Pencil sketch of RACS building (copy) by C G Parisc g paris

Silk embroidered postcards with purple/mauve and pink embroidered flowers. To my dearest Darling' embroidered in light blue & floral. Embroidery forms a small pocket which holds a small card with 'My love is for you' printed in green. On the back is written: 'To May with the Seasons Greetings from Alex xxxx. G. A. Rogers 17/9 M. G. C.Paris Depose. Fabrica -- Francaisecommunication, postal, postcards, malone collection, silk postcard, g. a. rogers, 17/9 m. g. c.

Black and white photograph"Written on back of photograph" Ringwood Bowling Club. Ringwood bowlers, L. to R. D.B. Leigh, G. Gordon, W. Hancock, C. Paris who received trophy for second prize". c1970/71. (Occasion unknown).

List attached to one photograph reads, "Back row, A. Dwight, T. Wilkins, A. Paris, Mrs. G. Clark, N. Hargraves, B. Covell, E. Lane. Centre, ? Morris, V. Cooper, M. Clark, Miss Calahan, P. Bamford, Rose Whiter, J. Paine, D. Dare, E. Blood. Front, W. Dwight, C. Paris, L. Lane, R. Skerrett, ??"

This piano was made by Aucher Freres of Paris, said to be famous for its pianos in the mid-late 1800s. Aucher Freres (Aucher Brothers) produced a model of piano that was built specifically for use on sailing vessels, the upright yacht-style piano. Pianos were amongst the domestic goods brought to Australia by many colonial immigrants. They were also imported by Australian distributors by the shipload and sought after by settlers. A piano was often found in a Missions to Seamen club room, where visiting seafarers would entertain or be entertained by music and song as part of their relaxation in port. A sarcastically written news article of January 2nd 1869 reported that the Secretary of the Loyal Liberals of Ballarat, Mr Henry Bell, was presented both with a “illuminated address” and a piano. The piano was made by Aucher Freres of Paris and was purchased for sixty guineas (which converts to around $7,500 Au in 2019). The gift was criticised for encouraging foreign industry rather than native Australian products, thus going against what the Loyal Liberals own protectionist policy. The writer goes on to state that several pianos made in the Colony compared very favourably at the International Exhibition with those manufactured by the English or French. He then says that “… the secretary … might learn a lesson from his piano ... the name Aucher Freres, Paris emblazoned on its front should be … a perpetual reminder of the hollowness of that protectionist imposture …” [Refer to Intercolonial News, Victoria, originally published in The Argus, was repeated in the Wallaroo Times and Mining Journal of South Australia 2-1-1869.] Aucher Freres pianos were still around in 1930. A second-hand model was advertised for sale as a good practice piano. The advertisement was placed by the Mount Gambier, SA, agents for Saver’s Pianos Ltd of Adelaide. The piano was described as “a sound little instrument of good tone and appearance”. The asking price in November 1930 was 32 pounds and ten shillings (which converts to about $2,500 Au in 2019). [Refer to Savery’s advertisement, Mt Gambier Border Watch 11-11-1930]This piano is significant for its connection with the time period of chapel and club room at Flagstaff Hill's St Nicholas Seamen's Church. It represents the form of entertainment enjoyed by seafarer's world wide, which is appropriate for a maritime village. The maker of the piano is famous for its quality pianos of the 19th and early 20th century.Piano, upright, polished wood. The wooden hinged keyboard cover lifts up to allow access to the keyboard. The piano also has two brass candlesticks. The top of the piano is hinged and lifts up to allow access to the piano mechanic's inside for tuning and maintenance. The inside flap has a music stand incorporated into it. It also has the usual two hard-soft pedals at the base. There are two brass decorated hooks at each end to allow for ease of movement when the position of the piano is changed. Maker's name inscribed inside keyboard lid in gold lettering. Made in Paris by Aucher Freres (Aucher Brothers)."AUCHER FRERES / Paris" (NOTE: the "C" is sometimes mistaken for a "G")flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, piano, music, upright piano, paris, france, aucher freres

Silk postcard from France written by unknown WW1 soldier from Milawa addressed to Mrs G Kittle/Kettle c/- Post Office Milawa. WW1 service records reveal Charles James KETTLE 29741 was born in Milawa and enlisted on 15/4/1916 aged 39 years. He embarked on the 3/10/1916 and served in France prior to being diagnosed with a tumour and whilst being repatriated home died on 10/8/1917 and was buried at sea. Listed place of association was Wangaratta. Embroidered silk postcards were first made in 1900 for the Paris Exposition. The popularity of silk postcards peaked during the First World War 1914 - 1918.They were mostly embroidered by French women in their homes and then sent to the factories for cutting and mounting on cards. Many of the cards were illustrated with patriotic symbols, flags, slogans, or sentimental texts. During the First World War, many Allied officers and soldiers based in France sent silk embroidered postcards to their loved ones back homeRectangle cream cardboard postcard with embossed border containing coloured embroidered stitch work of a basket and in words “forget me not” on silk Handwritten inside - just a souvenir of your beloved France from one of the boys from Milawa addressed to Mrs G Kettle/Kittle Post Office Milawa via Wangaratta Victoria embroidered postcard, ww1, milawa

Catalogue No. 206 of the J. G. Brill Co. of Philadelphia PA, titled "Brill Trucks" on front cover and "City and Interurban Trucks" on page 1. Comprises: Card cover very light grey on outside, grey inside which is a larger size than that of the rest of the book. Has the names of the J. G. Brill associated companies (American Car Company of St. Louis, G. C. Kuhlman Car Co. of Cleveland Ohio, Wason Manufacturing Company of Springfield, Massachusetts and Compagnie J. G. Brill, Paris France) as well. On the inside of the front cover and on the inside back cover are patterns involving the Brill logo. To the printed catalogue is a matching out 4pp again with the same Brill logos. This sheet is the same size as the text pages. Forty page printed text on a heavy gloss manila colour art paper. Front cover gives details of Brill's office addresses, and agents, including the Australasian agent - Noyes Brothers. Page 3 gives an introduction to the quality of Brill trucks and page 39 gives an index to the various trucks and components. Each truck type has a photograph, parts list and dimension details. Trucks covered are: Radiax, 21E, 22, 22E, 27E, 27F, 27G, 27MCB, 39E, 50E. Equipment detailed are the Half-Ball brake hanger, oil retaining center bearing, standard journal (axle) box, solid forged side frames and axle data. Page 38 details the information to be provided when ordering trucks. Image of each sheet added 25/3/2015.On front cover, date stamp of ESCo, Ballarat "1 Apr 1914". The printers signature is shown on page 40.trams, tramways, 21e trucks, 22e trucks, j. c. brill co., bogies, interurban

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