A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

Vassilieff dynamited rock from his own property to build his house. Stonygrad is reminiscent of a grotto and in parts, of a sculpture. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p135 Stonygrad, the home built by Expressionist painter and sculptor Danila Vassilieff, is reminiscent of a grotto and in parts, of a sculpture. Vassilieff, who amongst others influenced painter Sydney Nolan and Albert Tucker, was a member of the artists group the Angry Penguins. He was also a highly regarded art teacher at the nearby Koornong Experimental School and taught at Eltham High School. Art critic Robert Hughes described Vassilieff’s painting as ‘lyrical without social commentary’, and said Vassilieff was ‘the most oddly neglected artist in recent Australian History’. Vassilieff, who was born in 1897 in Russia, had an unusually adventurous life before he settled in Warrandyte. The 12th of 18 children, he lived on a farm in the Don Basin. Vassilieff trained with the Imperial Military Academy at St Petersburg and fought in World War One as an officer in the White Russian Army against the communists. In 1920 he was captured, then escaped from prison, stole a horse and rode bareback 150 miles to the Black Sea, helped at first by Tartar freebooters. He then travelled to India, Shanghai and arrived in Queensland as a refugee in 1923 where he began painting. He and his wife Anisia bought a sugar farm near Ingram, and later he constructed railway lines at Mataranka, in the Northern Territory.4 In 1929 Vassilieff went to Brazil for formal art training from former fellow-officer Dmitri Ismailovich, but he soon left to travel up the Amazon River. He then worked as a sidewalk artist in the West Indies and travelled for two years in England, France and Spain. In 1937 he arrived in Melbourne where he lived until his death in 1958. His first major Australian series was the Carlton streetscapes and from 1951 he sculpted in local hard limestone. Vassilieff rejected all dogma and regarded religious subjects as suitable only for decorative arts. In 1944 he helped defeat a communist attempt to take over the Contemporary Art Society. For a short time, from around 1955, Vassilieff taught at various Victorian schools. The Angry Penguins painted mainly between 1937 and 1947, and included Arthur Boyd, Albert Tucker, Sidney Nolan and Joy Hester. The group formed as they felt isolated from European thought and art (including Surrealism) from which their work was derived. They were also angry at what they considered to be the complacency and insularity of their society. They maintained Australians at first were scarcely aware of the threats of the Wall Street Crash and Hitler and were little interested in the Spanish Civil War. The Angry Penguins also objected to the White Australia Policy. Hughes said although most of the Melbourne Expressionists in the 1940s were unskilled and their work crude in style, they helped jolt Australian painting from its pastoral complacency. Their style influenced nearly every painting produced by significant figurative artists in Melbourne in the 1950s such as Charles Blackman. From 1939 Vassilieff built Stonygrad, mainly with local stone. The house stands at the end of a private road surrounded by trees with the quiet occasionally broken by the sounds of bellbirds. To build his house Vassilieff dynamited rock and cut trees from his own property. The original section of the three-level house is of irregular-shaped pieces of solid stone, exposed inside like the exterior. Vassilieff later built sections with timber and brick. Inside is rustic and cave-like, and several rooms are linked by arched openings with no doors. One undulating wall was carved out of rock from which two sculptured heads protrude. Several ceilings are of rough-hewn logs and the built-in table and bookcase are rough, as is a timber ladder leading to a bedroom. Not for the elderly or unsteady! Yet the general impression in the muted light is beautiful, with artistic originality.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, danila vassilieff, hamilton road, north warrandyte, stonygrad

Gladys REYNELL (04/091881 - 16/11/1956) Born Glenelg, South Australia Gladys Reynell was South Australia's first studio potter and the first Australian artist to apply modernist principles to the crafts. For four years she worked from Ballarat. Osrey Pottery Ballarat operated between 1922 and 1926 by Gladys Reynell and George Osborne. The name of the pottery was an acronym formed from their surnames. Gladys Reynell, her sister Emily and brothers Rupert and Carew supported the war effort during World War One. Rupert Reynell was a neurologist who valued handicrafts in the rehabilitation of shell-shocked soldiers. He influenced Gladys and Margaret Rose (Rose) McPherson (later known as Margaret Preston) to learn pottery at the Camberwell School of Arts and Crafts, London, in 1916. Next year a friend sent Gladys some Kangaroo Island clay which excited her: 'I thought then that it could be the most delightful thing on earth to make pots in Australia from virgin clay'. In 1918 Gladys and Rose began teaching pottery to soldiers at Seale Hayne Neurological Hospital, Devon. In September 1919 Gladys Reynell came home in September due to her father's illness. She established the Reynella Pottery and became responsible for all stages of pottery production. Using a seasoned dump of buff-coloured clay from a well at nearby McLaren Vale Gladys Reynell built and fired her own kiln; threw simple, robust forms based on early European folk pottery; and decorated them with designs inspired by both Aboriginal art—one of the earliest to use this as a source. Gladys Reynell decorated her earthenware pottery with the characteristic rich 'Reynella blue' slip. On 14 August 1922 at St Mary's Church, Edwardstown, Gladys married George Samuel Osborne, an ex-serviceman and gardener at Reynella; they had no children. Between 1922 and 1926 they set up Osrey Pottery In Ballarat. Gladys produced pottery for sale at fairs with George as her assistant. She would throw her pots in the street, causing a sensation. In 1926 George contracted lead poisoning from lead in the glazes. They moved to rural Curdievale where Gladys resumed painting and making woodcuts. From 1939 Gladys and George lived in Melbourne. In World War II she worked in the army pay corps, in the Taxation Office, and as a translator of French. Gladys died of cancer on 16 November 1956; her husband scattered her ashes at Reynella. Her ceramics, the work of one of Australia's earliest studio potters, have been avidly collected since the late 1960s and are in most major art galleries. Small blue glazed ceramic bowl incised around the top with a decorative frieze. Incised on the base "(Dam Clay) Ballarat 1923, Osrey"gladys reynell, osrey pottery, blue bowl, incised bowl, australian studio pottery, ceramics, native clay

Proficiency certificate A4 certificate No 107909Front education department Victoria logo in oval with coat of arms and crown Proficiency certificate NO 107909 This is to certify that Penelope Treadwell has successfully completed the first three years of a course prescribed for post primary schools at a school approved for the purpose director of education Back the candidate has completed a course of study in the following subjects with results as indicated English pass, algebra pass, geometry pass, geography pass, general science pass agricultural science, French credit pass , German, Latin, history pass, social studies , musical appreciation, art credit pass, shorthand, home management including cookery, needle work credit pass, crafts, woodwork, metalwork, blacksmithing, mechanical drawing, physical education pass. education, penelope treadwell, proficiency certificate

Wall Calendar - heavy card covers, 12 gloss art pages inside, titled "Trams - 2006" containing full colour photographs of Rockhampton, Ballarat, Fremantle, Grenoble France, Geelong, Sydney, Brisbane, VR Sandringham and Transporting Art Melbourne trams. Has a punched hole along the top edge to enable wall use. Provides dates for holidays, school holidays and Pension payment days and phases of the moon. Produced by Topmill Pty Ltd and distributed by Gordon & Gotch Pty Ltd. Photos by Archer Park, William Scott, A. W. Perry, Ben Parle, Maurice Kelly, Ken Smith,trams, tramways, rockhampton, ballarat, fremantle, geelong, sydney, brisbane, victorian railways, sandringham, brisbane, transporting art, tram 2107, tram 50, tram 384, tram 340, tram 497, tram 567

1 - Issue 1 - March 2007 - with photo of the Police Tram (2109) - Welcome message from the CEO Dennis Cliche, Good Friday appeal, Burwood highway works, new sub-stations at Coburg, Royal Park, Brunswick depot, Camberwell depot, East Preston, Essendon, Bundy Clock, Glenhuntly, Kew Depot, Malvern, Southbank,, Safety, events, Lunar Festival .2 - issue 2 - June 2007 - 18 pages, Malvern Depot (a green depot), Paul Matthews profile, trackwork at Glen Huntly and Essendon depots, Depot news, Joyce Barry tribute, Hawthorn depot museum, fund raising. .3 - issue 3 - Octr. 2007 - 16 pages - fund raising - Melbourne city romp, Des Davies retirement, CPR rescue of a collapsed driver, depot news, retirements and a chemical and fire incident on the Vermont South line. .4 - issue 4 - Jan. 2008 - 12 pages - fundraising, family events, depot news, retirements, TramTracker Jake .5 - issue 11 - Winter 2010 - 16 pages - St Kilda Road Superstops, Michel Mason - CEO, Malvern depot centenary, Transformation, new maps on trams, fundraising, the leadership team, depot news, uniforms, South Caulfield Junction upgrade. .6 - 20 pages issue 12, Summer 2010, published soon after Keolis took over operations of Yarra Trams. The first 10 pages, look at Trams on the Fringe, Feedback, Football trams, staff matters, and features a story on page 10 of the Hawthorn Tram Depot museum and Driver Shaun McCarthy wearing the brown uniform in front of tram 1041. Fully Scanned. The second ten pages are reversed (upside down) and titled "Le Pantographer", featuring a Bordeaux tram on the cover. Provides details of Keolis operations such as Lyon, Bordeaux, Lille, Le Mans, Caen, Angers, Dijon and other operations. .7 - issue 6 - Spring 2008 - Meerkats, fleet operations, training, Art Alive, Kew depot - new inspection pits, Long Lay Malvern, Did You Know campaign, and looking for Cricket players - part scanned. .8 - issue 13 - Autumn 2011 - Michel Masson CEO, visit of French Media, Ron Scholten Retirement, photo of Geoff Dean of Camberwell, - part scanned. .9 - issue 5 - June 2008 - Tram works Swanston and Flinders, tram 111, cricket .10 - issue 8 - Autumn 2009 - Good Friday appeal, public transport ombudsman, Malvern centenary, my friend Mike .11 - issue 9 - Spring 2009 - Chris Cairns safety campaign, route 48, Myki, Tramtracker, Jake.Demonstrates Yarra tram staff newslettersEleven issues of Yarra Tram's internal newsletter "The Pantograph", all A4, center stapled. Issues not fully scanned, unless noted.trams, tramways, keolis, yarra trams, fohtd, hawthorn, uniforms, coburg, substation, royal park, burwood highway, fund raising, bundy clock, environment, glenhuntly depot, essendon depot, malvern depot, south caulfield, tram 2109, tram 84, route 48, tram 111, good friday

Trench Art is the name given to objects manufactured by both soldiers and civilians from shell casings, bullets, shrapnel and miscellaneous battlefield debris, and is predominantly associated with World War I (1914 – 18). The most common material used for trench art are brass shell casings, which, once decorated, can be utilised as vases. Often items will bear an inscription such as the name of a French village or theatre of war and engraved decoration or embossing. There is no known history in relation to this itemLarge brass shell casing with decorative engraving.Engraved - Les Halles D'Ypres 1914-19 with engraving of building possibly town hall or church . Several symbols, numbers and letters imprinted on base of casing. brass shell casing, trench art, world war one, first world war, wwi, ww1, ypres, flanders, vase

This box of pastels was donated to the Wodonga & District Historical Society by Betty L. Barberis (nee Barton), a prominent artist. They were given to her by Mr Colin Findlay, the teacher at Upper Gundowring Primary School from 1930 to 1939. His students at that school and many others used these pastels each day. Reeves’ “Greyhound” business was originally established by William Reeves who opened his first shop near St Paul’s Cathedral in London, England in 1766. The greyhound crest was later adopted as their emblem, taken from the coat-of-arms of the extinct Ryves family of Dorset. It consisted of a black-seated greyhound spotted with gold. After William’s death, the business was carried out by his brother, in partnership with various businessmen. They sold a wide range of art supplies in England and their trade extended to supplying drawing instruments and stationery products to the East India Company in the early 1800s. In the 1920s the Greyhound Colour Works at Enfield became known especially for its famous Greyhound pastels. Reeves Greyhound products were also being made in Melbourne, Australia. They were marketed widely through schools in all States from the 1920s onwards. Reeves continues to be a huge brand both in the United Kingdom and internationally, placed in over 70 countries worldwide including America, France, Germany, Italy, Japan, South Africa and Australia.These pastels are significant because they were widely used in Victorian Schools and were donated to our Collection by a prominent local artist.A cardboard box with a corrugated cardboard to store 12 pastels. The pastels are held in a cardboard tray insert.REEVES' 'GREYHOUND" PASTELS (REGISTERED) Directions for use Non-INJURIOUS Made in Australia On each pastel: REEVES GREYHOUND reeves greyhound pastels, primary school art supplies, education 1930s, upper gundowring primary school, betty l. barberis

This sketch by South Australian, Lance Corporal Brewster, was sketched while at the front during the Great War near Villers Bretonneux in France.Realism, War artvillers bretonneux, great war, sketch, art

World War I ashtray made in Ypres, France'Trench Art' ashtray with coat of arms in centre. rectangular, made in brass with cigarette holder grooves at each corner Coat of arms, vertical rectangle with small point as base, surmounted by open crown. Top third of shield features Cross of Lorraine on burgundy background, lower two thirds contains textured cross. ashtray, trench art, wwi

Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. Living room of architect Bent Karlby's home in Ordrup, Copenhagen, Denmark. Note, Karlby's Peanut Pendant Lamp (1946) - centre top; two Safari Model 4700 chairs (1933) by Kaare Klint (Architect: Bent Karlby.)Copenhagen / Ordrup / Karlby, arch / Own home - Living room / 1950 (Handwritten)haddon travelling scholarship, haddon, robin boyd, slide

A black and white photograph of Bendigo Teachers' College staff in 1971. Three staff members are at the circulation desk in the college library. Miss J.C. Burnett is in the foreground on the right hand side. Mr. Jeff Layner and Mr. Colin Barnes are to the right in the background. The staff are in front of the Leonard French mural a feature of the library. See 3320.100bendigo, education, bendigo teachers' college staff, latrobe university bendigo collection, collection, education, bendigo, library, libraries, teacher training, tertiary education, miss j.c. burnett, mr. geoff pryor, mr. jeff layner, mr. colin barnes, photo, photos, photograph, photographs, history, art, mural, murals, leonard french mural

The letter details how the writer GEORGE saw George yesterday and waved and yelled but he did not see him as they were marching past. It also describes how they just came out of the trenches with mud over their knees and higher. The George walking past is possibly George Frederick Pierce DCM. Refer Cat No 4136P for his service details, award and death. Part of the collection of William (Bill) Thomason, refer Cat No 4213P for more items.Cartoon coloured postcard depicting a boyish soldier surrounded by boys and girls. On the rear is a letter from France to a girl, the writing is in blue pen.On the rear “15/11/16 France, Dear Gaddis”. The letter ends “I remain yours sincerely George H..........postcards, military, cartoons

Her Majesty’s has been a central part of the cultural life of Ballarat since it first opened its doors in 1875. Australia’s best preserved theatre building, it has been continuously used as Ballarat’s home of live performance ever since. It has been owned and operated by the City of Ballarat since 1987 and functions as Ballarat’s premier performing arts centre. The Theatre was first known as the Academy of Music, a name calculated to overcome religious and temperance scruples against patronising a “theatre.” The Academy had a flat floored auditorium suitable for dances and dinners, and a fully equipped stage. It was built to supersede Ballarat’s Theatre Royal (1858), which stood around the corner in Sturt Street, near where the Myer Department store sits today. While very grand, the Royal had become outdated and no longer met the technical requirements of the touring companies. The Academy was built by the wealthy Clarke family at the initiative of a group of local people who felt that Ballarat, as the premier city of the Victorian goldfields, should have a theatre worthy of its status. They guaranteed to rent it from the Clarkes at 10% of the construction cost, which was £13,000. The building of Ballarat’s handsome new theatre was supervised by Clarke’s architect, George “Diamond” Browne. It was ready ahead of schedule, and opened on 7th June 1875. The first production was a comic opera by the French composer Lecocq, “La Fille de Madame Angot,” presented by the Royal Opera Bouffe Company run by W. S. Lyster, Australia’s first opera impresario. Soon after the Academy opened, the large Supper Room above Lydiard Street was leased to William Bridges, a former miner, who ran it as an art gallery, displaying an excellent collection of European and Australian artworks, including his own tapestries. After Bridges moved his operations to Melbourne in 1883, the Ballarat Fine Art Gallery was formed. The Gallery Society ran the Gallery from the Academy from 1884 until 1890, when the present Art Gallery in Lydiard Street North was opened.Colour photograph of interior detail at Her Majesty's Theatre, Ballarat.her majesty's ballarat, theatre, performing arts, her majesty's theatre, academy of music, george browne

Refers to the service of:- James Thomas Holl, No 2432. Enlisted 1/6/1916 age 39, in the 60 Bn, 5th Reinforcements. Embarked 25/8/1918, for England. Embarked 30/12/1918, for France. Hospital 17/6/1917, Influenza. Rejoined unit 8/3/1918. Hospital, Trench fever 29/4/1918. Rejoin unit 16/7/1918. Transfer to 59 Battn, 25/9/1918. Discharged 2/11/1919. These 'plates' were beaten out of "Fritz's" dixies. (Mess tin). These items could be classed as a type of trench art..1) This is a rectangular piece of flat aluminium. It is not perfectly square, it shows signs of having been panel beated. Words, drawings and numbers are hand engraved on both sides. The animal on this "card" is a kangaroo. .2) This is a flat rectangular plate of flat aluminium. It is not perfectly square, across the middle is a 'dint" that appears to have been a flattened out corner. Plate One: Side A. Kangaroo motif - engraved on this side: A souvenir of Peronne. Wishing you a Merry Christmas and Happy New Year 1918-1919. From France J.T.H. Side B - Engraved as per a postcard:- Carte postage France 14/10/18. Correspondence: Dearest Mother and Sisters, Just a card to say I am well. This is a bit of a xmas card. Love to all Jim. Addressee: Mrs Holl. "Holliston" Healesville, Victoria, Australia. Plate Two: Kookaburra Motif. Side A; Best wishes for Christmas and the New Year 1918-1919. A souvenir of Peronne, France - marked. (This side has the remains of some sort of official number - top right corner). Side B: Correspondence: My Dear wife and Family. A few lines to say I am well when writing this. This is a piece of Fritz's dixie. Love to all, Jim. Addressee: Mrs J.T. Holl, C/- Mrs Briggs, 103 Mollison Street, Bendigo, Victoria, Australia. Carte Postal - Stamp 6/10/18 France.christmas, aluminium, souvenirs

Part of the Cooper Collection. "John Percy VERCOE", No. 2530, enlisted 18/5/16 in 5th Reinforcements, 60 BN. Aged 30 years. Embarked for England 25/9/1916, embarked for France 4/2/1917, WIA 26/4/1918. GSW to left eye, severe. Left eye excised England 30/4/1918. RTA 23/9/1918. Discharged from the AIF 4/1/1919. Passed away 30/12/1925. John received a Congratulatory card from MAJ.General J.H. Hobbs, K.C.B, V.D. Commanding 5th Aust. Division - for bravery and devotion to duty in dressing and carrying wounded to the Regt. Aid Post during a counter attack on Villers Brettoneux on the night of 24/25th April 1918.Brass map of Australia fashioned into a bracelet. Band is secured with a clip. Owners details engraved on the map.Engraved in the face of the map: 'No.2530, PTE J.P. VERCOE, 60TH BATT, AIF, 1916.cooper collection, trench art, john p. vercoe

Items collected by Horace Eli Hambly No 794 AIF. Refer 2325.2 for his service history..1) Pouch, black leather containing 18 foreign coins. .2) & .3) Pair of metal cuff links. .4) Small key for winding a clock or machine. .5) Image of WWI digger fashioned from a 6d (sixpence) & brass set of bars.personal effects - money containers, numismatics - coins - french / german, costume accessories - male jewellery, military history - trench art

Items souveniered or collected by James Worland Mills No 3441 59th Batt AIF. Refer 169P. Metal souvenirs from France and Letter opener. .1) Silver shield with cross, wheat, on either side, crown on top. Town coat-of arms for Ypres, with clasp. .2) Tarnished metal, lion on shield, crown on top,3 leaf clover on either side, town coat-of-arms for Arras, with clasp. .3) Letter opener. Trench art - metal rifle cartridge with pressed brass handle and knife/blade. .1) "YPRES" coat of arms. .2) "ARRAS" coat of arms. .3) "SOUVENIR OF FRANCE" (under helmet)souvenirs, coats of arms, letter openers, trench art

Regarding P Sexton. There is a Patrick Sexton listed in the 59th Batt roll No 3243a. The trench art was in the collection of James Worland Mills No 3441 59th Batt AIF. Refer 169P, 166.3, 167.6. Map of Australia made from spent munitions brass; engraved with picture of soldier holding a banner.'59th Btn.' - written on Union Jack in corner of banner. 'Australia for Ever' written on 2nd banner. 'CD' written between soldier's feet. Other inscriptions: 'France 12.7.18', and 'P. Sexton Ville-Sur Ancre Somme.arms-ammunition, trench art

Art exhibition catalogue for Jessie Traill [around the tenth anniversary of her death] who was an Australian born Voluntary Aid Detachment (VAD) who served with the Queen Alexandra's Imperial Military Nursing Service during World War one in France. Her aritSeven single sided foolscap copied typewritten document held together with a white plastic paper clip. Title and bibliographical details of document are visible as well as handwritten annotations.'Returned Nurses Club' [blue ink top right hand corner of cover] 'H28' [red ink top right hand corner of cover]jessie traill, art, printmaking, voluntary aid detachment, vad, s, queen alexandra's imperial military nuring service, wwi, ww1, world war one

Case belonged to Les Iser. He had pre War service 3 years Cadets and 2 years L.Horse. Leslie Iser No 8150 enlisted in the 17th Battery 6th F.A.Brigade AIF on 18.6.1915. Promoted to Sgt 9.10.1915. Embarked for Eygpt 22.11.1915. Promoted 2nd Lieut 12.3.1916. Embarked for France 17.3.1916. WIA severe at Bois Greiner 26.6.1916, GSW's to right foot, left leg and forearm. The right foot required immediate amputation and then done again. The left leg became septic and he suffered from Jaundice. He was promoted to Lieut on 1.8.1917 and placed on the supernumerary list. Embarked for Australia 9.10.1917 and his appointment in the AIF was terminated on 4.1.1918. Refer 339.2, 1971, 2049P.Metal case, hinged with two elastic straps inside to hold cigarettes. Inscribed on lid."8150 / L. Iser / 17 BTY 6 FAB / AIF"cigarette cases, accesory, engraving

L'Oiseau-Lyre, was established in France by ex-patriate Louise Hansen-Dyer, Melbourne socialite and one time Lady Mayoress of Melbourne. The book collection at Hymettus contains examples of her publications, records and ephemera such as Christmas cards.An example of a fine press production undertaken at L'Oiseau Lyre in France by Louise Hansen-Dyer. The paper is Japon vellum watermarked L'Ouseau Lyre. The cover design is fine example of Art Deco.couperin, music, france, hansen-dyer