a green cover with pictures on the front and back covers. The front cover has a coloured picture of a snow covered Mount Bogong taken from the opposite mountain range. The valley between both ranges has a whisk of mist over it. At the bottom of this picture are three black and white photographs covering the construction of the Kiewa Hydro - Electricity Scheme. On the back cover is a photograph, (black and white) detailing the Bogong village and Junction dam containing lake Guy. The inside front cover is a black and white photograph which details the construction of the West Kiewa tailrace tunnel during April 1951. The inside back cover is a black and white photograph of the concrete pour at the Clover Dam circa 1952. All photographs and sketches are in black and white. The pages are approximately 160 g/m2 and those which have photographs are on gloss paper.Book spine: "The Kiewa Story Graham Napier Geoff Easdown" alongside this is a white framed circle with white spokes radiating out and underneath in white lettering SECkiewa valley, hydro scheme, victorian alpine region, electricity generators, graham napier, geoff easdown -
Kiewa Valley Historical Society
Photograph of Snow Covered Catchment Area Vic, Snow Covered Catchment Area Victorian Alps - 1950s, Circa 1950
This photograph details (early to mid1950s), the Victorian Alpine region when this remote area was part of a "lay back" rural landscape,occasionally visited by recreational adventurers and some wayward tourists. The mountain ranges had provided an adequate barrier against the way-would traveller, but with the opening up of this region by the provision of improved roadways and accommodation facilities, courtesy of the Kiewa Valley Hydro Electricity Scheme, changes such as tourism and its impact upon the "natural" state started to show its side effects (clearing of the land). The expansion of the European immigration numbers (1950s) coming into Australia was increasing after World War II which not only provided increased construction workers to the region but also immigrants who appreciated alpine regions. Some of these immigrants contributed to the expansion of the region and provided for a greater degree of diverse professions and rural related work force.This photograph depicts the borderline in time between an exclusively rural based population and respective activities(early 1900s)to the present (2000 on wards) integrated village, tourist and retiree/holiday area. The time when land was exclusively used in agriculture and Alpine grazing lands is over. The Kiewa Valley is loosing its hiding place and is becoming more and more a source of untapped residential land and winter time recreational adventure lands. The changes brought about by modern technologies involving recreational activities such as hang gliding, gliding (local airstrip), mountain bikes, car rallies and their associated clubs is providing for an increased short term population boost. These together with the attractions for retirees is changing not only the physical nature of the Kiewa valley but also its "soul".This item is a black and white photograph of a section of snow covered catchment area in the Victorian Alps in the mid 1900. It is on 200 gms paper but not on photographic paper and has a white boarder (3 mm).kiewa valley tourism, victorian alps, alternate energy supplies, alpine population growth -
Kiewa Valley Historical Society
Book - Non Fiction History, Australia's Royal Welcome 1954, circa 1954
This publication covers the mid 1900s and relates to a period where the majority of the Australian population was engrossed with the Queen of Australia, even though her Highness did not reside on this continent. The period covered was before the great immigration insurgence from Europe.The Labour Party's "White Australian" policy was a hinderance and a barrier towards the Asian and African prospective immigrants. The motto Queen and Country was still very ingrained in the rural population. This period in Australian domestic self reliance, brought about the growing strength and very active trade union movement and their staunch support for the Tariff protection against a growing swell of imported goods. This self reliance psyche was essentially a by product of World War II, and the isolation felt by the Australian People. The Queen (royalty) was the binding force holding the British Empire together which was emphasised with her popularity when touring Australia Queen Elizabeth's visited the MCG twice in 1954 1. to attend an assembly of ex-servicemen and women's organisations 2. to attend a Children's Display. She also visited Government House and visited Country Victoria on the Royal train from 24th Feb - 9th March.The Kiewa Valley and all the rural areas in the region were still very much tied to the "mother land" and trade between Britain and Australia was very strong. Trade with Asian manufacturers was minimal and needed the late 1900s to see both the trade and immigration barriers fall. This book was produced during a time when the majority of Australians looked more to England for trade and companionship. The agricultural trade with England and Europe was very high and the motto of the time was "Australia grows on the sheep's back". Late 1900's saw the motto "Australia grows on the miner's back" The Queen was still very popular then which was emphasised by the large crowds which greeted her on tour. Residents of Mt Beauty including Cubs, Brownies, Scouts and Guides travelled to Benalla to see the Queen. Clare Roper was a founding member of the KVHS and attended a garden party at Buckingham Palace representing the local CWA. She has purchased this book and therefore giving this a close historical significance connection, it has good provenance and interpretive capacity. This hard(blue coloured) covered book contains thirty six double sided pages. Both the first and last pages (inside cover included) has the royal crest of Australia (kangaroo and emu) balancing the individual six states crests ,united under the royal crown. The first six double pages, each portraying a coloured free hand sketches of various Australian scenery enclosing the Queen's day by day and State by State itinerary. There are 115 black and white photographs and 25 coloured photographs contained in this book.Third page has free hand penned signature "Clare Roper"1954 royal tour, queen elizabeth ii monarchy, british empire in the 1900s, god save the queen. -
Kiewa Valley Historical Society
Book - History, The Coronation Book of Queen Elizabeth II, Circa 1952
This book was produced in a period of time when Australians, especially those in rural areas referred to Britain as "the mother" country. It was a time when the transition from a colonial dominion of Britain to the status of an individual State through the Australian Constitution was quite apparent, except for the affection and respect of the majority of the population towards "their" Queen. It was a time when the Governor General (Queen's representative) were British born and picked. Australia had grown from a colonial status to an individual state. The feeling towards the monarchy is aptly demonstrated by the words from the High Commissioner for Australia, Sir Thomas White K.B.E., proposal for Australia to adopt the royal title "Elizabeth the Second by the grace of God of the United Kingdom, Australia and her realms and territories Queen, Head of the Commonwealth, defender of the Faith" Here faith implies the christian (Church of England) religion. In rural Australia the respect and admiration for the Queen was very high and all public offices, clubs and halls displayed a well positioned, large photograph of the Queen. The respect for British royalty was quite pronounced by the royal toast, offered before "official" proceedings commenced, and in the military flying the royal "blessed" colours.This book was donated by one of the founding families residing in the Kiewa Valley and is typical of the general feeling of respect and admiration felt by the rural communities towards the British Royal Family, especially towards Queen Elizabeth II. The rural slant towards any form of patriotism was along the lines of "Queen and Country", in that order. After World War II the social texture through multi-culturalism (especially in the Cities)moved away from this "motherland" bondage but it had taken a longer period to penetrate those rural sectors within the Kiewa valley and high plains areas. The great post World War II immigration of European refugees started a shift of numbers of Australian families whose parents were not born in Australia or had British family ties. The book represents a period in time where ties to Britain where a lot strong and entrenched in the social fabric of the Australian rural sector. The growing push for a republic is becoming stronger and stronger as the level of rural royalists deminishes.This item is a hard covered book of 200 pages including 8 pages in full colour and over 250 photographs covering the British royal family and in particular Queen Elizabeth II and her coronation. The external protective paper dust-jacket is in colour. Specific references to Australia appear on pages 9,36 to 41 and 97. The hard cover has a "off" white cloth textured (glued reinforced) cover over thick cardboard . The front and back pages depict the Royal investiture carriage with guards and footmen. Little cherubs are portrayed around the sheath holding the Royal Crown. Crowned lion and stallion sit at attention on either side of the carriage, with the Royal shield supporting their front legs.,The dust jacket is in full colour with the wording "The CORONATION BOOK of QUEEN ELIZABETH II" With a Pictorial Record of the Ceremony" The spin of the jacket (in gold print on a regal red background) "THE CORONATION BOOK OF QUEEN ELIZABETH II" on the bottom "ODHAMS" The cover has a pressed oval shaped double lined border enclosing a crown and the words Elizabeth R, below which is pressed 1953. The spine has the following words in gold coloured print "THE CORONATION BOOK OF QUEEN ELIZABETH II. The front, inside flap, of the dust jacket details the significance of what is contained within the book and the back inside flap has the contents and those personages who contributed. The back of the dust jacket has a brief review of three other books covering other aspects of British royalty and they are titled "THE DUKE OF EDINBURGH" ( a pictorial biography), "QUEEN MARY" (her life and times) and "ROYAL HOMES ILLUSTRATED" (with an essay on the royal palaces by A.L. Rowse.modern australian history, british royalty, queen elizabeth ii, coronation of queen elizabeth ii, australia's "mother country" -
Kiewa Valley Historical Society
Skis Snow Competition, circa 1966
The post World War II migration of European "snow skiiers" into Australia combined with the construction of Hydo Electricity Schemes in both the N.S.W.and Victorian Alps regions, opened up these winter snow areas to a greater influx of tourists and holiday adventurers interested in "winter" sports. The ability to project, on a global scale, skiing facilities of international standards to those in the northern hemisphere during their summer has opened up the Australia ski resorts and their facilities to a much greater winter sport orientated population. These cross country skis were purchased by a member of the Bogong Ski Club and were part of a bulk ski stock consignment from Finland in 1966/67. They were introduced into the Victorian Alps to encourage skiers to take up cross country skiing both at Falls Creek and Mount Buller. This initiative spurred on the now annual 42 kilometre cross country "Kangaroo Hoppet" race at Falls Creek. This race is currently the biggest cross country snow skiing race in Australia. These snow skis were made in Finland. They are wooden (hickory) skis and made from four strips (glued and shaped) pieces of wood that are not laminated. There is a painted blue flash on the top of the skis that extends the full length of the skis. The face of the underside of the skis is flat and is coated in black Stockholm tar. Glider or grip wax was applied onto this base. The top body of the skis is tapered from shoe position to both front and back tips.Tapered curvatures from foot radiating to all sides provides the required aerodynamics. Metal boot bindings consisting of a toe plate with adjustable toe clip and a heel plate, both of which are screwed onto the skis. "KILPA, KARHU URHEILUTARPEITA SPORTART1KLAR, Karhu-Valtz Finland. Hickorypohjin"snow skiing, cross country skiing, falls creek winter tourism -
Kiewa Valley Historical Society
Book - Reference Remedial Education, "Backwardness in the Basic Subjects", 1942 First Edition, reprinted 1952
This publication was produced in the mid 1900s when the study of learning disabilities in children was in its infancy stage. The complexities of teaching methodologies to cover various symptoms uncovered by pre-school and primary school education facilities was that "one method suites all". This format changed in the later 1900s when specific "tailor made" teaching facilities where introduced and the "average" pre-school and primary school teaching professionals where not "on the whole" faced with the requirement to apply special remedial programs themselves but instead instigated a referral to dedicated specialists. This book covers the rural student with slow reading, comprehension and writing problems, in an environment where specialist speech therapists and child psychologists were and are still rare.This book although very thorough and highlights the major "communication and reading symptoms, in school children" and remedial treatment, places undue pressure upon those teachers, who, at some rural schools are faced with teaching classroom of students varying in age and thereby abilities of comprehension. Schools in rural Australia sometimes had smaller numbers of classrooms and facilities due to their small feeder population and their regional isolation. The Kiewa Valley before the dramatic increase in population in the mid 1950s (SEC Hydro Scheme) was one of these rural communities whose "schooling population" was diverse and small. This reference book, which was used at a Kiewa Valley primary school, reflects upon the Department of Education in Victoria as a highly professional organisation readily applying "modern" learning techniques to all of the department's regional areas. By this broad based application, no school was seen as having any disadvantage due to physical and/or financial isolation.This book has a plain red, cloth bonded, hard cardboard cover with an envelope attached to the inside back cover. The book has a one front blank flyleaf and two rear flyleaves. All lettering ,diagrams, sketches are in black on white as is the only photograph.There is three double sided "preface" pages and nine "contents" pages. There are 508 double sided pages covering 20 chapters and 25 double sided Appendices (5) and four double sided "Index Of Subjects". The cover has printing only on the spine.On the spine at the top "BACKWARDNESS IN THE BASIC SUBJECTS" underneath "SCHONELL" and at the bottom "OLIVER & BOYD"teacher reference books, remedial programs for disadvantages school children, special needs education programs, teacher training -
Kiewa Valley Historical Society
Pamphlet - Bright Tourism, Guide to Bright and District, late 1900s
This publication was produced in the early 1950s to provide the growing tourism trade (at this time), to the region with a more detailed overview of the facilities available to tourists of the region's attractions. This brochure is a very efficient and effective promotional publication. The increasing level of self promotion by local business and commerce sectors of the region the more sought after the region became and the greater the ability of the region to grow (non rural based economy). Some of the regions unique facilities and geological structures are well suited to those tourists who live in cities and "flat land" regional bush areas within Australia. This was a period when the average Australian domestic tourist was more able (finance and transport wise) to see more of their country within the short time they had for "holidays". In the late 1900s, however, with the increase to workers' recreational leave and better transportation (fares, ease of travel to overseas destinations) the local tourism numbers from other domestic locations have been steadily declining. From the 1970s onwards, the increased tourism demand from overseas tourists, for better facilities and easier access to these regional facilities, resulted in better transport, accommodation and communication, which has been a boon for all tourism within Australia. In the 21st century the world is becoming smaller and smaller for the international tourist, especially for those from crowded Asian cities. The greater attraction for "open" spaced locations such as this region are becoming a much sought after change of scenery. This pamphlet which targets the tourist, whether either from other Australian regions or the global tourist, is a good example of self promotion by a relatively small local population. This is especially significant because before the "tourist explosion" in the 1950s onward, these regional areas had a more introspective society with greater emphasis to locally established mores and values. The increased interactions with people from other areas and nations, combined with a greater global communication network is affecting those traditionally established mores to produce a some what unique social transformation which is constantly changing from one generation to the next. One important factor which tourism does bring is that it opens up the region to a wider range of people who look to the region for their own lifestyle changes.This pamphlet has a front cover in colour with the major activities in the region sketched depicting : sunshine, snow skiing, trout fishing, mountain climbing, golfing, swimming, alpine views, tennis, lawn bowls and picnics. The back cover is blank. The pamphlet is fastened together by two staples 30mm from top and bottom, and is folded with the cover slightly thicker than the fifteen pages. Thirteen pages have been printed on both sides. The first page has a black and white photograph of the hotel Alpine and the tall brick constructed Clock Tower. There are another five black and white photographs in the pamphlet.on front cover "Guide to BRIGHT"local tourism, regional information booklet, "time" related brochures, alpine local history -
Kiewa Valley Historical Society
Book - Ledger Commercial, unknown, Circa 1920
Historically(1920 to 1927), this ledger not only details the legible hand writing of this era but also the day to day commercial activity in the Kiewa Valley region. The neatness and the diligence of those who were required to pen the information into this ledger was a requirement by all who were involved in commercial trade be it in the city or in the rural area. Emphasis on neatness was ingrained in students at a young age. This era was well before general commercial stock computer based inventories. Generally all students of commerce required an accuracy in writing and arithmetic. Neatness and order were a "selection criteria" requirementThis item clearly identifies the Kiewa Valley as having a substantial financial hub to accommodate the various commercial enterprises within a rural environment Circa 1880's. Although Kiewa Valley had mining, agriculture, cattle and sheep it was also composed of a mixed society, encompassing all levels of society at that period. It identifies some the commercial activities(newsagency) undertaken by specific families farming in the Kiewa Valley and relates their history in the period of 1920 to 1927This ledger has a very thick cover of strong compressed cardboard. It has a cloth covering (Glued on) and is a faded blue colour. The corners of the opening side of the cover are reinforced by suede cloth,in a triangular shape, and enclose both the front and inside portions of the the ledger. The spin is reinforced by a suede section to provide increased strength and protection. The inside cover (both front and back) has an orange and brown bubbles and specks pattern. The grammage of the lined sheets (blue) is approximately 120g/m. The first twelve pages are indented and alphabetically marked with alternating red and black letters (two letters per page except for the last page which has three letters). The remaining pages are numbered in black print at the top outside edge of each page. There are 742 page numbers. Each page has thirty two blue horizontal lines and one double red line (second from top) Each page has thirteen vertical lines starting from the top horizontal double red lines and ending at the bottom of the page. These lines segregate the page into blocks for the date, the transaction and financial input. There are three double vertical red lines which designate the amount of money of each transaction (in pounds shillings,and pence).Located on the top section of the spin (in gold print on red background) "LEDGER" This is framed within a golden printed pattern of straight and squiggly lines.ledger, book keeping, 1920s commercial transactions, local kiewa valley commercial history -
Kiewa Valley Historical Society
Book - Ledger Commercial, "Ledger No. 4", Circa 1895
Historically this ledger not only details the legible hand writing of this era but also the day to day commercial activity in this region(first entry in 1895).The neatness and the diligence of those who were required to pen the information was a requirement by all who were in commercial trade. Emphasis on neatness was ingrained in students at a young age. This era was well before general typewriters and computers. Generally all students of commerce required an accuracy in writing and arithmetic. Neatness and order were a selection requirement. This ledger belonged to a general store, which was a forerunner to supermarkets and specialty stores. The shop provided everything from food, postage stamps, nails, tobacco, boots and Epsom salts. The general store provided nearly every product required to exist in a remote rural area of Australia in the 1800's.This item clearly identifies the Kiewa Valley as having a substantial financial hub to accommodate the various commercial enterprises within a rural environment Circa 1880's. Although Kiewa Valley had mining, agriculture, cattle and sheep it was also composed of a mixed society, encompassing all levels of society at that period. It identifies some the commercial activities(newsagency/general store) undertaken by specific families farming in the Kiewa Valley and relates their history in the pioneer period of the late 1800's. Some of those pioneers still have descendants living on the same home sites provided by the 1847 Land Act.This ledger has a very thick cover of strong compressed cardboard. Originally it had a cloth covering both front and back(Glued on) but due to wear and tear it is only attached to the back cover) and is a faded blue colour. The corners of the opening side of the cover are reinforced by suede cloth,in a triangular shape, and enclose both the front and inside portions of the the ledger. The spine is reinforced by a suede section to provide increased strength and protection. The inside cover (both front and back) has an orange bubbles with red and blue sinuous lines forming shapes in a haphazardous pattern. The grammage of the lined sheets (blue) is approximately 120g/m. Originally the first seven of twelve pages were indented and alphabetically marked with black letters (one letter per page) however this ledger had been modified to cover only the initials of customers and the pages of unused letters were glued to the previous page. The remaining pages are numbered in black print at the top outside edge of each page. There are 890 page numbers. Each page has thirty seven blue horizontal lines and one double red line ( top). Each page has thirteen vertical lines starting from the top horizontal double red lines and ending at the bottom of the page. These lines segregate the page into blocks for the date, the transaction and financial input. There are three double vertical red lines which designate the amount of money of each transaction (in pounds, shillings,and pence).On the suede spine in gold lettering and on a red (port coloured) background "LEDGER"grocery shop, haberdashery, general store -
Kiewa Valley Historical Society
Bottle Milk, circa mid to late 1900's
This glass milk bottle was manufactured and used mid to late 1900's (1834 Victorian dairy industry was founded) up to the time that a cheaper container was invented(plastic bottles and polyethylene plastic lined cardboard cartons). In 1909 the supply of pure bottled milk was required for babies to overcome infant mortality due to unhygienic milk sources (unclean containers and unpasteurized milk). Due to the volume of milk being processed and hand milking could not keep up with demand, dairy farms introduced milking machines in the late 1930's. The great increases in dairy herds from the average of 18 cows per heard in 1950's to 142 cows per herd in 1996 required milk tankers to pick up the regions milk supply. This bottle was so constructed to be easily moved within the milk processing plants from the delivery vats/holding tanks to the final corking/sealing of the bottles for eventual distribution. From 1958 the milk bottle slowly became phased out of production. At this point in time Melbourne was drawing 160,000 bottles per week from the two major glass bottle works companies, e.g. Melbourne Glass Bottle Works Co.Victoria was the major state supplier of cows milk in the history of Australian milk production from the early 1800's. The Kiewa Valley and its region was a major contributor to meet that demand. Each bottle was "branded" during manufacturing to show the contents (pasteurized milk) and where it originated from (region and supplier). This method of recycling the bottles back to specific dairy farms was a good control method but an uneconomical "on cost" which was replaced by the "throw away" less costly plastic and cardboard containers. Kiewa Valley dairy herds had marked bottles bearing "90/9", "6/18", "6/33", "6/35" and "6/36" Found under house at 1 Beauty Ave., Mt Beauty.This heavy gauged glass milk bottle has a rim and a distinctive head at the top. This head was manufactured to facilitate the movement of the bottled along the milk production line. The method of pouring milk into the bottle has been part of the "production line". This bottle has a one pint capacity and is made from "light green" coloured glass(a protection against light penetration). There are other milk bottles that do not have a "green" tint in them. This thick glass bottle which contained milk required its thickness because of the extensive handling before final consumption. Milk was delivered by the "milk man" direct to the homes of consumers. During this period delivery to homes in cities and towns was made initially by horse and cart and later by truck.On the bottom end of this bottle a circle within it "6/18" and next to this "MILK" and opposite "ONE PINT". Below this "THIS BOTTLE BELONGS TO MILK BOTTLE RECOVERY LTD" and below this "AND CANNOT BE USED WITHOUT WRITTEN PERMISSION" on the base "M" underneath this "3"glass bottles, commercial milk containers, domestic milk bottles, pasteurized milk bottles -
Kiewa Valley Historical Society
Bottle Milk, mid to late 1900's
This glass milk bottle was manufactured and used mid to late 1900's (1834 Victorian dairy industry was founded) until the time that a cheaper container was invented(plastic bottles and polyethylene plastic lined cardboard cartons). In 1909 the supply of pure bottled milk was required for babies to overcome infant mortality due to unhygienic milk sources (unclean containers and unpasteurized milk). Due to the volume of milk being processed and hand milking could not keep up with demand, dairy farms introduced milking machines in the late 1930's. The great increases in dairy herds from the average of 18 cows per heard in 1950's to 142 cows per herd in 1996 required milk tankers to pick up the regions milk supply. This bottle was so constructed to be easily moved within the milk processing plants from the delivery vats/holding tanks to the final corking/sealing of the bottles for eventual distribution. From 1958 the milk bottle slowly became phased out of production. At this point in time Melbourne was drawing 160,000 bottles per week from the two major glass bottle works companies, e.g. Melbourne Glass Bottle Works Co.Victoria was the major state supplier of cows milk in the history of Australian milk production from the early 1800's. The Kiewa Valley and its region was a major contributor to meet that demand. Each bottle was "branded" during manufacturing to show the contents (pasteurized milk) and where it originated from (region and supplier). This method of recycling the bottles back to specific dairy farms was a good control method but an uneconomical "on cost" which was replaced by the "throw away" less costly plastic and cardboard containers. Kiewa Valley dairy herds had marked bottles bearing "90/9", "6/18", "6/33", "6/35" and "6/36" Found under house at 1 Beauty Ave., Mt Beauty.This heavy gauged glass milk bottle has a rim and a distinctive head at the top. This head has been manufactured to facilitate the movement of the bottle along the milk production line. The method of pouring milk into the bottle has been part of the "production line". This bottle has a one pint capacity and is made from "light green" coloured glass(a protection against light penetration). There are other milk bottles that do not have a "green" tint in them. This thick glass bottle to contain milk required its thickness because of the extensive handling before final consumption. Milk was delivered by the "milk man" direct to the homes of consumers. During this period delivery to homes in cities and towns was made initially by horse and cart and later by truck.On the bottom end of this bottle a circle within it "6/36" and next to this "MILK" and opposite "ONE PINT". Below this "THIS BOTTLE BELONGS TO MILK BOTTLE RECOVERY LTD" and below this "AND CANNOT BE USED WITHOUT WRITTEN PERMISSION" on the base "M" underneath this "15" glass bottles, commercial milk containers, domestic milk bottles, pasteurized milk bottles -
Kiewa Valley Historical Society
Bottle Milk, mid to late 1900's
This glass milk bottle was manufactured and used mid to late1900's (1834 Victorian dairy industry was founded) up until the time that a cheaper container was invented(plastic bottles and polyethylene plastic lined cardboard cartons). In 1909 the supply of pure bottled milk was required for babies to overcome infant mortality due to unhygienic milk sources (unclean containers and unpasteurized milk). Due to the volume of milk being processed and hand milking could not keep up with demand, dairy farms introduced milking machines in the late 1930's. The great increases in dairy herds from the average of 18 cows per heard in 1950's to 142 cows per herd in 1996 required milk tankers to pick up the regions milk supply. This bottle was so constructed to be easily moved within the milk processing plants from the delivery vats/holding tanks to the final corking/sealing of the bottles for eventual distribution. From 1958 the milk bottle slowly became phased out of production. At this point in time Melbourne was drawing 160,000 bottles per week from the two major glass bottle works companies, e.g. Melbourne Glass Bottle Works Co.Victoria was the major state supplier of cows milk in the history of Australian milk production from the early 1800's. The Kiewa Valley and its region was a major contributor to meet that demand. Each bottle was "branded" during manufacturing to show the contents (pasteurized milk) and where it originated from (region and supplier). This method of recycling the bottles back to specific dairy farms was a good control method but an uneconomical "on cost" which was replaced by the "throw away" less costly plastic and cardboard containers. Kiewa Valley dairy herds had marked bottles bearing "90/9", "6/18", "6/33", "6/35" and "6/36" Found under the house at 1 Beauty Ave., Mt BeautyThis heavy gauged glass milk bottle has a rim and a distinctive head at the top. This head has been manufactured to facilitate the movement of the bottled along the milk production line. The method of pouring milk into the bottle has been part of the "production line". This bottle has a one pint capacity and is made from "light green" coloured glass(a protection against light penetration). There are other milk bottles that do not have a "green" tint in them. This thick glass bottle to contain milk required its thickness because of the extensive handling before final consumption. Milk was delivered by the "milk man" direct to the homes of consumers. During this period delivery to homes in cities and towns was made initially by horse and cart and later by truck.On the bottom end of this bottle a circle within it "6/18" and next to this "MILK" and opposite "ONE PINT". Below this "THIS BOTTLE BELONGS TO MILK BOTTLE RECOVERY LTD" and below this "AND CANNOT BE USED WITHOUT WRITTEN PERMISSION" on the base "M" underneath this "4"glass bottles, commercial milk containers, domestic milk bottles, pasteurized milk bottles -
Kiewa Valley Historical Society
Bottle Milk, mid to late 1900's
This glass milk bottle was manufactured and used mid to late 1900's (1834 Victorian dairy industry was founded), until the time that cheaper containers were invented(plastic bottles and polyethylene plastic lined cardboard cartons). In 1909 the supply of pure bottled milk was required for babies to overcome infant mortality due to unhygienic milk sources (unclean containers and unpasteurized milk). Due to the volume of milk being processed and hand milking could not keep up with demand, dairy farms introduced milking machines in the late 1930's. The great increases in dairy herds from the average of 18 cows per heard in 1950's to 142 cows per herd in 1996 required milk tankers to pick up the regions milk supply. This bottle was so constructed to be easily moved within the milk processing plants from the delivery vats/holding tanks to the final corking/sealing of the bottles for eventual distribution. From 1958 the milk bottle slowly became phased out of production. At this point in time Melbourne was drawing 160,000 bottles per week from the two major glass bottle works companies, e.g. Melbourne Glass Bottle Works Co.Victoria was the major state supplier of cows milk in the history of Australian milk production from the early 1800's. The Kiewa Valley and its region was a major contributor to meet that demand. Each bottle was "branded" during manufacturing to show the contents (pasteurized milk) and where it originated from (region and supplier). This method of recycling the bottles back to specific dairy farms was a good control method but an uneconomical "on cost" which was replaced by the "throw away" less costly plastic and cardboard containers. Kiewa Valley dairy herds had marked bottles bearing "90/9", "6/18", "6/33", "6/35" and "6/36" Found under the house at 1 Beauty Ave., Mt BeautyThis heavy gauged glass milk bottle has a rim and a distinctive head at the top. This head has been manufactured to facilitate the movement of the bottled along the milk production line. The method of pouring milk into the bottle has been part of the "production line". This bottle has a one pint capacity and is made from "light green" coloured glass(a protection against light penetration). There are other milk bottles that do not have a "green" tint in them. This thick glass bottle, to contain milk, required its thickness because of the extensive handling (man and machine) before final consumption. Milk was delivered by the "milk man" direct to the homes of consumers. During this period delivery to homes in cities and towns was made initially by horse and cart and later by truck.On the bottom end of this bottle is a circle within it "6/35" and next to this "MILK" and opposite "ONE PINT". Below this "THIS BOTTLE BELONGS TO MILK BOTTLE RECOVERY LTD" and below this "AND CANNOT BE USED WITHOUT WRITTEN PERMISSION" on the base "M" underneath this "20"milk, dairy, glass bottle -
Kiewa Valley Historical Society
Bottle Milk, mid to late 1900's
This glass milk bottle was manufactured and used mid to late 1900's (1834 Victorian dairy industry was founded) up until the time that a cheaper container was invented(plastic bottles and polyethylene plastic lined cardboard cartons). In 1909 the supply of pure bottled milk was required for babies to overcome infant mortality due to unhygienic milk sources (unclean containers and unpasteurized milk). Due to the volume of milk being processed and hand milking could not keep up with demand, dairy farms introduced milking machines in the late 1930's. The great increases in dairy herds from the average of 18 cows per heard in 1950's to 142 cows per herd in 1996 required milk tankers to pick up the regions milk supply. This bottle was so constructed to be easily moved within the milk processing plants from the delivery vats/holding tanks to the final corking/sealing of the bottles for eventual distribution. From 1958 the milk bottle slowly became phased out of production. At this point in time Melbourne was drawing 160,000 bottles per week from the two major glass bottle works companies, e.g. Melbourne Glass Bottle Works Co.Victoria was the major state supplier of cows milk in the history of Australian milk production from the early 1800's. The Kiewa Valley and its region was a major contributor to meet that demand. Each bottle was "branded" during manufacturing to show the contents (pasteurized milk) and where it originated from (region and supplier). This method of recycling the bottles back to specific dairy farms was a good control method but an uneconomical "on cost" which was replaced by the "throw away" less costly plastic and cardboard containers. Kiewa Valley dairy herds had marked bottles bearing "90/9", "6/18", "6/33", "6/35" and "6/36" Found under the house at 1 Beauty Ave., Mt BeautyThis heavy gauged glass milk bottle has a rim and a distinctive head at the top. This head has been manufactured to facilitate the movement of the bottle along the milk production line. The method of pouring milk into the bottle has been part of the "production line". This bottle has a half pint capacity and is made from "clear" glass. There are other milk bottles that have a "green" tint in them and this tint was to protect the contents from sun damage. This thick glass bottle to contain milk required its thickness because of the extensive handling before final consumption. Milk was delivered by the "milk man" direct to the homes of consumers. During this period delivery to homes in cities and towns was made initially by horse and cart and later by truck.On the top half of this bottle is "MILK" and opposite "HALF PINT". Below this "THIS BOTTLE BELONGS TO MILK BOTTLE RECOVERY LTD" and below this "AND CANNOT BE USED WITHOUT WRITTEN PERMISSION" on the base is "2 M" underneath this "8/11" and underneath is "ISM -169"glass bottles, commercial milk containers, domestic milk bottles, pasteurized milk bottles -
Kiewa Valley Historical Society
Badge Boy Scout, circa mid to late 1900's
This badge, which was used in the mid to late 1900's (Scouts started in Australia in 1909) clearly demonstrates that the families in the Kiewa Valley although slightly remote were still able to participate in one of the prime "boy" only social groups. The Boy Scouting movement brought together boys from all the socio-economic areas in the Australian population. The scouting group applied the concept of self sufficiency and friendship to all its membership. It was an avenue to cross the boundaries of distance and regional mores. Many of the boys in the Kiewa Valley and its regions would have been more "in tune" with the core principles of the scouting movement because being in a rural environment and "living on the land" was a day to day part of their life. What was an important aspect to they was the "mateship" and the belonging to a very large, and international, group of "like minded" boys. This avenue of interacting with a larger group of boys cut through the "small population" mores of a rural and at times isolated environment. This Boy Scouting activity was both mentally and physically significant to growing boys within the Kiewa Valley as it opened up the world to them.This brass badge has a front formed in a half circle base supporting a "Fleur de Leis" in a spear shape with "cut outs" at the appropriate places to provide the emphasis needed to project the form. Attached to the badge is a crescent moon shaped pronged frame for attaching the badge to lapels or collars or button eyelets. On the bottom scroll "BOY SCOUTS" and on the back type fastener "STOKES & SONS" below this "Melb".societies, boy scouts, apparel badges, numismatics badges