Has a strong association with Austin Brehaut, Priest for the Anglican Church and a BTM Conductor..1 - Newspaper clipping from The Courier, 3/8/2013, titled "Church hero farewelled", reporting on the death of Austin Brehaut. Story by Fiona Henderson, with a Jeremy Bannister photo of Austin in front on No. 26. Reports on Austin's career in the Anglican Church, as a BTM Conductor and his other local work. See also Reg Item 8152 for another copy with other memorials. .2 - Funeral requiem service held at the Holy Trinity Church Sebastopol, August 5 - 8 page A5 document with a photo of Father Brehaut on the cover.btm, conductors, anglican church, funeral

Yields information about Ballarat's bogie trams, Pleasant St and Sturt St and possibly tram services during the Olympics.Black and white photograph of No. 34 outbound in Sturt St at Pleasant St, with the destination Sturt St West. Appears to be a very crowded tram with a man on the running board. Has St Peters Anglican Church in the background. On the tramway pole adjacent to the tram is a "One Way Traffic" and an "Olympics Rings" sign, indicating the photo could have been taken c1956, possibly during the Olympics themselves. Photographer unknown - could be Wal Jack. Based on Wal's notes for the events, could be 24/11/1956 - see Reg Item 5565. trams, tramways, pleasant st, olympics, sturt st, sturt st west, tram 34

Yields information about the Victoria St line and the use of King St loop and special trams.Negative and Digital image of the Wal Jack Ballarat Negative file of No. 26 west bound (showing Special) nearing the King St Loop in Victoria St. In front of the tram is No. 20? and No. 28 (Special) in the loop. Has the St Alipius church in background and a general store advertising Sunshine biscuits, operated by Stan ?owsell. Has a letter box under the verandah. See Reg Item 7633 - likely to have been taken at the same time.trams, tramways, victoria st, king st, tram 26 tram 20? tram 28

Yields information about the Dawson St cross over in Sturt St and St Patricks church.Colour slide, Kodak white cardboard mount, developed Mar 1969 of No. 37 (Special) crossing Sturt St at the Dawson St cross over. St Patricks church in the background. St Patricks church in the background. See Reg Items 7675, 7678, 7681, 7684, 7686, 7705 and 7713. "Dawson St X over" in red inkballarat, tramways, trams, sturt st, tours, dawson st, tram 37

Yields information about three bogie trams possibly stored in Ripon St awaiting their use for an event.Negative and Digital images of the Wal Jack Ballarat Negative file of No. 36 and two other bogie trams parked in Ripon St North, just to the north of Sturt St. The house in the background is No. 3 Ripon St North and is still there (27-4-2020),. The spire of the St Peters Anglican Church can be seen. Tram is showing Special, possibly parked in Ripon St for a special event and waiting use. Perhaps for the Royal Visit. Photo may be related to Reg Item 7728.trams, tramways, ripon st, events, bogie trams, tram 36

Yields information about tram services on the Victoria St line and passengers.Negative and Digital images of the Wal Jack Ballarat Negative file of No. 35 inbound in Victoria St, at the King St loop picking up passengers at the tram stop. Tram has the destination of Gardens via Sturt St West. In the background is St Alipius church. mid 1950'strams, tramways, victoria st, king st, passengers, tram stop

Negative and Digital images of the Wal Jack Geelong Negative file of Geelong 36 on the West Line, Pakington St with the destination of Station, leaving the Church St loop? See Reg Item Photo possibly late 1940's. trams, tramways, geelong, pakington st, tram 36

Wedding Invoices for Mrs J. A. Symons, Murphys Creek Account from Bolton Bros Bendigo for printing of invitations, a draper at Ballarat for the wedding dress (Homes Drapers) and a letter from St Augustine's Church at Inglewood, Rector Keith G. Madin enclosing the wedding licence.history, bendigo, merle lummis collection, st augustines church inglewood, murphys creek

Inside front cover - reproduction of the Ballarat white on black destination roll by the TMSV c1971 page 1 - Newspaper cutting "Tram Era Ends in Ballarat" from The Courier's special supplement. page 2 - ditto page 3 - blank page 4 - Newspaper cutting from a Melbourne paper - "Last tram to Ballarat" Nine small B&W photos taken during the ARHS TMSV Tram tour 21/8/1971 - see btm5989.1 > 5989.7 page 5 - Seven B&W photos ditto - see btm5990.1 > 5990,7 Murray Views postcard No. 51 of Sturt St, taken at Grenville St - see btm5991i page 6 - Letter from The Ballarat Courier, on letterhead to Ellen enclosing photos of the tram 42 being moved to Zion Congregational Church Sebastopol and one photograph - see btm5992i1 page 7 - one large Courier photo tram 42 at the church and four small black and white photos of the tram 42 at the church - see btm5992i2 to 5992i6 five photos of Ballarat bogie trams - see btm5993i1 to 5993i page 8 - six photos of Ballarat c1970 - see btm5994i1 to btm5994i6. Page 9 - Newspaper clipping of Ballarat 36 in Melbourne and black and white photo of 36 and a decorated advertising tram in Swanston St. See also btm3173. page 10 - TMSV produced listing of Ballarat tramcars dated Feb. 1971 and two illustrations - ESCo 8 and SEC 17 at night. page 11 - blank Page 12 to 18 - newspaper clippings from The Courier's supplement. Page 19 - ditto and Nu-color-vue Ballarat Postcard BT 69 - see Reg Item. btm960i Page 20 to 23 - newspaper clippings from The Courier's supplement. Page 24 - ditto and and Nu-color-vue Ballarat Postcard BT 65 - see Reg Item. btm669i Page 25 - Illustration of No. 27 at the depot with the "1,000,000" miles in Ballarat Banner - Courier Photo - see btm 3316i and Notes written by Keith Kings on the history of No. 27 and the TMSV tour - 29/6/1988. Page 26 and 27 - newspaper clippings from The Courier at the time of the re-opening of the Ballarat trams - BTPS 1975. See Reg Item btm5996i1 and i2. Inside rear cover - ARHS / TMSV tour and photo stop notes for the Farewell Ballarat Tram Tour - 21/8/1971. Ellen Butland - a driver at Kew Depot, 1st women driver at Kew and 5th in the MMTB - via Ron Scholten 2/11/13.Has a strong association with a Melbourne tram driver who assembled the scrap book and series of photos of Ballarat trams at the time of closure. Yields information about the tram operations.Stamford Kiwi School Scrap Book - card covers, 23 sheets, spiral bound, titled "Ballarat", prepared by Ellen Butland of Auckland following the closure of the SEC Ballarat Tramway system. Each page has been scanned. Black and white photos have been separately catalogued - as noted below."Ballarat" in top right hand corner in ink.destination roll, closure, arhs, tours, courier, tourism, zion congregational church, trams, tramways, ballarat

.1 - Letter from The Ballarat Courier, on letterhead to Ellen enclosing photos of the tram 42 being moved to Zion Congregational Church Sebastopol and one photograph .2 - The Courier photograph of No. 42 - interior photo with teachers and schoolchildren after modifications to the tram - 21/11/1971 - see letter from The Courier. .3 to .6 - - photos of No. 42 at the Church - photographer Ellen. Has a strong association with a Melbourne tram driver who assembled the scrap book and series of photos of Ballarat trams at the time of closure. Yields information about the tram operations.TRAMSet of six black and white photographs contained with Reg item 5988, a Stamford Kiwi School Scrap Book - card covers, 23 sheets, spiral bound, titled "Ballarat", prepared by Ellen Butland of Auckland following the closure of the SEC Ballarat Tramway system.closure, trams, tramways, ballarat, tram 42, interiors, zion congretational church, transporting trams, disposal of trams

338.1 - Black & White photograph of No. 28 in McCrae St. Bendigo running out for the last day 'Grand Parade' showing special - front 3/4 view. 338.2 - as above, but after tram has past photographer, has church hall in background. Both on Kodak paper. Taken on 16/4/1972.On rear in black ink on both photos 'Going out for last time, for SEC to partake in Grand Parade'trams, tramways, bendigo, closure, birney, mccrae , tram 28

One of three scrapbooks created by Eva Grant, a past member of the Kew Historical Society which were donated by her niece, Julie Thomson, in 2013. The scrapbook includes photographs and descriptions of the following sites. (Many of these are now demolished and so the photographs and descriptions may be rare records of a site.) Sites include: Abbotsford (Vic) - Abbotsford Convent, Mayfield (c.1962), prefabricated house - Church street Armadale (Vic) - church (c.1959) - Thomson & Wattletree Roads Arthur’s Seat (Vic) - McCrae homestead Ballarat (Vic) - Memorial plaque on site of Bentley’s Hotel, Memorial on site of Eureka Stockade, Early municipal buildings - East Ballarat, Adam Lindsay Gordon’s cottage - Botanical Gardens, View from Sovereign Hill, Shell house Broken Hill (NSW) - panorama (1963), Flying Doctor’s base (?1963) Eltham (Vic) - Hassell’s outdoor art gallery Essendon (Vic) - Niddrie Homestead and stables (1963) Geelong (Vic) - first Bishopscourt Hawthorn (Vic) - Convent (1930), The Hawthorns, Keilor plains (Vic) - pioneer homes, pioneer cemetery Kew (Vic) - Roseneath (1951), Tarring - Ruyton, Turinville, house - Foley street (c.1960). Malvern (Vic) - church Mount Ridley (Vic) - Summerhill Melbourne (Vic) - Old Brewery - Custom’s House Lane (1960), Customs House, Scott’s Hotel (1962), Western market (c.1960) Phillip Island (Vic) - Grave Toorak (Vic) - Mandeville Hall, Merna (sic) - Arthur Streeton’s house, Toorak House Wentworth (NSW) - Harvey’s Hotel, Sturt Memorial, Sturt’s Tree, Wentworth Gaol Williamstown (Vic) - Williamstown Dairy Yan Yean (Vic) - Bear’s Castle (c.1947) Beveridge/Big Hill (Vic) - Kelly’s cottageImportant photograph record (and notes) about historic buildings in Victoria.38-page scrapbook with additional text created by Eva Grant, a past member of the Kew Historical Society. In addition to the 68 photographs, there are two postcards and a number of publications/handouts.collected by Eva on her trips to heritage sites in Victoria and New South Wales. The pages of the album can be viewed in the image carousel above. Most of the photographs of heritage buildings were taken in the early 1960s.See imagesheritage sites - victoria - australia, eva grant, scrapbooks - 20th century

Depicts local scene: Ely's House:- First Office, Keilor Roads Board 1863; Church of England School 1853 to c. 1865; Keilor Post OfficeOld House picture made out of bark, early keilor

Local building of historical significanceInk and Waterclour

Building of local and historical significancePen and wash

Oil on Board

Methodist Church (Uniting Church) Protest at demolition3238-2: A Group of People gather to protest about the demolition of the former Methodist Church in January 1997. The Church was the Oldest building in the Main Street. The first service was on Christmas day in 1863. 3238-2a: CEO Rob Marshall addressing the crowd 3238-2b: Historical Society member Dorothy King being interviewed by Ballarat T.V. 3238-2c: - Methodist Church Prior to demolition stawell

Main Street Procession c1900 in front of Methodist Church looking East. Constable on Horseback visible. Possibly the Ballarat dragon making the date 1906 or it could be the Chinese See Yup Society Dragon, the head of which is still preserved in their South Melbourne temple. Businesses from left, Carters Boot Shop, Post Office Hotel, G. Mahanke Bakery, J.H. Stabb Stawell Coach Factory, Speedwell Cycles, W.J. Jenkinson Bootmakers, Bone Saddle & Harness Factory, W. Whiteside Taylors. Big Hill is visible in background and possibly the Market Building roof above the G. Mahnke sign. Sop In Trove the only mentions of a Chinese parade at Stawell was for Easter Monday 1906, and this occasion did feature a dragon – the costumes, banners, and dragon appear to have been borrowed from Melbourne, and it is suspected that this was the See Yup Society Dragon, the head of which is still preserved in their South Melbourne temple. At the time that this photo was taken there were only three Chinese communities in Victoria which are now known to have had parade regalia and a dragon – Bendigo, Ballarat, and Melbourne. The Melbourne dragon was the smaller of these, and that seems to match with what you can see in the photo, as does what appears to be a striped horn (frustratingly the pole obscures most of the dragon’s face). All three dragon heads still survive today, as does some of the original parade regalia, but Bendigo’s collection and dragon is the most complete. The remains of the See Yup Society collection have still to be properly studied and conserved. I would also note that if this photo was from Easter Monday 1906 then Bendigo and possibly Ballarat Chinese communities would not have been able to make their dragons available as both would have been preoccupied with their own towns’ Easter festivities. Photo taken from the Town Hall balcony of procession looking towards corner of Wimmera Street stawell businesses streetscape, chinese

A bookplate featuring a church with a woman standing under a spotlight. bob mcguire, bookplate, framed bookplate, keith wingrove memorial trust

Norman MacGEORGE (08 July 1872– 2 September 1952) Born Adelaide, South Australia Norman Macgeorge taught drawing at Wesley College, Melbourne from 1902-06. He also taught at Melbourne Teachers' College and at Melbourne Church of England Grammar School. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed landscape depicting the confluence of the Darebin Creek and the Yarra River. Purchased by the Ballarat Teachers' College in 1964. This work was exhibited in "Norman MacGeorge: Man of Art" at the Ian Potter Museum of Art, The University of Melbourne, 22 September to 25 November 2001.art, artwork, norman mcgeorge, mcgeorge, watercolour, available, landscape, darebin creek, yarra river, ballarat teachers' college art collection

The painting is thought to be a copy of a similar earlier work. An Australian flag flying on a flagpole is an interesting addition. The puddlers depicted in this painting were the Kneeshaw Brothers. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed watercolour of the Waterloo Mine, Ballarat. This site is now known as Lydiard Street South, and the church on the hill is the former Wesleyan Church. After the church was abandoned it was purchased by the Ballarat School of Mines and used as a Museum for many decades. Today the Federation University Hairdressing school uses the building for their classes. art, artwork, waterloo mine, ballarat, mining, wesley church, lydiard street, kneeshaw, kneeshaw brothers, lydiard street south, ballarat school of mines

Graham Hawley lectured in Art Education at the Ballarat College of Advanced Education This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.A drawing of the heritage listed buildings of the Ballarat School of Mines (Now Federation University SMB Campus). art, artwork, graham hawley, lydiard street south, ballarat, available, architecture, architectural drawing, ballarat school of mines, federaton university smb campus, administration building, building a, former wesley church, art deco, ballarat technical art school

John O'LOUGHLIN Born Snowtown, South Australia In 1980 John O'Loughlin's life changed when he started wheel throwing ceramic vessels. During this time he discarded the superfluous and unnecessary clutter collected on the journey of life, yet retaining the essence of what mattered to him. John O’Loughlin's later artworks engages with the way in which organised religion, specifically the Catholic Church, deals with the translation of the spiritual into the material. Informed by his extensive travels and studies, O’Loughlin’s ceramics reference the reliquaries and church artefacts that connect the life of this world with that of faith in another world. Completing undergeduate and post graduate works at Federation University John O'Loughlin's honours thesis was entitled "Ways and Means of Meaning, The Use of Symbol and Surface as Expressive Media in Ceramic Sculpture". The University provided a serious ceramic studio equipped with all the research tools for advanced ceramic exploration. Access to raw materials and a variety of kilns combined with excellent lecturers, mentors and technicians inspired, motivated and challenged him to push his accumulating knowledge to higher levels. O'Loughlin's working method in the studio is one of quiet, determined interaction with clay, idea and content. Experimentation with a variety of temperatures, firing methods and atmospheric conditions has produced a broad tonal and textural palette. He has worked with various clay bodies overlaid with coloured oxides, slips and engobes as the foundation for many of his works. O'Loughlin ufilised raised surfaces from old cemetery tombstones using the impressed forms and textures in his constructions. This research led him to the use of dry engobes to create a sense of antiquity, with crusty and distressed surfaces that resemble objects neglected in the oceans. These objects seem covered with the accretions and accumulations of history when re-discovered and brought to the surface as miraculous objects of mystery and magic. (https://www.thefreelibrary.com/John+O%27Loughlin%3A+a+man+re-invented.-a0216897107, accessed 12 September 2020) in 2007 John completer a Masters at the University of Ballarat. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Botanical inspired wheel thrown goblet with decorative incised leaves on stem and flower head shaped cup. Glazed 'JOL' on bottom.art, artwork, goblet, botanical, ceramic, john o'loughlan, alumni

John O'LOUGHLIN Born Snowtown, South Australia In 1980 John O'Loughlin's life changed when he started wheel throwing ceramic vessels. During this time he discarded the superfluous and unnecessary clutter collected on the journey of life, yet retaining the essence of what mattered to him. John O’Loughlin's later artworks, such as 'Reliquary No. 20' engages with the way in which organised religion, specifically the Catholic Church, deals with the translation of the spiritual into the material. Informed by his extensive travels and studies, O’Loughlin’s ceramics reference the reliquaries and church artefacts that connect the life of this world with that of faith in another world. Completing undergeduate and post graduate works at Federation University John O'Loughlin's honours thesis was entitled "Ways and Means of Meaning, The Use of Symbol and Surface as Expressive Media in Ceramic Sculpture". The University provided a serious ceramic studio equipped with all the research tools for advanced ceramic exploration. Access to raw materials and a variety of kilns combined with excellent lecturers, mentors and technicians inspired, motivated and challenged him to push his accumulating knowledge to higher levels. O'Loughlin's working method in the studio is one of quiet, determined interaction with clay, idea and content. Experimentation with a variety of temperatures, firing methods and atmospheric conditions has produced a broad tonal and textural palette. He has worked with various clay bodies overlaid with coloured oxides, slips and engobes as the foundation for many of his works. O'Loughlin ufilised raised surfaces from old cemetery tombstones using the impressed forms and textures in his constructions. This research led him to the use of dry engobes to create a sense of antiquity, with crusty and distressed surfaces that resemble objects neglected in the oceans. These objects seem covered with the accretions and accumulations of history when re-discovered and brought to the surface as miraculous objects of mystery and magic. (https://www.thefreelibrary.com/John+O%27Loughlin%3A+a+man+re-invented.-a0216897107, accessed 12 September 2020) This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Four wheel thrown goblets, two with decorative stems. art, artwork, john o'loughlin, ceramics, goblets

Peter CHURCHER (28 February 1964- ) Born Brisbane, Australia 2006 moved to Barcelona, Spain After studying Music at Trinity College, London Peter Churcher completed a Bachelor of Fine Arts (Painting) at Victoria College (know Deakin University) in 1991. He is now considered one of Australia's leading figurative painters. Peter Churcher's work was represented in the prestigious Archibald Prize on nine occasions. In 2002 Peter Churcher was commissioned as an Australian War Artist documenting the Royal Australian Navy and the Royal Australian Air Force enduring the Australian involvement in the coalition war against terrorism. His works are held in many Australian collections. Professor Kerry O. Cox was Vice Chancellor at the University of Ballarat from 2001 - 2005. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. Framed academic portrait of Vice Chancellor Professor Kerry Cox art, artwork, portrait, academic portrait, peter churcher, kerry cox, vice chancellor, academic regalia

John O'LOUGHLIN Born Snowtown, South Australia In 1980 John O'Loughlin's life changed when he started wheel throwing ceramic vessels. During this time he discarded the superfluous and unnecessary clutter collected on the journey of life, yet retaining the essence of what mattered to him. John O’Loughlin's later artworks, such as 'Reliquary No. 20' engages with the way in which organised religion, specifically the Catholic Church, deals with the translation of the spiritual into the material. Informed by his extensive travels and studies, O’Loughlin’s ceramics reference the reliquaries and church artefacts that connect the life of this world with that of faith in another world. Completing undergeduate and post graduate works at Federation University John O'Loughlin's honours thesis was entitled "Ways and Means of Meaning, The Use of Symbol and Surface as Expressive Media in Ceramic Sculpture". The University provided a serious ceramic studio equipped with all the research tools for advanced ceramic exploration. Access to raw materials and a variety of kilns combined with excellent lecturers, mentors and technicians inspired, motivated and challenged him to push his accumulating knowledge to higher levels. O'Loughlin's working method in the studio is one of quiet, determined interaction with clay, idea and content. Experimentation with a variety of temperatures, firing methods and atmospheric conditions has produced a broad tonal and textural palette. He has worked with various clay bodies overlaid with coloured oxides, slips and engobes as the foundation for many of his works. O'Loughlin ufilised raised surfaces from old cemetery tombstones using the impressed forms and textures in his constructions. This research led him to the use of dry engobes to create a sense of antiquity, with crusty and distressed surfaces that resemble objects neglected in the oceans. These objects seem covered with the accretions and accumulations of history when re-discovered and brought to the surface as miraculous objects of mystery and magic. (https://www.thefreelibrary.com/John+O%27Loughlin%3A+a+man+re-invented.-a0216897107, accessed 12 September 2020) This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Lidded ceramic form.art, artwork, john o'loughlan, ceramics, available, available ceramics

Victor COBB (14 August 1876-02 December 1945) Born Footscray, Melbourne, Victoria Cobb's reputation rests on a large oeuvre of etchings, built up during his lifetime and depicting with meticulous accuracy the architectural splendour of Melbourne's colleges and churches, vistas of the city, the tea-tree patterned foreshore and the outer areas of bush and countryside. State galleries hold many examples of his work. (http://adb.anu.edu.au/biography/cobb-victor-ernest-5698) This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed limited edition etching of a street scene where an archway over road leads to the Cobb & Co. stables. These scene depicted is possibly in Elizabeth Street, Melbourne. Gift of the National Trust of Australia (Western Australia)Incised in plate l.l.: "The approach to the old Stables / - of Cobb & Co." / Victor Cobb 1926./ (no relation) inscribed in pencil l.l.: Victor Cobb inscribed in pencil l.c.: "Approach to the old Stables of Cobb & Co. / Melbourne inscribed in pencil l.r.: 3?/85. art, artwork, victor cobb, cobb and co, cobb & co, printmaking, etching

David STRACHAN (1919–1970) Born 25 June 1919 at Salisbury, Wiltshire, England Arrived 1920 Adelaide, Australia: 1921 Creswick, Victoria David Strachan attended Creswick State School and Geelong Church of England Grammar school. By the age of 16 he wanted to be an artist. Accompanying his mother to London in 1936, he enrolled at the Slade School of Fine Art, where he met Godfrey Miller. In 1937 he attended the Académie de la Grande Chaumière, Paris, and painted at Cassis on the Mediterranean Sea. He returned to Australia in April 1938 and studied at the George Bell School, Melbourne. He had a growing interest in classicism blended with a fascination for the dream-state which was reinforced in his work after he moved to Sydney in 1941. There he was befriended by Jean Bellette and her husband Paul Haefliger, who were to be driving forces behind the Sydney Art Group (founded 1945). He lived on the top floor of the Haefligers' house at Double Bay, and together the three artists drew from models whom the Haefligers hired. In this period Strachan painted and exhibited some of his most poetic works—mainly figurative and landscape subjects, and still-lifes of haunting beauty. His flowers, bowls of fruit, birds, and angelic figures glimmered out of the darkness as things not of this world, evoked faintly, like mythological personages in a gently spoken narrative. He 'spent an erratic war' painting camouflage at Bankstown aerodrome with other artists, among them (Sir) William Dobell, and dancing minor roles with Hélène Kirsova's ballet company. In 1948 Strachan settled in Paris. His paintings, included by Peter Bellew in an exhibition at the Musée National d'Art Moderne, had been well-received by French critics two years earlier. In 1950 he began tentative experiments in etching. These led to the formation of the Stramur-Presse, a business venture which published etchings and lithographs of leading French and English artists. His most important project was a series of twenty-two colour etchings illustrating Alister Kershaw's book of poems, Accent & Hazard (Paris, 1951). Strachan continued to exhibit in Australia and maintained a lively social life with Australian friends. From Paris, he went for weekend painting trips with Moya Dyring in her car and, after 1957, visited the Haefligers on Majorca. He lived in London in 1955-57. His paintings became progressively less soft in effect, his palette brightened, and his forms, especially the still-lifes, became spikier. In the late 1950s his attention drifted towards the study of Hindu philosophers and Jungian psychology. For most of 1957-58 he was enrolled at the C. G. Jung-Institut, Zürich, Switzerland. In 1959 he worked in Silvio Daneo's silkworm factory at Bricherasio, Italy. In May 1960 Strachan returned to Sydney. He lived at Woolloomooloo before buying a house at Paddington in 1963. Over the ensuing years he involved himself energetically with the art scene, exhibiting, teaching (1960-65) at East Sydney Technical College, fund-raising for memorials for Thea Proctor and Dyring, and as the last president (1965) of the Society of Artists. His paintings were out of harmony with the prevailing fashion for abstraction, but he won the Wynne prize for landscape painting in 1961 and 1964 (shared). Perhaps the most moving works of Strachan's last ten years were the mining landscapes, including those he painted near Hill End, leading up to his vast canvas, 'Lewers Freehold Mine'. This was a history picture, depicting the mine as it might have appeared in 1874. He presented it to the Creswick Historical Museum in 1970 in memory of his father. (Barry Pearce, 'Strachan, David Edgar (1919–1970)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/strachan-david-edgar-11786/text21083, published first in hardcopy 2002, accessed online 6 January 2016.) This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed still lifefeaturing fruit and flowers.art, artwork, strachan, david strachan, still life, flowers, flora, available