The writer thanks Allan for his letter and adds "...I'm glad you have been at home in Sidney.....and wasn't it wonderful to see your folks and friends again?". He mentions that it is five years ago that Allan left home. Peer refers to Allan's next trip and advises Allan where to go and what to see when he is in Copenhagen and how sorry he, Peer, is that he will not to be there to show Allan around. Quinn CollectionThree page letter written on three pages of unlined cream paper (0837.a1-3). Letter is written in black ink, is headed Salinas,California and dated 11.04.1950. Below the address and date has been added, in pencil and in a different hand, 325 California Street, Salinas, California. Matching envelope (0837.b) has a large piece torn from the upper edge, centre, and has been re-addressed several times. The original address to Mr Allan Quinn M.S. Mongabarra, William Street, C/- Birt Elder, Melbourne, Austra. has been partly obscured by a cream coloured piece of paper stuck onto the envelope which appears to contain an address in South Africa. This in turn is obscured by a brown sticker stamped with purple ink 'Messrs. Nederiaktiebolaget Transatlantio, Gothenburg, Sweden. Below the green United States fifteen-cent air-mail postage stamp, is stamped in purple ink, Elder Smith & Co. Limited, Box 387 G.P.O. Adelaide, S.A. In the left upper corner the hand-written return address is P. Rasmussen, 325 California Street, Salinas, California. U.S.A. There are two Californian post-marks both partially torn off and one Capetown post-mark. On the back of the envelope are two overlapping South Australia GPO post marks, one Adelaide and one Melbourne postmark and a 'check address' post mark.The letter commences "Dear Friend!" and finishes "Many regards - your friend Peer". letters-from-abroad, quinn, peer rasmussen, copenhagen, california

Dr Ray HEARN (1943- ) Born Stawell, Victoria Ray Hearn graduated from the Ballarat School of Mines Technical Art School with a Diploma of Art (Ceramics) in 1970, followed by an Master of Fine Art from Regina Canada in 1976. He holds a PhD in Anthropology from Northern Territory, Darwin in 2003, with field work, exhibitions and teaching in Thailand since 1996. He has completed his MA in art curatorship from the University of Melbourne, with a thesis on Sidney Nolan and Ned Kelly.From Above and beyond function: Ray Hearn explains the reasons behind his useless ceramics:- "End Game suggests a climax of a tactical and intellectual struggle, in ceramics or chess, but it is also about beginnings and endings, for in chess the king can never be captured--one game ends and the board is reset so the next can begin. I made this piece at the start of my PhD work, acknowledging then that as there were once potters so too there are potters today--and tomorrow. The ceramic pieces were all collected in Tanon Suthep, one of Chiang Mai's streets. The board is a fragment of white tiles from a pharmacy building being remodelled, the bowl is a broken fast food noodle bowl from the ubiquitous street stalls, and the new small blue and white jars purchased from a market stall. Typical of my work, the objects are familiar--they might be just like ones we have at home today, had but threw away only yesterday, or objects we might purchase tomorrow. Clay lives on, and the ceramic 'game' starts again too. As it transpires End Game is about my own work too. All research degrees require an end--a thesis must reach a conclusion, and like a game of chess, start again. The sculptural potential of clay is unlimited, and in theory functional clay wares' aesthetic potential unlimited too, from a classic Song celadon to Arneson's genital encrusted teapots (which I first saw illustrated in Craft Horizons 1971). West Coast funk with its kitschy teapots and cups were vehicles for sculptural objects never meant to be drunk from, and a genre of useless functional wares emerged. Nothing could be more useless in a practical sense than a work of art, especially a painting--yet most craftwork has a passing reference at least to function." ( https://www.thefreelibrary.com/Above+and+beyond+function%3A+Ray+Hearn+explains+the+reasons+behind+his...-a0172598257, accessed 07 February 2018:)ray hearn, ballarat school of mines, ballarat technical art school, alumni, ceramics

Newspaper clipping and collection of various sized handwritten notes on the history and a brief anecdote of Burnt Bridge Hotel including a list of the early owners of the hotel and a newspaper article on the closure of Burnt Bridge Store demolished in 1964.Early Burnt Bridge Hotel Owners; 1891-92 Thomas Willis; 1893-96 J.G. Jones; 1897-00 Sammuel ?; 1901 Mary Hampton; 1902-05 ? Smith; 1906-07 Miss Clarke; 1908-09 Hacke ?; 1910-12 Frank J Hack; 1913 Frank Johnson; 1914 Sidney R Ritchie; 1915 Mrs S Rowlands; 1916 Mrs M Pearson

Framed artwork produced by artist Marie Minton, dated 1972. The artwork is an ink drawing with watercolour tonings and depicts the Frankston RSL Sub Branch clubrooms of the time. The artwork is mounted with a gold coloured wooden frame and glass front. Artist, Marie Minton was apparently the daughter of a member of the time, Laurie Minton. This scene is of a Frankston landmark building on the corner of Davey Street and Young Street, Frankston locally known as the 'Plowman Residence'. Prior to being the clubrooms of the Frankston RSL Sub Branch this building was the family home of Dr Sidney Plowman. In Dr Plowman's time the building was known as the 'The Lofts' and was his residence and operated as a private hospital, the building was constructed ca 1900. Dr Plowman died in May 1932. Title 'Frankston RSL' and the artist's name 'Marie Minton '72' appear on the front lower area of the sketch. The rear has the following note inscribed "Sketch of RSL clubrooms Davey St. by Marie Minton daughter of member (Laurie)"