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

Alphabetical entries about many topics from fruit trees to Legislation, to Senate of America George Rolfe came to Warrnambool in 1872 and by 1883 was well established on the banks of the Hopkins River at Lyndoch. In 1884 he purchased Shipley which also had frontage to the Hopkins River. He participated in the social and sporting life of Warrnambool and was a keen rower.An interesting collection of thoughts and life of one of the early merchants and farmers of the area. He was a generous benefactor of the hospital.Dark green hard cover with maroon spine and corners. Pages are lined and alphabetical. Hand written entries throughout. : Inside front cover is label ”Cook & Fox, Account Book Manufacturers, Stationers, Bookbinders machine Rulers, Importers 58 Queen St Melbourne. Handwritten on front page “G Rolfe Senr. Book for extracts 1865. warrnambool, george rolfe, lyndoch, book for extracts

430 pp. on art paper. approx 60 illustrations, photos, sketches, all B&W. Extensive appendices according to the trades the ships engaged in. Long index, examples of log entries, mapsnon-fictionFrom the Preface: "In this book I have attempted to give some account of the beautiful sailing ships which played so great a part in the development of the great British Dominions under the Southern Cross. It is written specially for the officers and seamen of our Mercantile Marine, and I have endeavoured to avoid such a criticism as the following:—“Heaps about other ships, but my old barkey was one of the fastest and best known of them all and he dismisses her with a line or two.” I have made rather a point of giving passage records, as they are an everlasting theme of interest when seamen get together and yarn about old ships. The memory is notoriously unreliable where sailing records are concerned, so I have been most careful to check these from logbooks and Captains’ reports. Even Lloyd’s I have found to be out by a day or two on occasions. A great deal of my material has been gathered bit by bit through the past 25 or 30 years. Alas! many of the old timers, who so kindly lent me abstract logs and wrote me interesting letters, have now passed away. The illustrations, I hope, will be appreciated, for these,viii whether they are old lithographs or more modern photographs, are more and more difficult to unearth, and a time will soon come when they will be unprocurable. Indeed, if there is any value in this book it is because it records and illustrates a period in our sea history, the memory of which is already fast fading into the misty realms of the past. To preserve this memory, before it becomes impossible, is one of the main objects, if not the main object, of my work."clippers, basil lubbock, loch vennachar, loch gary, loch ryan, loch sloy ship, hobsons bay, mermerus

Copy of two foolscap pages with information on the Ballarat East School of Art, the Ballarat city School of Art, and the Ballarat West School of Artballarat east school of art, ballarat west school of art, ballarat city school of art, a. doepel, a. humphreys, h.g. upham, w.h. batten, james oldham, henry j. hall, ballarat technical art school, art schools, schools of art

Clothing. High round neckline at back, with peaked turn-back revers at front. Long sleeves, gathered into 3 cm cuff, which fastens with two metal press-studs. Bodice has front opening with three x 2 cm diameter white plastic buttons - peaked in the centre and with an impressed ridged texture. Bodice has two bands of shirring at the front shoulder line giving a ruched effect 6.75 cm wide. Six gored skirt. A band 6.5 cm wide at centre front reducing to 3 cm wide at side seams, forms a midriff panel, before becoming a belt at the back fastening with two metal press-studs. Back bodice is lightly gathered on either side at waistline. A home stitched dress.costume, female, woman's navy dress

Clothing. High round neck at back, with peaked revers at front. Press-stud closure at centre front, with three grey plastic buttons sewn to outside.(two missing). Button is impressed with a circular pattern. Short sleeves. A 4 cm wide panel increasing to 5 cm at centre front is set into front waistline, and extends into a belt at the back-3.25 cm wide and fastening with a metal press-stud. Six gored skirt. Almost certainly home stitched, as several dresses in the collection are of similar style. An oval shaped patch, 16 cm X 8.5 cm has been hand stitched immediately below the centre front waistline. A home stitched dress.costume, female, floral print dress

SoftcoverBiro inscription: Davies, 290 Walsh Street South Yarramark rothko, abstract expressionism, art trade, walsh st library

Local resident Deborah Halpern is a highly recognised and respected contemporary artist with an acclaimed national and international reputation in the arts community. She has a strong artistic connection to the area as her parents were founding members of Potters Cottage - a group of local ceramicists who were influential in the development of ceramics in Australia. Deborah Halpern donated Wayfarer through the Australian Government Cultural Gift Program. A cubist inspired kinetic work in three parts, the artwork depicts a semi abstract figure, a ‘traveller’ made out of reflective mirror and colourful ceramic tiles. Wayfarer is an excellent example of Halpern’s tile construction technique and playful style that she is renowned for. Wayfarer is one of Halpern’s first works exploring kinetics as well as combining mirror with painted ceramic tiles. Sculpture - Kinetic Ceramic, Glass, Fibreglass, Aluminium deborah halpern, wayfarer, nillumbik shire council

Deborah Halpern was raised in Nth Warrandyte. Her connection to the area and the significant contribution that she and her family (founding members of Potters Cottage) have made to the artistic heritage and culture of the Shire is acknowledge with the commission of this piece. Deborah Halpern is a highly recognised and respected local artist with an acclaimed national reputation in the arts community. This work is a gateway piece, welcoming residents and visitors into the Shire from the southern end of the boundary. 'Queen of the Shire' reflects the creative spirit that flows endlessly in the Shire, inspired by the landscape. This work forms part of a series of sculptures that Halpern has created along the banks of the Yarra in Melbourne ('Angel' - Birrarung Marr and 'Ophelia' - Southgate). This sculpture is an excellent example of Halpern’s ouvere and 'tile construction' technique for which she is renowned. Materials: coloured glass tiles, fibreglass, aluminium, steel. A sweeping stylised (female) form covered in bright and colourful tiles held aloft by two steel poles. queen, sculpture, semi-abstract, stylised, glass, tiles, public art, halpern, ek prac 2015

A training leaflet about quality controlquality control

23 pages : map ; 30 cm.non-fictionScientific savant in nineteenth century Australia. 1996 commemorative conferences, Royal Botanic Gardens, Melbourne, Sunday 29th September to Saturday 5th October 1996 held at the University of Melbourne, the scientific savant in 19th century Australia, celebration of the life, times and legacy of Ferdinand von Mueller, program & abstractsroyal botanic gardens - melbourne (vic.), ferdinand von mueller

Soft Cover slightly larger than A4 size, mostly white cover with blue & black writing & rainbow swirls 517 pages

non-fictionIntroductory Abstract - "On its instigation in 1973, the Albury-Wodonga Growth Centre experiment was hailed as a novel and imaginative project. It was a "pilot scheme" that was expected to influence the urban settlement pattern in Australia. It was a "bold venture", a "brave attempt" to solve a longstanding problem. It involved three governments embarking on an "exciting adventure". This short book length catalogue essay (51 pages) provides an illustrated guide to the social history and visual arts exhibitions mounted for the 40th anniversary in 2013 of the inauguration of the Albury-Wodonga National Growth Centre experiment. The essay served as rationale and support for two council exhibitions at the Albury Library Museum and the Arts Space Wodonga in October and November 2013. The background story and the exhibitions are about place-making. They ask about the kind of place that has been made at Albury-Wodonga. How was it imagined, promoted, grown? They examine the experiment of developing Albury and Wodonga jointly and rapidly, and ask how that experiment relates to the place now and in the future. It assesses and gives a broad contextual account of the National Growth Centre experiment at Albury-Wodonga and traces important aspects of the story with emphasis on a local point of view. " Bruce Pennayalbury-wodonga, decentralisation, urban settlement australoa