Art Gallery with mural painted by Clifton Pugh (1924-1990) at his Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge. Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p153 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.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, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p155 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.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, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

A cream document titled "Bendigo Teachers' College Graduation Ceremony 1960". The front page also contains a list of the staff working at the college. They are Mr. S. H. Walters (Principal), Miss J. C. Burnett, Mrs. N. F. Fawdry, Mrs. F. M. Petri, Miss R. E. Manlein, Mrs. D. J. Andrew, Mrs. B. F. Hughes, Miss K. Alexander, Miss C. M. Oughton Jones, Miss B. H. Cowling, Mrs. A. J. Coleman, Mr. F. M. Courtis, Mr. D. A. Newbury, Mr. F. X. Martin, Mr. C. L. Barker, Mr. T. J. McCabe, Mr. F. G. East, Mr. P. F. Fitzpatrick, Mr. M. Pratt, Mr. W. J. F. Bernoth, Mr. R. L. Strauch, Mr. M. A. James, Mr. R. E. Wittman, Mr. C. F. Houston, Mr. J. R. R. McLeod, Mr. G. G. Woodfield and Mr. K. C. Coles. The inside cover contains the "Significance of the Ceremony" and "Order of the Ceremony". Mr. F. M. Courtis welcomed the visitors whilst the Principal read the College Charge. The 'Graduation Book' was presented to Mr. A. L. Harris Inspector of Schools by Miss J. C. Burnett.The final roll call for 1960 was read by Mr. C. L. Barker. Congratulations were offered by The Mayor of Bendigo Cr. R. H. Wilson,J. P., Cr. T. A. Drechsler President of Strathfieldsaye Shire and Mr. G. Salathiel, Head Teacher of Gravel Hill State School. Finally the Occasional Address was presented by Mr. F. H. Brooks Assistant Director of Education. The following page contains a list of "Students of 1958-1960 Trained Infant Teacher's Certificate" - Marjorie May Allen, Janice Helen Ashman, Grada Ali Bos, Joan Margaret Busfield, Barbara Joan Cameron, Shirley Margaret Cribbes, Marcia Ann Davison, Margaret Mary Frances Dick, Lorraine Jean MacIntosh Goddard, Beverley Lorraine Goudie, Jennifer Joy Hamilton, Maureen Margaret Hunt, Shirley Joyce Innocent, Monica McKenna, Eileen Bernadette Mulvahil, Nola Ellen Parker, Jeanette Mary Pearson, Maureen Anne Pentland, Elaine Denise Pochon, Marian Judith Rechter, Marilyn Joy Rose, Catherine Shiels, Margaret Evelyn Stevenson, Rosemary Sutherland, Patricia Helen Tassicker, Eileen Monica Tuohey, Robin Elizabeth Walters, Patricia Ann Wenn and Ethel Dawn Whitelock. The back page contains a list of "Students of 1959-1960 Trained Primary Teacher's Certificate". - Kathleen Anne Algie, Ian Armstrong, Lorna Constance Barbour, Ronald Lindsay Bell, Michael Laurence Brown, Ross Ernest Brown, Graeme Lambden Budd, Duncan Leslie Thomas Cameron, Peter Morgan Clutterbuck, Joan Christine Connor, Allen William Cornelius, Glenys Elaine Cussins, Jean Elizabeth Davis, Denis William DeCann, Robert Alain Denham, Janet Carmel Doyle, Patricia May Edwards, Walter Kenneth Espagne, Fay Iris Evans, Brenda Gertrude Farrell, Malcolm George Ferguson, Elizabeth Joyce Fitzgerald, Kevin Joseph Foley, Barbara Violet Forrester, Lawrence Joseph Ginnivan, Peter Murray Graham, Thelma Elaine Grist, Dorothy Robyn Haines, William Jon Hall, Patricia Jeanette Hancock, Robert John Harris, William Ian Hart, Lorraine Moira Holmes, Lynette Ann Ireland, Morris Raymond Jackman, Christine Jackson, Margaret Nancy Jackson, Nanette Elizabeth Johnson, Trevor John Kellam, Robert Bruce Kemp, Ross Eliot Koochew, Henry Francis Lean, Janet Bobbie Leabeter, Rosemary Elizabeth Lowe, Graeme Stanley Lucas, Joy Patricia Maxwell, Terence Michael Mulvihill, George Alan Murdoch, Kevin Michael Murphy, Ann-Marie McCallum, Helen June Nixon, Kerry Joy O'Brien, William John O'Connell, Christine Lynette Olsen, William Stanley Page, Janice Anne Preston, John Stuart Reed, William Francis Reeves, Gary Desmond Robbins, Peter John Schlitz, Donald John McIntosh Shadforth, Gavin James Smith, John Archibald Spark, Illar Streimann, Janice Margaret Taylor, Ian Leonard Thornton, Rosemary Fay Wait, Russell Gilbert Walker, James John Wallis, Clare Mary Ward, David Ross Wiedermann, and Stephen Wilkinson.bendigo, education, bendigo teachers' college graduatio, la trobe university bendigo collection, collection, bendigo teachers' college, bendigo, education, teaching, teachers, students, graduation, tertiary education, graduation ceremony, history, book, bendigo teachers' college staff, graduands, graduates, bendigo teachers' college students, teacher training

John Trestrail Freeman was an engineer who in 1889, with a partner named Olsen, established Freeman's Border Foundry in Murray Esplanade, Echuca. The Foundry later became known as Freeman Brothers when sons Harry and Tres took over the business. This business played an important part in shipbuilding in Echuca, fitting engines, building paddlewheels and carrying out repairs. It is thought this photograph is of Tres' mother or it could be his wife (Dolly Dean).The Freeman family is an important family in the history of Echuca boat building and engineering in the early 20th century. The business produced paddlewheels, fitted engines and conducted repairs on riverboats in the area. After the riverboats ceased the foundry went into engineering works producing agricultural implements and other general foundry works. It is thought that this photograph is of Tres junior's mother but the dates of the photograph would indicate it is more likely to be his wife, Dolly.Black and white photographic postcard of a woman dressed in a vibrant floral dress with string of pearls and another longer necklace. She has a brooch attached to her blouse. She has cropped straight hair and is wearing circular metal framed spectacles.On reverse: Printed "Post card/ Correspondence/ address only/Kodak Austral". Handwritten in pencil:" Member of Freeman family. Tres' mother?echuca boatbuilding, freeman family, freeman brothers foundry, echuca.

Brown cardboard covered, spiral bound A4 size book.Collected summary papersballarat college of advanced education, summary papers, peter coman, ian moore, john burrell, norm barling, roger slee, helen hayes, ross whitefield, denise walsh, geoff mcrae, wendy crebbin, frank williams, iteraera abera, valo valo, rob baker, george baume, chris bigum, nerida blair, bob boyd, david symington, geoffrey burkhardt, majorie carss, dawn muir, jim christensen, margaret clyde, desmond connelly, jack darmody, barrie dickie, gwenda chapman, pat duffy, anne piggott, laurie andrew, john budby, stephen duggan, maryann ehle, alison elliott, terry evans, daryl nation, barry fields, sue gillard, max gillet, mon khamis, noel gough, richard gunstone, jeff northfield, maurice hale, brian hansford, bill harrison, janice wilson, win haseloff, trevor hutchins, brian jacka, james lukabyo, hugo mccann, r. kerrison, peter mcnally, ian macpherson, dianna mannigel, genne marks, margaret marks, alan peacock, susan moore, judy mousley, helen watson, john henry, robin mctaggart, charles myers, john nicholson, lynne noone, peter olsen, marion curry, david bull, geoff orr, phil meade, john pearson, ray preston, ross price, robert peake, les regan, ian robottom, richard tinning, g. di chiro, maurice robson, carol scott, bob semmens, tony simpson, janette stapleton-hill, arthur smith, peter smith, frank sofo, rosemary stack, david townsend, tony townsend, geoff treblico, ted wadsworth, kathleen warren, don williams, john williamson, john lake, joseph zajda

Bendigo Advertiser "The way we were" from Friday, October 29, 2004. Class of 54: Bendigo Teachers' College staff and students from 1954. Back row: Joe Toey, Paul Phelan, Barry Sheen, Adrian Sexton, Jim Slattery and Barrie Winzar. Front: Joe Sherlock, Hedley Potts, Neville Olsen, Wilf Thorsen, John Northey and Ian Ward.newspaper, bendigo advertiser, the way we were

Pugh was one of many artists who brought an Australian experience to attention. This work reveals the colour, textures, harshness and inhabitants of the natural bush, with the angular forms found on the ‘black birds’ dominating the composition with dramatic effect. Shanahan, Albert Tucker, Frank Werther and Fred Williams have at one time settled and or work there. Untitled (Black Birds) from the Bodford Terrace Suite 1978, created by Clifton Pugh - a celebrated Australian artist known for his landscapes and portraiture as well as (three-time) winner of Australia’s Archibald Prize. This piece plays a significant role within the Nillumbik Shire Collection due to Pugh’s strong connection to the local land where he settled in Cottle’s Bridge in 1951, purchasing 15 acres and named it Dunmoochin. Artists, potters and others settled at Dunmoochin and formed the Dunmoochin Artists Co-operative in order to collectively protect the land. Numerous renowned artists worked or resided at Dunmoochin including: Rick Amor, Fred Williams, Albert Tucker, Frank Hodgkinson, Mirka Mora, John Olsen, John Percival and John Howley amongst others. Upon his death in 1990 he left an art collection and extensive properties at Dunmoochin to be appreciated and utilised by artists for years to come lithographic print on French Arches paper. Dynamic and expressive depiction of black birds in flight on far left of composition, cropped elements of Australian landscape in blue and red in the background (trees, shrubs, rocks). Inscribed lower right 'Clifton'; 1:1; 179/300clifton pugh, bodford suite, dunmoochin

Pugh was one of many artists who brought an Australian experience to attention. His landscapes reveal the colour and textures of the natural bush, often with a dramatic emphasis. His reference to the harshness of the bush consistently arises, with angular forms dominating the composition. White Choughs in the Landscape is typical of his representations of the bush as a dynamic environment. White Choughs in the Landscape, 1958, created by Clifton Pugh - a celebrated Australian artist known for his landscapes and portraiture as well as (three-time) winner of Australia’s Archibald Prize. This piece plays a significant role within the Nillumbik Shire Collection due to Pugh’s strong connection to the local land where he settled in Cottle’s Bridge in 1951, purchasing 15 acres and named it Dunmoochin. Artists, potters and others settled at Dunmoochin and formed the Dunmoochin Artists Co-operative in order to collectively protect the land. Numerous renowned artists worked or resided at Dunmoochin including: Rick Amor, Fred Williams, Albert Tucker, Frank Hodgkinson, Mirka Mora, John Olsen, John Percival and John Howley amongst others. Upon his death in 1990 he left an art collection and extensive properties at Dunmoochin to be appreciated and utilised by artists for years to come White Choughs in the Landscape is typical of Pughs' representations of the bush as a dynamic environment. The brittleness and fragility of the landscape is recorded in the surface of the work, where paint is applied in thin layers.Signed 'Clifton Sept. 1958'clifton pugh, dunmoochin, white choughs

Alma Shanahan (1924-2015) was a Victorian potter who came to live at Clifton Pugh's Dunmoochin art colony at Cottlesbridge, on Melbourne's outskirts in 1953. Unable to join the co-operative proper, as she was a potter, not a painter, she built her house at the top of the hill, 135 Barreenong Road, Cottles Bridge. The c.1953 house is historically, aesthetically and architecturally significant because it is a good example of the design and ethos of mud brick dwellings synonymous with Eltham and features the extensive use of recycled materials, which was characteristic of the 'Eltham style' of architecture. Like the others in the artist community, Alma Shanahan built her own residence in stages out of local materials. Shanahan was later joined by neighbours and Dunmoochin potters Peter and Helen Laycock. She trained for a term with Peter Laycock but was otherwise self-taught, basing her practice on the teachings of Bernard Leach. After Pugh's death in 1991 she became the longest standing Dunmoochin resident. Her works are incised with her full name. Alma Shanahan was a part of the Dunmoochin Artist's community whose (other) members (Kevin Nolan, John Howley, John Olsen, Mirka Mora, Peter Laycock, Helen Laycock, Peter Wiseman and Chris Wiseman) made an important contribution to Victoria's cultural history. From the mid 1950s Pugh persuaded a number of other painters, as well as potters and other artists, to come and live at Dunmoochin and they formed one of Victoria's most important artist communities. She started potting around 1961 (aged 37). "Horse Power" was made using Chullora clay, which indicates it was made during her first seven years of production. Horse Power is about man's search for "energy" and how the "energy" can turn around. Made from Chullora (Sydney) clay. Glazed stoneware plates (x2) with brush decorations resting on hand made ceramic stands. Plate one: 2006.64.1VA (Horse Power + stand) shows a figure on horse back with blue foliage in background. Plate two: 2006.64.2VA (Flip Side + stand) shows a horse with figure under it's hooves. Hand painted signature in brown/black on back of both plates; "Alma Shanahan"shanahan, stoneware, glaze, plates, horse, dunmoochin

A white document titled "Bendigo Teachers' College Graduation Ceremony". Bendigo City Hall, Friday 8th Dec. 1972 at 10.30 A.M. Principal: Mr. K.G. Scarrott. Vice-Principal: Miss A. Downward. Warden for Men: Mr. F. M. Courtis. Below this is a list of the staff teaching in that year - Mr. T. J. McCabe, Mr. D. O'Brien, Mr. B. I. Rollins, Mr. F. R. Colbourne, Mr. B. A. Clemson, Mr. B. T. Geary, Mr. K. C. Coles, Mr. B. R. Red, Mr. G. L. Colson, Mr. F. A. Jones, Mr. L. A. Hall, Mr. R. Colliss, Mr. J. A. White, Mr. D. R. Phelan, Mr. J. J. Layther, Mrs. S. A. Anderson, Mrs. E. L. Angus, Mr. R. Attrill, Mr. C. J. Barnes, Mr. E. F. Bell, Mr. J. Brasier, Mrs. R. M. Briggs, Mr. R. N. Bruce, Mrs. M. M. Clemson, Mr. E. R. Coleman, Mr. R. M. Counahan, Mr. C. T. Dillon, Mr. G. N. Dunn, Mr. K. Endersby, Mrs. N. F. Fawdry, Miss M. C. Gates, Mr. B. D. Gill, Mr. J. R. Goodrich, Mr. R. J. Harris, Mr. . G. Harrison, Mrs. M. P. Hibberd, Miss M. F. Howard, Mrs. B. P. Hyett, Mr. L. Jackman, Mr. A. T. Jones, Mr. P. L. Kileen, Mrs. H. A. Knox, Mrs. B. A. Layther, Mr. T. W. Lee, Mr. W. P. Lomas, Mr. A. D. Maltby, Mr. B. F. McCarthy, Mr. A. R. McIntosh, Mt. S. F. McLean, Mrs. E. I. Perry, Mrs. D. E. Plim, Mrs. S. D. Robinson, Mr. K. A. Ryrie, Mr. R. B. Silverback, Mrs. M. J. Smith, Mrs. L. F. Ward, Mr. D. J. Watson, Mr. N. J. West, Mrs, S. M. Wheeler. Associate Medical Staff: Dr. L. M. Cleeve. Administrative Staff: Mr. W. D. Kolle, Mrs. E. J. Morshead, Mrs. C. T. Sharkey, Miss D. J. Stott, Mrs. L. J. Brown Mrs. L. Ross. On the inside page is the "Significance of the Ceremony" and words to "The College Anthem". The following page contains the "Order of the Ceremony". The back page lists the students who have received their teaching degrees. Diploma of Teaching (Primary) 1970 -1972 - Jeffrey R. Amos, Ann M. Babington, Heather C. Barlow, Glenda L. Blake, Marilyn J. Brinkley, Denise M. Broom, Linda D. Bryant, Margaret M. Cale, Pauline F. Casey, Glenys Chessells, Mrs. Clare M. Clancy, Elizabeth A, Clancy, Carol A. Coleman, Shirley J. Cooper, Elizabeth A. Dellar, Judith M. Ennor, Sandra J. Ferguson, Janice L. Finn, Angela M. Finnigan, Rae Fisher, Elaine T. Flight, Jacqueline P. A. Frost, Judith Gearon, Cheryl J. Godwill, Glenys D. Grose, Jennifer M. Haire, Mrs. Helen A. Harrington, Mrs. Rosalie J. Harvey, Marie T. Hayes, Wendy E. J. Hearps, Geraldine P. Henery, Darryl F. Higgins, Deidre C. Higgs, Cheryl D. Hobbs, Geoffrey K. Holland, Colin G. James, Margaret J. Kendall, Elinor V. Kennedy, Noeline A. Kerrins, Susan M. Kiss, Shane B. Landy, Margo E. Laughlin, Ian J. Leslie, Christine L. Letcher, Graeme R. Lloyd, Jenny Louey, Kathleen M. McCormack, Denise E. McGrath, Wayne McGrath, Paul D. McKenna, Maureen K. McKnight, Wendy C. Mackowski, Shirley P. Mangan, Philipa M. Marchbank, Margery J. Metelmann, Jane Miller, Glenda M. Minns, Geoffrey R. Neville, Catherine T. O'Brien, Heather D. O'Connell, Maureen T. O'Connor, Denis J. O'Connor, Wendy A. Parry, Mrs. Patricia M. Perry, Lynden L. Pinder, Margaret M. Plowman, Robert R. Quigg, Darrell J. Robinson, Carol A. Robson, Anne M. Rogan, Judith A. Satori, Geoffrey C. Slade, Judith E. Tedcastle, Alison J. Teitz, Robyn N. Thompson, Kaye F. Thurlow, Leonie K. Turner, June L. Weaver, Leonie Whalen, Deborah L. Williamson, Karen L. Wilson, John E. Windridge, Andre Wisniowski, Julie A. Witham, Glenda J. Wood, Gail D. Woolcock, Margaret Wright, Heather O. Wright and Elizabeth J. Yardy. Trained Primary Teacher's Certificate 1971 - 1972 - Margaret P. Anstey, Heather J. Avard, John H. Bakker, Wilermina Boers, Robyn J. Boundy, Gayle L. Catton, Judith Clancy, Anthony Dalton, Judith Downey, Patricia A. Geraughty, Mary E. Herrick, Ruth E. Hopkins, Deborah J. Hunter, Kristina M. Hussey, Graeme F. Keith, Mrs. Elizabeth King, Elizabeth J. King, Merilyn L. McGuinness, Robyn G. Moyle, Lynn D. Olsen, Rosemary Petschack, Margaret Pump Joan B. Ryan, Arina W. Serno, Judith A. Sheard, Mrs.c Christine M. Turner, Maree Valli, Lynette M. Wadeson, Wendy H. White and Trevor J. Wilcox. External Studies Trained Primary Teacher's Certificate - Susan Cody, Julie R. Crawford, Jennifer M. Crowe, Margaret A. Fullarton, Garry R. Hay Brendan J. Tinkler and Judith A. Twiss. External Studies Diploma of Teaching Diploma of Teaching (Primary) - Mrs. Laurel Astle, Brian R. Fitzgerald, Brendan C. L'Huillier, Elizabeth A. Petshack, Margaret A. Petzke, Elizabeth A. Wadelton, Ronald W. M. White and Mary A. Wright. Pianist: Barbara Hyett and Organist Michael Bottomleybendigo, education, bendigo teachers' college graduatio, la trobe university bendigo collection, collection, bendigo teachers' college, bendigo, education, teaching, teachers, students, graduation, bendigo teachers' college graduation, graduands, graduates, tertiary education, book, bendigo teachers' college students, bendigo teachers' college staff

Two copies of Folkvine, the Newsletter of the Folk Song & Dance Society of Victoria, November 1994 Vol. 19 No. 10 and March 1995 Vol 20 No. 2. Newsletters contain information about musicians,, folk clubs, Festivals, Folk on Radio, Music Venues, where to learn or participate in music and song, and Metropolitan and Out of Town Dance Venues.document, newspaper, folk song & dance, peter ellis collection, folkvine, folk song & dance society of victoria, jamie johnston, peter ellis, graham squance memorial award, emu creek bush band, bendigo bush dance and music club, east brunswick club hotel, bernard carney, pastnace, dave rackham, kristina olsen, michelle shocked, christine lavin, geoff achison, meg macdonald, alistair hulett and the hooligans, jeanette gillespie, folkvine, brian hickey, chris garrity, enda kenny, dave brannigan, colcannon, danny spooner, john faulkner, stuart cowell, john acauslan, folklife and heritage centre, shirley andrews, coralie collins, margot f hitchcock, eric purdie, jeanette gillespie, gwenda davey, australian folk trust, mary traynor

A class photo of a group of young legatees at a gymnastics class in Kew. There are 15 boys, of various ages, in gymnastics gear, and 4 men who are instructors and Legacy members. The caption says 'This photo was taken during school holidays, hence the small attendance. Front: Eddie Robertson, Sitting: Lohn LInton, Bob Bateson, Robin Broderick, Michael Johnson, Tom Olsen, Graeme Murray, Douglas Govey. Centre: Mr Tom Mann (instructor) Legatee HJ Martin, Legatee A R Beattie, Mr J Costello (Instructor). Back: John Barker, Kerry Wisdom, Garry Thomson, Gerald Brown, Rod MacKinnon, John Shaw, Graeme Withers. Legacy clubs ran classes for junior legatees for many years. It was part of providing for the children of their deceased comrades. The skills they learned were show cased in an annual demonstration usually at the Melbourne Town Hall. It appears to be photo taken professionally, as there are several photos of different classes (see 00862 - 00867) perhaps to record Legacy classes for promotion purposes.A record of a way Legacy provided classes for junior legatees.Black and white photo of Legacy boys posing for a class photo.Printed on the back 'Kew'. Stamped 'S5337/1--' and '531' in blue ink.junior legatee, boys' classes

A photo from a newsletter from September 1953. The photo shows the East Brighton boys class. Front row: Tony Minogue, Tim Eltham, Harold Butler, Bob Lancaster, Bruce Pickering, Albert Hancock, David Francis, Robert Scanlan, Robert Hill. Second row: Tom Corrie, Neville Trevena, Tom Lancaster, Eric Scott, Legatees Mair, Carolan, Blackall, Holmes; Bob Gleeson, Bill Gleeson, Denis Hubbard, Robert Carnie. Third row: Mr H Singleton (Instructor), Bruce Grigg, Allan Dennis, John Burge, Peter Harris, George Trinder, David Endean, Tom Cockram, Keith Stevens, Kev Gleeson, James Haysom, Mr B Robinson (Instructor). Back row: Don Scott, Norman Corrie, Robert Haley, Noel Orr, Warwick Leeming, John Francis, Barry Wilkins, Ray McCarthy, Robert Olsen, Peter Luck. Names mentioned in the article include boys newly enrolled: Geoffrey Bishop, Gregory Bishop, Trevor Busst, Harold Butler, John Burge, Daryl Bernaldo, Norman Corrie, Tom Corrie, Alan Dennis, Peter Eltham, John Francis, David Francis, James Haysom, Albert Hancock, Robert Haley, Peter Harris, Robert Hill, Warwick Leeming, Barry Mitchell, Ray McCarthy, Ian Nicholds, Laurie Nicholls, Geoffrey One, Noel Orr, Robert Olsen, Bruce Pickering, Frank Rose, Keith Stephens, Don Scott, Robert Scanlan, Stephen Westcott, Barry Wilkins, Robert Watson. The article mentions that the photos of the boys classes were donated to Legacy by Mr John Beckett of Sandringham. Individual photos being catalogued to record detail about each one.The newsletter outlining news of Junior Legatee activities with mentions of boys by name.Black and white photo of the East Brighton boys class printed in a newsletter in September 1953.junior legatees, boys classes

A photo from a newsletter from September 1953. The photo shows the Kew boys class, which met at the Kew Drill Hall on corner of High Street and Highbury Grove, Kew on Friday nights at 7.30. The instructors were Messrs Tom Mann and Jack Costello and has 53 members Front row: Eddie Robertson. Seated: John Linton, Bob Bateson, Robin Broderick, Michael Johnson, Tom Olsen, Graeme Murray, Douglas Govey. Centre: Mr Tom Man (Instructor), Legatee HJ Martin, Legatee AR Beattie, Mr J Costello (Instructor). Back: John Barker, Kerry Wisdom, Garry Thompson, Gerald Brown, Rod MacKinnon, John Shaw, Graeme Withers. Other names mentioned in the article include new boys, Alan Bateson, Douglas Govey, John Linton, Robert Bateson, Evan Houston, Robert Ritchie, Robin Broderick, John Huxtable. It also gives the phone numbers of Legatees AR Beattie, HJ Martin, A Crawford and RS Isherwood in case a reader would like their son to attend a class. The article mentions that the photos of the boys classes were donated to Legacy by Mr John Beckett of Sandringham. Individual photos being catalogued to record detail about each one.The newsletter outlining news of Junior Legatee activities with mentions of boys by name.Black and white photo of the Kew boys class printed in a newsletter in September 1953.junior legatees, boys classes

Set of six magazines printed in the style of a set issue in June 2006 (see Reg Item 1157). .1 - Malvern Depot - 8 pages - with a group photo in front of the depot on the front cover - article on 30 years service of Steve Olsen, Depot Marketing Staff, Tram attendants, new from Brunswick, Public Transport Cricket association, OHS and other notes. .2 - Essendon Depot - Christmas at the depot, Commonwealth Games, Think Tram, and the dog who took a tram ride. .3 - Brunswick depot - Sept. 2005 - departure of Hubert Guyot (CEO), depot works, table tennis, OH& S .4 - East Preston Depot - Sept. 2005 - departure of Hubert Guyot (CEO), message from Manager and Depot Administrator, environmental aspects, table tennis, has photos of lots of staff but no surnames. .5 - Essendon Depot - September 2005 - departure of Hubert Guyot (CEO) - various items and thanks from Lennie Bates. .6 - Malvern Depot - September 2005 - departure of Hubert Guyot (CEO) - some items from above newsletters.trams, tramways, yarra trams, malvern depot, essendon depot, brunswick depot, dogs, sports, cricket

Framed presentation of the first bus drivers at Donacaster and the companies they worked for prior to working at Doncaster. Prepared by Kevin Stanes 2016. Framed with a commercial black plastic frame with a light wood back, glass sheet and various clips and suspension points. Listing of names and other information provided by Kevin Stanes by email: Doncaster list - see htd1444 - Doncaster Bus Depot Employees [First Day] For email and recollections in particular about Doncaster - see htd1443email.pdftrams, tramways, doncaster, private bus companies, buses, drivers, conductors, officers, depots