Joan Reuss was the eldest daughter of Bert Reuss and his wife Grace (nee Gray). Albert (Bert) Reuss was born in Albury in 1905. From 1920 until 1926, Bert worked at Mr Nat Gray’s dairy farm at “ Willow Bank” in South Albury. This included ferrying milk across the river from Gray’s Island. In 1927 he married Grace Gray and they moved to a property which they called “Park View” on the Wodonga flats. Here they established Park View Dairy. In the 1930s they ran two milk carts delivering milk twice a day (once on Sundays) to Albury and Wodonga. They also raised a family of eight children. They progressively cleared a few acres every year and raised cows, pigs and hens as well as growing watermelons and other vegetables. Deliveries extended to include milk, cream, eggs, dressed chickens and potatoes. At its peak the dairy had 500 regular customers. The dairy was bought out by Murray Goulburn in the 1970s and the Reuss children continued the property as a beef farm. Bert was active in the Wodonga Branch of the Dairy Farmers’ Association, President of the Albury Wodonga Milk Producers for 15 years and a member of the Albury Wodonga Flood Committee. He was also Head Steward of the Horticulture Pavilion at the Wodonga Show Society for over 30 years for which he was awarded a Life Membership. Bert Reuss died on 16th August 1998 in Albury. After more then 80 years in the Reuss Family, Park View was sold in 2010.This item is significant because it is connected to a well-known Wodonga business and community member.A black and white photo of a woman and two children on a two wheeled milk cart. On side of cart: B. REUSS REGISTERED DAIRYbert reuss wodonga, wodonga dairies, park view dairy

The Powerful owl is native to south-eastern and eastern Australia and is the largest owl on the continent. It is found in coastal areas and in the Great Dividing Range rarely more than 200 km (120 mi) inland. An apex predator in its narrow distribution, the Powerful owl is often an opportunist like most predators, but generally hunts arboreal mammals, in particular small to medium-sized marsupials. It is a typically territorial raptorial bird that maintains a large home range and has long intervals between egg-laying and hatching of clutches. Unlike most raptorial birds, male Powerful owls are larger and stronger than females and so the male takes the dominant position in the mating pair, which extends to food distribution. This example of a Powerful Owl show lighter brown coloured feathers and slight discolouration. The Powerful Owl has darker colourings and whiter feathers in real life. This example also show discolouration in the feet and they are brighter yellow in colour in real life. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th centuryThis Powerful Owl has medium brown to dark grey-brown above, with white barring, and off-white front. The glass eyes are yellow, set in a dark grey/brown facial mask. The legs are feathered with yellow feet and talons. The specimen stands upon a wooden platform and has no identification tags attached. Swing-tag: n/a Metal tag: n/a Mount: no markings taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, owl, powerful owl

The Powerful owl is native to south-eastern and eastern Australia and is the largest owl on the continent. It is found in coastal areas and in the Great Dividing Range rarely more than 200 km (120 mi) inland. An apex predator in its narrow distribution, the Powerful owl is often an opportunist like most predators, but generally hunts arboreal mammals, in particular small to medium-sized marsupials. It is a typically territorial raptorial bird that maintains a large home range and has long intervals between egg-laying and hatching of clutches. Unlike most raptorial birds, male Powerful owls are larger and stronger than females and so the male takes the dominant position in the mating pair, which extends to food distribution. This example of a Powerful Owl show lighter brown coloured feathers and slight discolouration. The Powerful Owl has darker colourings and whiter feathers in real life. This example also show discolouration in the feet and they are brighter yellow in colour in real life. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Powerful Owl has medium brown to dark grey-brown on its wings and back, lighter patterning on its chest lightening with white barring, and off-white front. The eyes are yellow, set in a dark grey/brown facial mask. The legs are feathered with yellow/browning feet and talons. The specimen stands upon a wooden platform and has no identification tags attached. Swing-tag: n/a Metal tag: n/a Mount: wooden with no markings.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, owl, powerful owl

The University's mace was carried in procession for the first time during the Graduation ceremonies in May 1996. The mace was presented to the University by former Chief Commissioner of the Ballarat City Council, Vern Robson, at a ceremony on 02 February, following a national competition for its design, sponsored by the Council. (The Flag, Issue 2, July 1996) Nineteen artists responded to the competition which called for a design that would embody a distinctive Australian image reflecting the heritage of the city and in relationship with gold, an Aboriginal element and the history of the University. The winning entry, dominated by a poppet head, was submitted by Central Victorian artist/sculptor Trefor Prest, a sessional lecturer in sculpture at the University.(The Flag, Issue 2, July 1996) The Herald Sun of 03 February 1996 reported 'the new mace shows importance elements of Ballarat's heritage as well as the university's focus on the future. The artist emphasises the egalitarian nature of Australia as embodied in Ballarat's famous slice of history - the Eureka uprising. ... The mace has a poppet head at the top of the shaft - an unusual element for a mace - but it represents Ballarat's mining history and the University's evolution from the Ballarat School of Mines. An opening egg at the top stands for the nurturing of development and learning. The mace's straight shaft is depicted as the tree of knowledge and, incorporating a bark canoe scar, Ballarat's Aboriginal heritage. At the end of the shaft is a surveying device, which represents precision and accuracy ads embodied in the university's academic pursuits.' Bob Morrell of the University organised the national competition to design the mace and said 'It is in keeping with the university's logo, 'proudly flying the flag', which incorporates the Southern Cross.' Trefor Prest lectured in Sculpture at the University of Ballarat from 1995-1996.Black and white photograph showing three men holding the new University of Ballarat (now Federation University) mace. From left to right they are Vern Robson (Chief Executive Officer City of Ballarat), Trefor Prest (Sculptor) and Professor David James (Vice Chancellor).university of ballarat, mace, trefor prest, vern robson

The Butcher Mr Bill Ellin delivering meat to Mrs J.L.Smith in front of the house Law Muir Den 510 Centre Rd Bentleigh c 1915. Groceries, Ice, Milk, Bread, Eggs, Poultry were delivered to housewives by the traders in horse drawn carts, Also Hawkers and Pedlars plied their wares by visiting the cottages. John Logan Smith 1860-1932 , the son of Irish immigrants James and Marianne Smith was born at their home near the 'Toll Gates' on Point Nepean Road and Dendy Street. East Brighton. At that time the area had many orchards that were later replaced by market gardens. J.L.Smith at first rented a cottage 'Law Muir Den' & Shed from Mr Box and commenced business as a wood merchant - sawing logs into shorter pieces using one horse to power the saw. He purchased the property, added to the buildings , began trading in fuel and fodder as well and installed a chaff cutting mill powered by 10hp steam engine. The business prospered 1909 following the death of Tommy Bent, J/L Smith was nominated for Councillor of the Shire of Moorabbin. WW1 1914 - 18 both John and Mary Ann supported local War Relief Auxiliaries and their son Vic served as a Signaler in AIF. As Motor transport was increasing 1926 J L Smith built a small Garage on the opposite corner (Woolworths Supermarket 2005) , employed a good mechanic ( Reg Hunt ) and developed another successful business. The Grain Store was managed by family until 1930. In 1932 JL Smith assisted a man whose car had broken down, pushing it to the garage and sadly suffered a heart attack and died. He is buried in Cheltenham Cemetery. J.L.Smith was an early settler in East Brighton now Bentleigh and established successful Wood cutting, Grain & Chaff cutting and Motor garage businesses in Centre Road . He was elected Councillor of the Shire of Moorabbin and, with Mary Ann, his family were involved with local Church, Red Cross, and other community organizations.A Black and white photograph c 1915 showing the Butcher delivering meat to Mrs J.L Smith Bentleighsmith j l, smith mary ann, stanley helen, smith vic, smith harry redvers, chaff cutter, horse drawn carts, toll gates brighton, motor cars 1900, steam engines, early settlers, bentleigh, parish of moorabbin, city of moorabbin, county of bourke, moorabbin roads board, shire of moorabbin, henry dendy's special survey 1841, bent thomas, charman s, highett william, ormond francis, market gardeners, vineyards, orchards, william ellin, butcher

Farm Lease dated 5th July 1957 between Mr. N. E. Watts and Mr. E. W. Traeger. Lease for all that piece of land being allotment 15B section 7 & allotment 15J & 15H of section 7, Parish of Neering in the state of Victoria containing 7 acres 14 perches or thereabouts with dwellings, out-houses and all improvements for the term of 1 year. Terms and conditions: the term of tenancy shall be from the 8th of July 1957 to the 8th July, 1958; the rent for said period shall be 5 pounds fortnightly, the lessee has the option of leasing the property for another 12 months at the same rental; the lessee has the option of purchasing the said property for the sum of 1,350 pounds. Chattels included: 1 draught horse, harness and swings, rubber tyres cart, green feed cutter2,30 dozen egg boxes, 3 ladders, tomato frames and glasses, single furrow plough, set harrows, cultivator, iron spike roller, scuffler, linos, blinds and curtains, ice chest and table. Attached 2 copies of letter from N. E. Watts instructing H.A & S.R. Wilkinson to pay the rent received from Mr. Traeger to Mr. J. R. Watts... Office copy.organization, business, h.a. & s.r wilkinson real estate

This item is from the private collection of George Shirling of Red Onion, Falls Creek. It accompanied a copy of Ernest Forras' autobiography "Earnest Escapades" given to George Shirling - two pioneers of the Australian Ski Industry. Ernest Forras died on Sunday 31st October 2010 at Mt Buller. George Shirling arrived in Falls Creek in 1962. He engaged Phil Nowell to build the original Koki Alpine Lodge which opened in 1965 with 14 beds. George operated the lodge with Michael “Baldy” Blackwell as manager. He also graduated in sport psychology in 1981 and was invited to become team psychologist for the Australian Winter Olympic team which went to Albertville, France, in 1992. He later owned the Red Onion Chalet. George credited the success of Koki to “Baldy” Blackwell. “Baldy” and Phil Nowell started the Trackers Mountain Lodge in partnership during the 1980s. In 1971 George sold Koki Lodge to Sigi Doerr. In 2024 the renamed Koki Alpine resort remains a highly popular destination in Falls Creek. George Shirling passed away on 27th February 2023. He had remained actively involved in Falls Creek and was generous with his time and knowledge, always an amazing supporter of The Falls Creek Museum and Falls Creek Village.This item is significant because it links two pioneers of the Australian Ski Industry.A message from Ernest Forras to George Shirling in a wooden frame. An explanatory sign explains Ernie Forras' background. The autograph says: "To My dear Friend George Koki's Creator From Hungary with Love!! Ernie F." ITEM No.4 Ernest Forras "Earnest Escapades" The autobiography of a pioneer of the Australian snowfields First published in 1994. Ernest, later the owner of Kooroora, Mt. Buller on his first visit to Falls Creek in June 1951 writes about the lodges at Falls Creek... Albury, Bogong, St. Arnauds, Wangaratta, Skyline (Ski Club of Victoria), and Myrtleford ski club, St. Elmo's hut, Bob Hyman's small chalet, and Tom Mitchell's (then, State Attorney General) private hut. When learning that the State Electricity Commission controlled Falls Creek in the early days, Ernest wondered why the Egg Board and the Potato Board had missed out! Ernest acknowledged the impressive development in the Australian snowfields but remained concerned about a "head in the snow" attitude which argued against privatisation of our snowfields, park entry fees, and the compulsory carrying of snow chains. Is anybody listening?george shirling, ernest forras, "earnest escapades"

The American Crow is common throughout North America. They reside in areas with open view and trees but can often frequent city parks, suburbs of large cities and along the seashore. The Crow is a robber and therefore, find living in locations which they can raid for food perfect. These birds are sociable animals and are often found in small groups made up of family members. All their lives they reside in the one location; however, they do migrate south during the autumn. They usually find their food by walking along the ground and eat both plant and animal foods. This includes worms, larvae, insects and fruits and nuts. Crows are also known to feed on small rabbits, frogs and mice. They are also identified as nest predators because they feed on eggs. In areas occupied by humans, the Crow will find their food source from trash and also road kill. The American Crow is not considered to be an endangered species and list them on the IUCN Red List as Least Concern. However, large amounts of crows are killed for sporting and during campaigns (having a desire to reduce the population of the Crow in America). This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This American Crow has black plumage which has slightly faded in colour. This colour fading could also indicate that the bird was molting because the feathers of the American Crow appear brownish when the are about to molt and these feathers give way to new glossy black feathers. The specimen has two black glass eyes, a dark bill and dark legs with talons. Both the edges of the bill and the talons are faded into a pale buff colour. It is likely that the legs and talons were painted a dark black by the taxidermist and the paint has either worn off or faded over the years. The bird is standing tall on a wooden mount and looking forwards. It has a paper identification tag attached to the right leg. The tail is short and the feathers are rounded at the ends.153a. / See catalogue page 61taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, america, crow, american crow

Its manufacture demonstrates from an industrial aspect a period of history following the occupation of Japan by the USA after the second world war and has a strong association with this event.Insulator - known as an egg type - ceramic - fired clay (porcelain) finished with a brown colour with two holes for span wire with the holes offset to each other. Marked in a very light almost clear finish on one side "Made in Occupied Japan" See item 8534 for another example - a larger size. https://www.gotheborg.com/glossary/occupiedjapan.shtml - accessed 15/4/20201 gives some background: "For the period from the end of World War II in 1945 through April 28, 1952, the United States and its Allies occupied Japan. The Occupation involved approximately 130,000 Americans (both military and civilian) and about 35,000 British Troops based in Japan. SCAP (Supreme Commander for the Allied Powers), led by General MacArthur, wrote a new constitution for Japan. As Japan needed to rebuild their economy after the war, part of the agreement to allow them to export goods out of their country was that they had to mark 50% of all items with "Occupied Japan" or "Made in Occupied Japan." This could be done with a paper label, cloth label (as on scarves, doilies, clothing), engraved, handwritten or stamped. Thus, you may come across things, such as a salt and pepper set, where only one of the pair is marked OJ and the other will just have "Japan" on it. The tags, labels, marks were placed on the items in Japan, before they were exported to other countries. "trams, tramways, overhead, trolley wire, insulation, electrical equipment

JAMES JOSEPH HIGGINS, was born in Dublin in 1821 and, at age twenty, emigrated via Liverpool in 1841 with his wife Ellen and baby daughter Margarete, on board the 'Intrinsic'. They lived in Little Lonsdale Street, Melbourne, for some years, where their son James John Clarke Higgins was born in 1850. JAMES JOHN CLARKE HIGGINS moved to Brighton East when he married Ruth Simmonds in 1873. The couple lived on Jasper Rd near the corner of Centre Rd for the rest of their lives, and produced eight children HERBERT JOHN HIGGINS was the sixth child born in 1886, to James John Clarke Higgins and Ruth Simmonds, and grew up in Centre Rd, Brighton East, now Bentleigh. He was renting and working a property on Jasper Rd from the time he was married in 1913 to Victoria Matilda Long, daughter of Charles John Long and Annie Matilda Allnutt. Herbert John bought his property on Jasper Rd in 1921. [Metropolitan Board of works plan 3220, Municipality of Moorabbin, shows that in 1928, Higgins Rd was planned (and probably built soon after). Herbert was a dairyman and market gardener. He bred and milked cows and sold milk, cream, butter and eggs to the locals. He supplied hay/corn to be made into chaff to J L Smith’s produce store. He also leased land from other farmers in the area and helped work their land. c1950 he sold the property in lots, some privately, others to the Municipality. Some lots became part of Hodgson Reserve, Higgins Road, Bentleigh, and another lot, the Bentleigh Bowling Club. Herbert and Victoria, known as Queenie, had five children between 1914 and 1928. The youngest Dorothy, who remembered sitting in this pram and later using it to carry papers, wood, vegetable etc., lived on the property in Jasper Road until her passing in 2016. ( Ronald Alexander Higgins, descendant , Helen Stanley CMHS 2017) The family of Dorothy Higgins 1928-2016, were early settlers in Moorabbin Shire establishing a dairy farm c 1873 in East Brighton ( now Bentleigh)Wicker Perambulator, baby carriage, c. 1914, with a lined, painted wicker body, iron spring scrolled frame with leather straps and 4 steel wheels with rubber tyres. The push handle is broken and hood is missing. dairy farms, higgins james joseph, simmonds ruth, higgins dorothy, poultry farms, jasper road bentleigh, city of moorabbin historical society 1961, sheehy t.a., newsletters, ashley r, neville f, blackman n, moorabbin city council, moorabbin roads board toll gates, pioneers moorabin cheltenham, bentleigh, highett

Newsletter created to share information between branches, staff and volunteers on achievements at the AFB. This issue includes: Wendy Bateman and her role as an Elanora nurse, volunteer June Day receiving the Citizen of the Year award for Murchison on Australia Day, Victoria's triumphant blind bowls team who, when tied with their SA competitors, decided to share the Catchpole trophy by keeping it for 12 months then sending it back to South Australia for 12 months, Julie Deutscher has won the tender to clean Kelaston, staff members Margaret Caldwell, Ada Fox, Maureen Gleeson and Lorelle McGain have completed five years of service with the AFB, Gale Burns, Glenys Drewitt, Fiona Jackson, Gena Kyne, Anne Menzel and Margaret Tozer have completed 10 years of service and Margary Paynter has completed 15 years of service with the AFB, Dennis Smith from the George Vowell Centre helping out as barman and waiter, RPH volunteers David Ditchfield and wife Janet received a special award for their service to the station, Judy Sutherland, Chrisi Tsafso and Jo Sisley were present for awards handed to police who had held a self defence course for vision impaired, the AFB boat in the Moomba Dragon Boat Race, Sherry Cuthbert and James Nevein toast to Ernie Stewart's 102nd birthday, Susan Marshall with her children, Dorothy Cleeland and John Dowdle hand of a $25,000 cheque, Easter Bunny promoting the world's largest Easter Egg hunt as part of the Tattersall's Kooyong fair, Elenoar Scott and her mum Julie and Roberta Ashby, the use of teleconferencing by Palm Mitchell, with Shane McCarthy and Joy Lindsay in the background, aims for the year ahead including a possible name change, staff members Esther Lalor and Alex Capporilli learning Braille, and the Braille and Talking Book Library party with Mieke Mellars, Rose Blustein, Julia Simmons, Beryl Simmons, Emma Pritchard, Lorna Hayter and Alison Forbes.8 pages of text and images about AFB clients, staff and volunteersnon-fictionFor Staff & Volunteers of the Association for the Blind Inter Link Print Post No. 327855/00001 Association for the Blind A.C.N. 007 428 284 7 Mair Street, Brighton 3186 Autumn 1998elizabeth maxwell, neil maxwell, association for the blind, palm mitchell, shane mccarthy, mieke mellers, emma pritchard, lorna hayter, alison forbes, rose blustein, julie simmons, beryl simmons, stephen jolley, allan heywood, esther lalor, alex capporilli, elanoar scott, julie scott, roberta ashby, dorothy cleeland, john dowdle, susan marshall, sherry cuthbert, james nevein, david ditchfield, janet ditchfield, judy sutherland, christi tsafso, jo sisley, dennis smith, julie deutscher, june day, wendy bateman

Yellow covered nine page booklet containing 19th Century views of Bendigo and Ballarat presented by Thomas Richard Jones, Chemist of Hargreaves Street Bendigo. Art Noveau figure of woman on front cover. Inside cover features T R Jones Dispensing Chemist and Druggist printed beside man holding a horse. List of Veterinary products supplied by Jones. Farmer's requisites included Strychnine, Toxa, Phosphorus, Poisoined wheat, Bi-sulphide of Carbon. Egg preserving fluid and milk preserving powder Rennet and butter colouring along with Drenches and Cattle medicenes supplied. View No1. Moorabel Falls Ballarat. View No 2. Statues of Leda and Spring Ballarat. View No 3. A Giant Palm Bendigo. View No 4. View from St Paul's Bendigo. View No 5. Unveiling 'The first Public Statue' Bendigo P/Office in background. View No 6. Statue Presented to the City of Bendigo by Cr Harkness. [Reclining greek beside dog fighting lion] View No 7. 'On the Campaspe, near Bendigo. View No 8 The Pine Avenue, Rosalind Park. View No 9. Scenes on Lake Wendouree, Ballarat. View No 10. Statuary in The Botanical Gardens Ballarat. View No 11. Statues of Burns & Moore Ballarat. View No 12. Botanical Gardens, Ballarat. Inside back cover features list of T R Jones products. Outside back cover features advertisement for T R Jones Universal Corn Cure, and Jone's Compound Pectoral Balm.Printed by Periodicacls Publishing Co, 21 Elizabeth Street Melbourne.bendigo, parks and gardens, bendigo chemist and local views.

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.fay bridge collection, 2016-05-14, art gallery, barreenong road, clifton pugh, cottles bridge, dunmoochin, maurice hurry

Early 1900's. "Boiling the billy". The term billy or billycan is particularly associated with Australian usage, but is also used in the UK and Ireland. It is widely accepted that the term "billycan" is derived from the large cans used for transporting bouilli or bully beef on Australia-bound ships or during exploration of the outback, which after use were modified for boiling water over a camp fire. Postcards developed out of the complex tradition of nineteenth-century printed calling cards, beginning with the advent of the Cartes-de-Visite in France. In the 1850s, Parisian photographer Andre Adolphe Eugene Disderi invented a photographic process involving egg white, albumen, and silver nitrate to create inexpensive portraits on paper cards. These photographic Cartes-de-Visites were 2 1/2 (75mm) by 4 inches (98mm) and became a popular, collectable form of "visiting cards" world-wide. Photographers would reprint portraits of famous individuals they had taken at their studios or during travel and sell them as collectable cards. Postcards as we know them now first began in 1861 as cards mailed by private post. In the 1870s picture postcards grew in popularity throughout the United States, Britain, Europe, and Japan. Cards were first permitted to have a "Divided Back," with text written on the left half of a dividing line and the address on the right half, beginning in England in 1902. Around 1900 the first postcards made of "Real Photos" rather than artwork began to circulate, aided in by advances in amateur photography equipment by companies such as Kodak. Kodak also introduced postcard paper for photographic development and photography studios began to offer portraits printed as postcards Many local town, countryside, and architectural images were captured during this period by local photographers, then printed and sold as postcards . Advances in amateur photography all contributed to a postcard craze that lasted from 1900 to the First World War. Postcards were the preferred means to send a quick note, whether across town or across a continent.Postcard with a black and white Photograph on the front and a 'Divided Back ' for the message and address. There are seven men surrounding the billy suspended over a camp fire. The ground has a lot of dead branches around. One man is bending down towards the billy. Two men on either side of the camp fire are carrying either a white bag across their shoulders or the fish in their hands. You can see, that there is some steam also coming out of the billy, which means that its hot. Court Post Card. / this space may be used for correspondence. / The address only to be written here.1900's, boiling the billy , postcards, photographers, england, hungary, america, cartes-de-visite, visiting cards, moorabbin, cheltenham, bentleigh, market gardeners, early settlers, pioneers,

Set of 15 ink and colour pencil drawings by Norm Cross of Melbourne tramcars and one Brisbane. 1 - Y class 469 - undated - 525 x 250 with advert for Sharps Doors. Drawn using a card for Actil Sheets. 2 - T class 178 - undated - 250 x 485 - has notes on the rear about the tram. 3 - T class 179 - 5/9/1959 - 520 x 255 - has notes on the rear about the tram. 4 - W2 class 646 - undated - 265 x 630 - incomplete, has an advert for White Crow sauce. 5 - Q class 197 as an all night car - undated - 250 x 510. 6 - W2 class 455 - (East Preston Depot) - 21-1-1962 - 410 x 223 - has adverts for Stramit ceiling tiles and Foster Clarks foods. 7 - Scrubber or track cleaner No. 8 - 23-6-1959 - 405 x 220 - has a sketch of same tram on the rear showing the body strengthening. 8 - Y1 class tram, No. 613 - 5-6-1961 - 235 x 510 - has advert for VEB eggs 9 - W4 class 672 - undated - 520 x 220. 10 - Brisbane FM 543 - undated - 240 x 440 - has adverts for Brisbane Daily Telegraph, and Rothmans. Has used a 1959 calendar for the sheet. 11 - W6 986 at Preston Workshops - 26-4-1958 - with trams in the background - 635 x 255 - with an advert for 3AW 12 - W7 class tram 1020 - undated - 630 x 255 - not completed - has advertised for Driving safely, Best tyres, Hardie, and Norman Banks on 3AW. 13 - W2 268 - outline sketch only - not completed - undated - 465 x 225. 14 - Melbourne's tram of the future, as envisaged by Norm Cross - No. 1103 - PCC car - 7-1967 - 500 x 190 with notes on the tram equipment. Has adverts for Aspro and 3DB. 15 - L class 103 - undated, not completed - 505 x 205, has advert for Pimms Demonstrates Norm Cross drawings of Melbourne trams and one Brisbane tram. Norm commenced with the MMTB Preston Workshops as a apprentice fitter and turner in 1959. Ink, pencil and color pencil drawings on card.trams, tramways, norm cross, drawings, tram 469, tram 178, tram 179, tram 646, tram 197, tram 455, tram 8, tram 613, tram 672, tram 543, tram 986, tram 1020, tram 268, tram 1103, pcc class, tram 103

Visit to Dunmoochin prior to Clifton Pugh's home being destroyed by fire in 2002. 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.fay bridge collection, 1995, barreenong road, cottles bridge, dunmoochin

François Boullier of France and Isaac Hunt of England both took credit for inventing the cheese grater in the 1540s. Ingredient supplies, mainly milk, ebbed and flowed in both France and England, as they have in the United States during this coronavirus pandemic. Boullier originally aimed to use up an overabundance of cheese in Paris. An avoidance of meat led French farmers to convert their meat herds (often boys) to dairy-producers (girls), which led to more milk and even too much milk, which led to a market flooded with cheese. Boullier made his first cheese grater out of pewter to grate hard, sometimes dried out cheeses, which turned them into a sort of condiment. Pewter is known as a rather soft metal, and Boullier’s original grater is reportedly on display in a museum in Le Havre, France. Isaac Hunt wanted to stretch cheese due to a shortage in England, so he grated and melted it for Welsh rarebit and other dishes. Grating cheese allowed more even distribution of the cheese to melt it in cooking and still does. During the Great Depression of the 1930s, Philadelphia cheesemonger and entrepreneur Jeffrey Taylor also wanted to stretch cheese for to bulk up cheese features, including vegetables, to make them look like more filling food during difficult economic times. Taylor read about Boullier’s invention and made his own by sharpening the holes of a metal shower drain. For the last century, many companies have tried to improve the cheese grater and invent a new “latest” one that we all must-have. Graters are now made of all sorts of materials including bamboo, wood, and various metals. Some are decorated with clowns’ heads, some are shaped like plastic frogs, while others bear knuckle protectors. They vary in size, shape, and function. Grating slots come with different angles and shapes of slots and can grate everything from zucchini, onions and cheese, to cooked eggs, coconut, potatoes, cabbage, and lemon and orange peel, and possibly even create wood shavings. Smaller graters grate ginger and garlic. https://www.cheeseprofessor.com/blog/antique-cheese-gratersThe grater has been used for hundreds of years and has proved its worth in the kitchen throughout history.Grater metal (3 parts) Tripartite with hinges for folding.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, grater

A collection of a group of photographs donated to the Society by Lun Blom, from the Photo Shop in Thompson Avenue, Cowes (was opposite the museum)A collection of 19 photographs of Phillip Island and surrounds. 293-01. Koala sitting in enamel bowl on table 293-02. 20 farmers having a break. 293-03. Reproduction of painting of The Nobbies. 293-04. Photograph of a Trophy for 1st prize for ploughing won by Mr L Morrison 1859. 293-05. Photograph of three men standing in front of a motor vehicle. 293-06. Photograph of view of Cleeland's House at Cape Woolamai. 293-07. Photograph of a whale beached on Phillip Island with people standing around it. 293-08. Photograph of a family and children in front of car - unknown. 293-09. Photograph of a painting of "Innishowen" Harbison's Property. Mr Harbison's portrait inset on the painting. 293-10. Photograph of an early map - possibly drawn by Bass & Flinders. 293-11. Photograph of the San Remo-Westernport Hotel, with vehicles in front. 293-12. Photograph of a fishing boat at the San Remo Jetty with the township in the background. 293-13. Photograph of a couta boat under full sail in Westernport. 293-14. Photograph of an aerial view of the Two Bridges taken from San Remo side. 293-15. Photograph of the Mutton Bird Eggers Camp - Bergins Bay Cape Woolamai. 293-16. Photograph of a Steam ferry decorated with flags. 293-17. Photograph of Fisherman's hut at Cowes with pier in the background. Possibly Mr Cox's. 293-18. Photograph of a couple standing on the bridge in Lover's Walk Cowes. 293-19. Photograph of an aerial view of Phillip Island looking towards Mornington Peninsula and the Heads to Port Phillip Bay in the distance.293-01. "Koala Pie" Cowes. 293-06. Mr Cleeland's Station. 293-09. "Innishowen" Mr. Harbison. 293-10. Phillip Island. 293-17. Phillip Island - Fisherman's Hut, Cowes. 293-18. Phillip Island - Lover's Walk, Cowes.wildlife - koala, wildlife - whale, the nobbies, ploughing trophy, cape woolamai - cleeland's house, innishowen, mr harbison, phillip island map, westernport hotel san remo, fishing boat san remo pier, couta boat westernport, the two bridges san remo, mutton bird eggers camp, steam ferry, fisherman's hut cowes, lover's walk cowes, aerial view of phillip island, lyn blom

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. WHAT IS SIGNIFICANT? [From Victorian Heritage Database citation for Former Labassa Conservatory - H2005 Victorian Heritage Register http://vhd.heritage.vic.gov.au/places/result_detail/12504 (25/01/2021)] The former Labassa Conservatory is believed to have been built as part of the extensive reworking of the Labassa estate in c1890 for the new owner Alexander Robertson, proprietor of the Cobb and Co line. Robertson commissioned the architect JAB Koch to remodel the house, and Koch may have been responsible for the conservatory as well. Alternatively, the conservatory may have been imported. The gates installed at Labassa in 1890 were manufactured by the MacFarlane foundry of Glasgow, Scotland, a firm known to have manufactured conservatories. Around 1917 the glass house from 'Labassa', Caulfield was offered for sale to Malvern Council for its own gardens but the offer was declined. Following subdivision of the Labassa estate in the 1920s the conservatory was converted into a residence. The structure has a simple rectangular plan, with a brick base and superstructure of cast iron columns and roof trusses. The hipped roof is surmounted by an elaborately decorated gable structure. Most of the original glass has been replaced by metal sheeting. The decoration comprises pressed metal fascias including an egg and dart style cornice moulding, mullion mouldings and gable end panels with a rising sun motif. Cast iron ridgework and finials add to the lively roof form. Internally the floor appears to have been raised as part of the conversion work to a residence, and stained timber panelling introduced to provide room spaces. Boilers probably heated the conservatory in the colder months, but these do not survive.From Victorian Heritage Database citation for Former Labassa Conservatory - H2005 http://vhd.heritage.vic.gov.au/places/result_detail/12504 (25/01/2021) HOW IS IT SIGNIFICANT? The former Labassa Conservatory is of historical and architectural significance to the State of Victoria. WHY IS IT SIGNIFICANT? The former Labassa Conservatory is historically significant for its associations with the Labassa estate. Subdivision of the estate separated a number of outbuildings from the mansion. The former conservatory is significant as part of the large scale improvements carried out to the estate in the 1890s. The nineteenth century was the great age of conservatory designs, enabled by technological developments in heating, glazing and iron. Whilst conservatories were common in botanical gardens and universities, where they were primarily used for cultivating, studying, and experimenting with plants, they had also become an accessory of the wealthy on private estates. The former Labassa conservatory is architecturally significant as a rare example of a building type. Many Victorian mansion houses had attached conservatories, but detached conservatories were much less common. The only other detached example associated with a residence known to survive on its original site in Victoria is an earlier example at Warrock homestead, near Casterton. Conservatories attached to nineteenth century mansions are far more numerous. The Labassa example is very ornate, and its decoration draws on the versatility of pressed metal and cast iron. This highlights the dual purpose of the conservatory, as both a functional structure and a picturesque building on the Labassa estate. This building is unusual as an example converted to residential use. Page 130 of Photograph Album with one portrait photograph of Labassa's conservatory.Handwritten: "Labassa" conservatory 21 Manor Grove [top right] /130 [bottom right]bracketed eaves, caulfield north, labassa, balaclava road, orrong road, sylliott hill, alexander william robertson, ontario, john a. b. koch, john boyd watson, mouldings, 1920's, la bassa, manor grove, st kilda east, architects, john koch, greenhouses, gardens, plants, land subdivisions, gates, macfarlane foundry, brick, cast iron work, hipped roofs, gables, 1890's

Stephen Henty married Jane Pace in Fremantle April 1836; four sons and six daughters were the issue of the marriage. Mrs. Stephen Henty was born in Yorkshire on 14 April 1812, and she died in Hamilton on 02 February 1906. She was the first white woman to settle permanently in Western Victoria, arriving in Portland on 18 December 1836. From a small booklet "Old Memories," written by Jane Henty on her 84th birthday. 'My husband and I arrived at Portland Bay in 1836, though he had made some trips there previously. It was on a Sunday night we landed by moonlight. I was carried on shore through the surf by a sailor. On reaching the homestead, a comfortable dwelling composed of four rooms, kitchen and dairy, a bright log fire was burning, table spread with a large pot loaf, piles of eggs and tea. Edward had not travelled inland, but my husband never rested until he had gone all through the interior, cut a track through 15 miles of forest land with two men and a dray, and arrived on the banks of the Wannon. He used to be absent for weeks at a time, causing me great anxiety. The natives were not to be trusted, so he usually took with him an expiree from Tasmania. Stephen Henty fixed all three of the first stations -Muntham, Merino Downs, and Sandford. In July 1837 Stephen sent some fine flocks of merino sheep to Muntham, having previously had a hut built for the men, and yards for the sheep; his two brothers, John and Frank, took charge of the sheep on the road. "On August 3, 1837, my son Richmond was born the very day the sheep arrived at Muntham. Edward was in Tasmania at the time, and arrived three weeks after the birth of my son, with his brother James and his son... My husband and Edward were in partnership, Edward managing Muntham, and Stephen the mercantile part at Portland Bay. John managed Sandford and Frank Merino Downs... My husband was the first white man who stood on the border of the Blue Lake at Mt. Gambier. He said he would never forget the feeling of awe he felt on coming suddenly on the blue water in the wilderness.("The Portland Bay Settlement", by Noel Learmonth, 1934)Black and white image Mrs Stephen Henty.stephen henty, portland, pioneer, women, jane henty, jane pace, merino downs

Collection of digitised photographs taken in preparation for the Class of 1973 Reunion in 2014. Garden views and buildings. Donated by Joanne Morris, former student, in June 2014. See Digitised photos- Garden Views folder- Visit to Burnley April 2014. (1) Luffmann Ponds. (2) Administration Building. (3) Emily Gibson Beds and Ginkgo biloba. (4) Looking towards Native Garden. (5) Oak tree. (6) Looking towards Rose Garden. (7) Looking towards Stream Garden and Fern Garden. (8) Looking towards Rose Garden. (9) Plaque at entrance to Field Station. (10) New gates at entrance to Field Station donated by the Friends of Burnley Gardens. (11, 12) Field Station. (13) Plaque in Herb Garden commemorating Enid Carberry. (14) Fountain in Herb Garden commemorating Enid Carberry. (15) Forestry Building. (16-18) Inside Forestry Building. (19) Sugar Gum Table Setting donated by the Friends of Burnley Gardens. (20) Plaque on Sugar Gum Table commemorating Geoff Olive. (21, 22) View of Luffmann Ponds and Summer House. (23) Plaque at Luffmann Ponds. (24) Luffmann Ponds. (25) View of former Egg-Curator's Residence from Nursery. (26) Back of Nursery. (27,28) The Burnley entry for the Melbourne International Flower and Garden Show 2014. (29) Back of Administration Building. (30) Plant Science Laboratories. (31) Student Amenities Building. (32-34) Plant Science Laboratories. (35) Citriodora Court. (36) Eucalyptus maculata at entrance to Native Garden. (37) Native Garden, James Hitchmough Grasslands. (38) Garden view. (39) Inside the Hall. (40,41) Roof Garden. (42,43) Library. (44-50) Views of the Quad and classrooms. (51) Dairy. (52) Building 904,(Centre for Urban Horticulture) now Waterway Ecosystem Research Group. (53) Yarra Boulevard entrance.class 1973, class reunion, garden views, buildings, joanne morris, students, luffmann ponds, administration building, emily gibson beds, ginkgo biloba, native garden, oak tree, rose garden, stream garden, fern garden, field station, friends of burnley gardens, plaques, herb garden, enid carberry, fountain, forestry building, sugar gum table, geoff olive, summer house, egg-curator, residence, nursery, melbourne international flower and garden show, 2014, plant science laboratories, student amenities building, citriodora court, eucalyptus, james hitchmough grasslands, roof garden, library, quad, classrooms, dairy, centre for urban horticulture, waterway ecosystem research group, yarra boulevard entrance

This ice cream freezer, manufactured in South Australia in the 1930's, was advertised to "keep the contents of the cream compartment frozen for many hours". It was promoted for use at picnics to keep salads cool. Its design is very similar to other freezers of The Frigid name which were made in 1939; those freezers were all one colour whereas this one is blue around the top and bottom of the barrel and cream in the centre with blue/green lettering. The process of making ice cream was to pack the outer chamber full with a combination of 3 parts ice cubes of about 1 inch (2.cm) to one part coarse salt, then pour into the chamber about 1 cup of cold water. After this, the ingredients for ice cream or sorbet were poured into the inner chamber, then attach the lid and turn The Frigid freezer upside down for about 40 minutes or until the right consistency is reached. Advice as given to open the freezer every 20 minutes and stir around the contents that were frozen against the sides of the inner chamber. The ingredients for the ice cream could include cream, sugar, vanilla and eggs. The label on the box of The Frigid shows the address of A Simpson and Son to be at Pirie Street, Adelaide. This address was used as early as 1876 and later catalogues, 1931 - 1960 still show this address. Alfred Simpson and his family emigrated from England, arriving in South Australia in 1849. He had already completed his apprenticeship as a tinplate worker but he tried various other occupations, including trying out the gold mines in Victoria, before he established himself as a tinsmith in 1853. His products included many agricultural items. His son, Alfred Muller Simpson, joined the business when he turned 21. In the 1860 Simpson's products included 'explosion proof' safes. In the late 1880's A Simpson and Son manufactured munitions and mines for the war. At the time of Alfred's death in 1891, A Simpson and Son had the largest metal manufacturing plant in Australia. From 1898 the company's reputation grew from the process of enamel plating with porcelain. During the First World War, Simpsons returned to the manufacture of munitions. Alfred M. Simpson's sons (Alfred Allen, known as Allen, and Fredrick Neighbour) joined the company when they finished their schooling. Allen was also associated with the Royal Geological Society over many years and when the CT Madigan surveyed Central Australia in 1929, the Simpson Desert was named in his honour. Cape Simpson in Antarctica is also named after him due to his assistance to Douglas Mawson. A new factory was opened at Dudley Park in the 1940s and the company began the manufacture of whitegoods. In 1963 A. Simpson and Son merged with Pope Industries to form Simpson Pope Holdings. Alfred Simpson became chairman of the board of Simpson Pope Holdings. The Simpson brand, now owned by Electrolux, continues to produce a variety of household appliances. (Reference: State Library of South Australia) A Simpson and Son was an early colonial business that has lasted well into the 20th century and the name Simpson is still associated with whitegoods. Freezer, 2 quart (1.8 litre) capacity, made by A Simpson and Son Ltd, marked "The Frigid". Cylinder shaped, constructed from enamelled sheet metal, has two catches one on the base and one on top. Inner cylinder for holding contents for freezing. Slightly rusted. Freezer is inside original cardboard box with yellow label showing manufacturer details. Circa 1930'sOutside of freezer is printed in blue"The Frigid". Box includes "THE "FRIGID" FREEZER" and branded "S & S" inside a circle.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, a. simpson & son limited, manufacturer, foundry, freezer, 2 quart freezer, portable freezer, kitchen appliance, the frigid, ice cream freezer, ice cream maker 1930's

The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom and Canada, and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'. Endowed professorships are referred to as chairs. It was not until the 16th century that chairs became common. Until then, people sat on chests, benches, and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin. Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high. In ancient Egypt, chairs appear to have been of great richness and splendour. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honour. On state occasions, the pharaoh sat on a throne, often with a little footstool in front of it.[ The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor. The earliest images of chairs in China are from 6th-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It was not until the 12th century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Christian missionaries in the 7th century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Japan, it is no longer common to sit at floor level. In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day. Thomas Edward Bowdich visited the main Palace of the Ashanti Empire in 1819, and observed chairs engrossed with gold in the empire. In the 1880s, chairs became more common in American households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears, Roebuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available. The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair,[ moulded plastic chairs and ergonomic chairs. The recliner became a popular form, at least in part due to radio and television. The modern movement of the 1960s produced new forms of chairs: the butterfly chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966. Technological advances led to moulded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs. https://en.wikipedia.org/wiki/ChairThe chair is one of the most commonly used items providing comfort.Chair wooden varnished dark brown. Spokes for back support, front legs and spokes joining legs are patterned turned wood. Back rest has a floral emblem with a kangaroo in the centre.Back rest has a floral emblem with a kangaroo in the centre.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, chair, dining, carpentry

The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom and Canada, and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'. Endowed professorships are referred to as chairs. It was not until the 16th century that chairs became common. Until then, people sat on chests, benches, and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin. Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high. In ancient Egypt, chairs appear to have been of great richness and splendour. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honour. On state occasions, the pharaoh sat on a throne, often with a little footstool in front of it.[ The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor. The earliest images of chairs in China are from 6th-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It was not until the 12th century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Christian missionaries in the 7th century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Japan, it is no longer common to sit at floor level. In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day. Thomas Edward Bowdich visited the main Palace of the Ashanti Empire in 1819, and observed chairs engrossed with gold in the empire. In the 1880s, chairs became more common in American households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears, Roebuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available. The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair,[ moulded plastic chairs and ergonomic chairs. The recliner became a popular form, at least in part due to radio and television. The modern movement of the 1960s produced new forms of chairs: the butterfly chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966. Technological advances led to moulded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs. https://en.wikipedia.org/wiki/ChairThe chair is one of the most commonly used items providing comfort.Chair wooden varnished dark brown. Spokes for back support, front legs and spokes joining legs are patterned turned' wood. Backrest has a floral emblem with a kangaroo in the centre.Back rest has a floral emblem with a kangaroo in the centre.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, chair, dining, carpentry

The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom and Canada, and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'. Endowed professorships are referred to as chairs. It was not until the 16th century that chairs became common. Until then, people sat on chests, benches, and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin. Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high. In ancient Egypt, chairs appear to have been of great richness and splendour. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honour. On state occasions, the pharaoh sat on a throne, often with a little footstool in front of it.[ The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor. The earliest images of chairs in China are from 6th-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It was not until the 12th century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Christian missionaries in the 7th century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Japan, it is no longer common to sit at floor level. In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day. Thomas Edward Bowdich visited the main Palace of the Ashanti Empire in 1819, and observed chairs engrossed with gold in the empire. In the 1880s, chairs became more common in American households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears, Roebuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available. The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair,[ moulded plastic chairs and ergonomic chairs. The recliner became a popular form, at least in part due to radio and television. The modern movement of the 1960s produced new forms of chairs: the butterfly chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966. Technological advances led to moulded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs. https://en.wikipedia.org/wiki/ChairThe chair is one of the most commonly used items providing comfort.Chair varnished dark brown. Spokes for back support, front legs and spokes joining legs are patterned turned wood. Back rest has a floral emblem with a kangaroo in the centre.Back rest has a floral emblem with a kangaroo in the centre.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, chair, dining, carpentry

Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p175 It’s Saturday morning and thousands of people are visiting St Andrews Market at the corner of Heidelberg-Kinglake Road and Proctor Street. It’s hard to find a park. Cars are banked up along the narrow road and crammed in a nearby parking area. Yet, at the market, people look relaxed and happy amongst the yellow box gums on the site where the Wurundjeri people used to gather. Stone artefacts unearthed there by Koorie researcher, Isabel Ellender, indicate the site was once a Wurundjeri meeting place, according to Aboriginal Affairs Victoria. Acoustic sounds mingle with quiet conversations. A guitarist blows a mouth organ while his bare toes tickle chimes. A tiny busker, perhaps five years old, plays a violin while sounds of a harp emerge from the hall. One stallholder, selling delicious-looking pastries, chats to another in Spanish, then to me in broad Australian. ‘I was born in Fitzroy but my mother came from Mexico and my dad from Serbia,’ she smiles. A New Zealander fell in love with Mongolia and now imports their hand-made embroidered clothes and Yurts (tents) and runs adventure tours. A young woman visited Morocco and when friends admired the shoes she bought, she decided to import them and sell them at the market. Oxfam sells Fair Trade toys and clothes and displays a petition to Make Poverty History. Other stalls sell Himalayan salt, jewellery made from seeds from northern Australia, glass paper-weights from China as well as locally grown vegetables, flowers and organic freshly baked bread. A woman sits in a state of bliss under the hands of a masseur. Another offers Reiki or spiritual healing. A juggler tosses devil sticks – ‘not really about the devil,’ he smiles. This skill was practised thousands of years ago in Egypt and South America he says. At the Chai Tent people lounge on cushions in leisurely conversation. The idea for the market was first mooted among friends over a meal at the home of famous jazz and gospel singer Judy Jacques.2 Jacques remembers a discussion with several local artists including Marlene Pugh, Eric Beach, Les Kossatz, Ray Newell and Peter Wallace. ‘We decided we wanted a meeting place, where all the different factions of locals could meet on common ground, sell their goodies and get to know one another,’ Jacques recalls. They chose the site opposite another meeting place, St Andrews Pub. A week later Jacques rode her horse around the district and encouraged her neighbours to come along to the site to buy or sell. On February 23, 1973, about 20 stallholders arrived with tables. They traded ‘second-hand clothes, vegetables, meat, cheese, eggs, chickens, goats, scones, tea, garden pots and peacock feathers’. Now around 2000 people visit each Saturday. People usually linger until dusk. The market – with around 150 stalls of wares from a wide variety of cultures – stands alongside Montsalvat as the most popular tourist attraction in Nillumbik. By the 1990s St Andrews Market was in danger of being loved to death, as the site was becoming seriously degraded. The market was spreading in all directions and the degradation with it. A local council arborist’s report in 1994 noted exposed tree roots from erosion and compaction. The Department of Sustainability and Environment threatened to close the market if the degradation was not rectified. After many months of research, discussions and lobbying by a few residents, the council formed a Committee of Management, with an Advisory Committee, and introduced an Environment Levy. The State Government, the council and the market, funded terracing of the site to stop erosion, and retain moisture and nutrients. Vehicles were excluded from some sensitive areas and other crucial zones reserved for re-vegetation. Volunteers planted more than 3000 locally grown indigenous species. The old Yellow Box trees fully recovered and are expected to give shade for many years to come.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, didgeridoo, jesse tree, st andrews market, swiss hang drum

An hourglass or sandglass is an instrument for measuring a defined time and can be used perpetually by simply turning it over immediately the top bulb empties. The clear blown glass is shaped into two equal sized bulbs with a narrow passage in the centre and contains uniform sized sand or glass particles in the lower bulb. The width of the neck regulates the constant flow of the particles. The glass is held in a stand with top and bottom of equal shape and size. Hourglasses can measure an infinite variety of time by gauging the size of the particles, the shape and size of the bulbs and the size of the passage between the bulbs, thus measuring hours or minutes or even seconds. Generally an hourglass sits between discs of wood at the ends, which are joined by long wooden spindles between the ends and tightened by screw caps. The length of time can be adjusted by adding or removing sand particles. The use of the marine sandglass (or hourglass) has been recorded in the 14th century in European shipping. A one minute sandglass was used in conjunction with the ship’s log for ‘dead reckoning’, (see below) that is, for measuring the ship’s speed through the water. They were also used to regulate ringing the ship’s timetable; for example a 4 hour sandglass was used for the length of the sailors’ watch, and a half hour timer for taking of readings for the ship’s log; the ship’s bell would be rung every half hour. It was usually the role of the cabin boy to watch and turn the sandglasses over at the exact time of them emptying their upper chambers and to ring the ship’s bell. Hourglasses have been used historically for many hundreds of years. Some have been used for timing church sermons, in cooking, in industry and at sea. Even today they are used for measuring the cooking time of eggs and timing a player’s turn in games such as Boggle and Pictionary. The sandglasses at sea were gradually replaced in the late 1700’s to early 1800’s by the more accurate chronometers (marine clocks) when they became reliable instruments. DEAD RECKONING (or Deduced Reckoning) Dead reckoning is the term used to describe the method of calculating the ship’s position from its speed and direction, used in early maritime travel, mostly in European waters. Both the (1) speed and the (2) direction of travel were recorded on a Traverse Board at half-hourly intervals during a helmsman’s watch of 4 hours. The navigator would record the readings in his ship’s log, plot them on his navigational chart and give his updated course directions to the next helmsman on watch, along with the cleared Traverse Board. This was a very approximate, but none-the-less helpful, method of navigation. The wooden Traverse Board was a simple pegboard with a diagram of a compass with eight peg holes along the radius to each of the compass points, plus a grid with ascending half hours in the left column and increasing ship’s speed in knots in a row across the column headings, with a peg hole in each of the intersecting cells. A number of wooden pegs were attached to strings on the board. By placing one peg consecutively in the direction’s radius hole, starting from the centre, and the speed holes when the half hourly reading was taken, a picture of speed and direction for the whole 4 hour watch was created. (1) To measure the ship’s speed a one minute hourglass timer was usually used to measure the ship’s speed through the water and help to calculate its longitude. A rope, with knots at regular standard intervals and a weight such as a log at the end, would be thrown overboard at the stern of the ship. At the same time the hourglass would be turned over and a seaman would start counting the number of knots on the rope that passed freely through his hands as the ship travelled. When the timer ran out the counting would be stopped. A timer of one minute (one-sixtieth of an hour), knots spaced one-sixtieth of a nautical mile apart, and simple arithmetic easily gave the speed of the ship in nautical miles per hour ("knots"). This would be recorded every half hour. The speed could however be inaccurate to the travel being affected by ocean currents and wind. (2) To calculate the ship’s direction a compass sighting would be recorded each half hour.Marine hourglasses or sandglasses were used from around the 14th to 19th century during the time of sailing ships. This hourglass is representative of that era, which is during the time of the colonisation of Australia. Hourglass or sandglass; an instrument used to measure time. Two equal sized clear glass bulbs joined with a narrow passage between them, containing equal sized particles of sand grains in lower bulb. Glass sits in a brass collar at each end, in a frame comprising 3 decorative brass columns or posts, each attached top and bottom, using round screw-on feet, to round brass discs. Disc have Roman numerals for the numbers 1 - 12 pressed into their inner surfaces and hieroglyphics on the outer surfaces. Roman numerals on inner surface of discs " I II III IV V VI VII VIII IX X XI XII " Hieroglyphics impressed on outer surface of discsflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, horology, hourglass, hour glass, sandglass, sand glass, timing instrument, dead reckoning, deduced reckoning, finding latitude at sea, sandglass with hieroglyphics and roman numerals, hourglass with hieroglyphics and roman numerals, brass hourglass

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