A wooden racquet with a convex throat. Inscription across throat on overse: "HARVARD". Inscription along throat on reverse: AZTEC. Materials: Wood, Metal, Glue, Lacquer, Inktennis

A wooden racquet with a concave throat. Inscription across throat on obverse: "HARVARD". Inscription across throat of reverse: SERVICE. Materials: Wood, Metal, Glue, Lacquer, Ink, Gut, Leather, Stringtennis

In 1964, Robin and Patricia Boyd spent several weeks on a world tour - Boyd took a leading role at the International Design Conference in Aspen and he also visited Chicago, Yale University, and New York’s World Fair. The Boyds then travelled on to England, Finland (especially to see Tapiola), Russia and India to see Le Corbusier's Chandigarh, and also Hong Kong and Thailand.Colour slide in a mount. Looking down the ramp onto 22 Prescott St from the Carpenter Centre for the Visual Arts, Harvard University, Cambridge, Massachusetts, USA, 1963. (Architect: Le Corbusier.)Made in Australia / 7 / AUG 64Mslide, robin boyd

The first piece in the 'Life' magazine titled "All-Purpose Old Master of Design" is a close-up look at Walter Gropius at 85. The second piece titled "'Grope' brought everything in the range of his vision" is by Peter Blake, Editor of Architectural Forum. Blake argues that Gropius was a true universalist, in contrast to Frank Lloyd Wright, Le Corbusier, Mies van der Rohe. who were all specialists.Two articles pp 49-54; pp 58-64.gropius, bauhaus, weimar, harvard, walsh st library

A wooden racquet with a convex throat. Inscription across crown on obverse: SERVICE. Inscription across throat on obverse: "HARVARD". The letter 'M' has been carved into the right side of the handle. Materials: Wood, Metal, Glue, Lacquer, Ink, Gut, Leathertennis

Group of Children in Fancy Dress 1898 to raise funds for the Stawell Hospital 1898. Possibly at Harvard College Stawell 14 Ligar Street. Performance is from "Five o"clock Tea" - a fairy kindergarten cantata which was written in 1889Sepia photograph of a large group of young people wearing special costumes and carrying fairy wandsOn the back: " Queen I love you five o'clock tea 1898 " rewritten by James D. Hutchings (15.10.1968 ) Stawell Photographic Co. close Railway Station C. HEWITT Manager On the front is " 1898 " stawell, children, fancy dress, fundraising

A wooden racquet with a convex throat. The crown on obverse features the decal inscription: HARVARD. The throat on obverse features the decal logo, in gold, of a dog above a diamond device. Inscription within device: D & M/TRADE MARK. Materials: Wood, Gut, String, Leather, Glue, Lacquer, Metal, Inktennis

A wooden racquet with a convex throat, and an octagonal handle. Throat on obverse features decal inscription: HARVARD. Throat on reverse features a decal of a crowned garter with the inscription: E. KENT. Inscription across left side of stem: MADE BY E. KENT/PAWTUCKET, R.I., U.S.A. Materials: Wood, Glue, Lacquer, Metal, Gut, Ink, Leather, Painttennis

A wooden, transitional flat-top racquet with a solid, convex throat, and a plain handle. Across the throat on the obverse is a decal of the model 'HARVARD' above the Bliss company trademark of a 'B' linked to an anchor, within a shield device. On right side of handle is stamped the barely legible inscription: ORIENTAL GUT. Materials: Wood, Gut, Ink, Metal, Glue, Lacquer, Leather, Painttennis

A wooden racquet with a concave throat and an octagonal handle. Throat on obverse features decal inscription: HARVARD. Throat on reverse features a decal of a crowned garter with the inscription: E. KENT. Company logo also features on blue butt cover, impress in gold. Handwritten inscription across handle on reverse reads: WILMA D. Materials: Wood, Glue, Lacquer, Metal, Gut, Ink, Leather, Paint, Clothtennis

Chelsea Clock Company History: The Chelsea Clock Company is an American clock manufacturing company that started before 1880 with Joseph Henry Eastman who founded the Harvard Clock Company and produced 800 clocks of marine, carriage, shelf and banjo types. He went on to change the company name to the Boston Clock Company in 1884. After several name changes in 1897, the Chelsea Clock Company was finally founded. Clocks produced by Chelsea Clock Company have been found in the White House, on US Naval Ships, and in homes and offices around the world. After the company first began life as the Harvard Clock Company, it was named the Boston Clock Company, the Eastman Clock Company before finally becoming the Chelsea Clock Company in July of 1897. The company had developed many patents and innervations over these years and between 1939 and 1946 during World War II they were awarded contracts by the U.S Maritime Commission and produced vast numbers of clocks for both merchant and naval ships. U.S Maritime Commission History: The United States Maritime Commission (MARCOM) was an independent executive agency of the U.S. federal government that was created by the Merchant Marine Act of 1936, and replaced the United States Shipping Board which had existed since World War I. It was intended to formulate a merchant shipbuilding program to design and build five hundred modern merchant cargo ships to replace the World War I vintage vessels that comprised the bulk of the United States Merchant Marine, and to administer a subsidy system authorized by the Act to offset the cost differential between building in the U.S. and operating ships under the American flag. It also formed the United States Maritime Service for the training of seagoing ship's officers to man the new fleet. The purpose of the Maritime Commission was to formulate a merchant shipbuilding program to design and then have built over a ten-year period 900 modern fast merchant cargo ships which would replace the World War I-vintage vessels Those ships were intended to be then leased to U.S. shipping companies for their use in the foreign seagoing trades the aim was to offer better and more economical freight services. The ships were also intended to serve as a reserve naval auxiliary force in the event of armed conflict which was a duty the U.S. merchant fleet had often filled throughout the years since the Revolutionary War. From 1939 through the end of World War II, the Maritime Commission funded and administered the largest and most successful merchant shipbuilding effort in world history, producing ships for both navy and merchant marine. By the end of the war, U.S. shipyards working under Maritime Commission contracts had built a total of 5,777 ocean-going merchant and naval ships. In early 1942 both the training and licensing was transferred to the U.S. Coast Guard for administration, then later to the Maritime Service final responsibility was conveyed to the newly created War Shipping Administration which was created to oversee the operation of merchant ships being built by the Emergency Program to meet the needs of the U.S. Armed Services. With the end of World War II, both the Emergency and Long Range shipbuilding programs were terminated as there were far too many merchant vessels now for the Nation's peacetime needs. In 1946, the Merchant Ship Sales Act was passed to sell off a large portion of the ships built during the war to commercial buyers, both domestic and foreign. The U.S Maritime Commission was officially disbanded on May 24th 1950. These clocks were to be found on all ships made in American for the war effort between 1939 and 1946. They are a significant reminder of the sacrifice by those who served in the merchant marine and the navy’s during the Second World War. The item is a part of our social history that reminds us of these dark times. The loses of family members, along with the trauma that many sailors had endured and had to live with for the rest of their lives once they were released from service and allowed to go home.American Clock is an 8-day marine clock made by the Chelsea clock Co for the “US Maritime Commission” . There is a second smaller dial for the seconds and 24-hour markings. Also a fast-slow adjuster to the top of the dial. The clock is an 8 day marine clock with US Maritime Commission inscribed on face in black lettering. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, clock, us maritime commission, chelsea clock company, horology, maratime clock

In 1948 during her Australian tour Helen Keller visited the west suburban SUNSHINE GIRLS TECHNICAL SCHOOL, to express her thanks for a letter written by the students in support of her work with deaf and blind people. She and her travelling companions presented the school with their signatures. Helen Keller was born on June 27, 1880 and due to an illness at the age of 20 months lost both her sight and hearing. Helen was taught to communicate by Anne Sullivan who wrote words into her hand, and she also learned to speak by touching the throat and lips of people as they spoke. In June 28, 1904 Helen Keller graduated from Radcliffe College with a Bachelor of Arts degree, being the first deaf and blind person to do so. In October 1914 Polly Thomson joined up with Helen and Anne. Helen published an account of her religious beliefs and an autobiography, and in 1930 the three women travelled to Scotland, England and Ireland. In 1931 they participated in the first World Council for the Blind. After Anne Sullivan Macy died in 1936 Helen and Polly continued to travel to several countries. In 1943 Helen visited blind, deaf, and disabled soldiers in a USA military hospital, which she described as "the crowning experience of my life". In 1946 Helen and Polly made their first world tour for the American Foundation for the Overseas Blind and over the next 11 years visited 35 countries. In 1955 Helen became the first woman to be honoured with an honorary degree from Harvard University. In 1960 Polly Thomson died, and in 1961 Helen suffered her first stroke and so retired from public life. In 1964 President Johnson conferred the Presidential Medal of Freedom however she was unable to attend the ceremony. On June 1, 1968 Helen died in her sleep, and her ashes have been interred with those of Anne and Polly at the National Cathedral. Over 1200 mourners attended the funeral.It is significant that Helen Keller actually took the time and effort to visit the Sunshine Girls Technical School to thank the students for their supporting letter. Helen Keller's many achievements show that a severely handicapped deaf and blind person can make significant contributions to society, if they apply themselves and receive assistance from dedicated friends. Brown stained wood frame with glass face enclosing a beige paper with three signatures and a typed white paper section describing reason for the signatures. Helen Keller, Polly Thomson, Marion Fatuson, 11.5.48helen keller, polly thomson, marion fatuson, anne sullivan macy, deaf, blind, signatures, radcliffe college, sunshine girls technical school

fictionBobby Lake dropped out of Harvard to fight in Vietnam, because he wanted to be a hero. but how do you become a hero amongst men who only notice the cowards, where just the price of respect is high, and the cost of being a hero is hard to pay?united states. army. special forces - fiction, vietnam

Jan Senbergs was born in Riga, Latvia, in 1939 and came to Australia when he was ten. Senbergs’ work has been characterised by a simple and bold aesthetic. From lush landscapes to barren urban spaces, his body of work signifies an artist who has continually experimented with shape, form and motif, a fundamental humanist vision, a finely-honed sense of the absurd, and a rigorous studio practice spanning printmaking, drawing and painting. Senbergs is Baldessin's exact contemporary. He was also born in Europe and fled his homeland because of the war, arriving in Melbourne in 1950. Like George, Senbergs also worked at the RMIT and in 1973 represented Australia at the Bienal de Sao Paulo. Senbergs first met George when he was living in St. Kilda. George asked if he could screen print his 'Argus' catalogue for a show at the gallery in the Argus building. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'New Jersey - rust belt' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print finds its' origins in the time Senbergs spent at Harvard in America in 1989-90. In the context of Baldessin it explores an industrial urban surreal vision that was common to both artist. The image captures the life force of the city revealing the keen and observant eye of Jan Senbergs. Similar in sensibility to his large scale charcoal drawings of the 1990s, the artwork is not only a record of what the artist sees, but of what interest him. By following the movement of each line the viewer can witness the artist's eye travelling through, over and around each element of the urban landscape. The scale is deceptive with the image bled to the full-size of the sheet of paper like a microcosm of a much bigger whole. sugar lift etching of an urban (cityscape - New Jersey) scene - bridges, roads, buildings, in thick black brushstrokes. The image is busy; full of energy and movement. A bleed print in which the paper barely contains the city scape. In pencil (handwritten): top centre: left '14/25' (edition); centre 'New Jersey-Rustbelt' (title); right 'Jan Senbergs' (signature); print, sugarlift etching, urban landscape, ekphrasis2018, new jersey, line, rust belt