This is one of eight embroidered panels, completed during the 1988 Australian Bi-Centennial, and carried out under the auspices of City of Kew Council and the Kew Historical Society. Nearly 600 residents, including many children, participated in their production by adding a few or more stitches. A book records their names and the panels upon which they worked. Artist: Joy Stewart / Co-ordinator: Dorothy Benyei.1. Survey Team. A framed embroidery created by adults and children of the City of Kew as a Bicentennial project, based on a design by the artist Joy Stewart. Five of the six completed embroideries created in the project are/were displayed in the Kew Library. [The five embroidered panels have now been temporarily removed for conservation reasons].Inscription: "SURVEY TEAM 8th February 1803 / Grimes, Flemming, Robbins and McCallum explored the river (Yarra) to the falls (Dights), sighting several friendly Aborigines, and were the first Europeans to set foot in the area now known as Kew." Embroidered signature of the artist: "(c) JStewart, 1988"bicentennial project (kew), joy stewart, charles grimes expedition, australian bicentennial

Kew Tapestry. The eight panels depict the history of Kew. This was a 1988 Australian Bi-Centennial Project carried out under the auspices of City of Kew Council and the Kew Historical Society Incorporated. Nearly 600 citizens including many children participated in the production by adding a few or more stitches. A book records their names and the panels upon which they worked. Artist: Joy Stewart Co-ordinator: Dorothy BenyeiSydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.1. Survey Team. A Handcoloured cartoon created by the artist Joy Stewart as a template for the first of a series of embroidered panels depicting the history of Kew. Wool colour codes at left. Inscription: "8th February 1803. SURVEY. Grimes, Flemming (sic), Robbins and McCallum explored the river (Yarra) to the falls (Dights), sighting several friendly aborigines, and were the first Europeans to set foot in the area now known as Kew". Signed by the artist "(c) JStewart, 1988"bicentennial project (kew), joy stewart

The painter of the work is unidentified. While the frame was made in Brisbane, the artwork is likely to be European in origin. The framer, William Lewis Hamilton, trading as A.L. Hambleton is listed in a Commonwealth of Australia Gazette of 1917. (No.113) in an application for copyright. The donor's ancestors, who included a number of amateur artists, lived in Coorparoo, Queensland.Oil on canvas mounted in an elaborate gilt wooden frame. The painting depicts a donkey and chickens in a barn. Donated by Rosemary Vaughan-Smith. A label on the frame is partly readable. It indicates that the frame was supplied by A.L. Hambleton, Kents Building, cnr Adelaide and Albert Streets, Brisbane.See note on label abovevaughan-smith collection, farmyard scenes, oil paintings

Alan PEASCOD (1943-2007). Born England. Arrived Australia 1952. Alan Peascod was one of Australia’s most highly acclaimed ceramic artists. For over 35 years his work has been at the forefront of the Australian ceramics movement, developing radical techniques previously unexplored with his developments in unusual glazes and firing methods. His creative repertoire includes dry glazed vessels, alkaline glazes, majolica, saturated metals, and many post firing finishes. Alan's work with the very difficult reduced lustre technique is highly regarded. He was taught the method by Professor Said El Sadr in Cairo, Egypt in 1972 and this led to lifelong research of the technique throughout the Middle East and Europe. His work in the field led to the completion of his doctoral studies at the University of Wollongong in 1994. This study also led to satirical figurative sculpture themes dealing with the human condition. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Blue and green dry glaze bottle. alan peascod, ceramics, gippsland, jan feder memorial ceramics collection, gippsland campus, visiting artist

Anna ZAMORSKA (b.08.03.1942- ) Born Poland. Lives Wroclaw. Anna Zamorska graduated from the Wroclaw Academy of Fine Arts in 1965. In 1984 she undertook a six residency at Gippsland Institute of Advanced Education, Churchill (later Federation University) and participated in the Ceramics Symposium "Strzelecki Spotkanie". Her works are in museums throughout Europe, the Americas, Japan, Taiwan and South Korea. Since 1974, the artist has been a member of the International Ceramics Academy (IAC) based in Geneva / Switzerland. Fireclay Chair.anna zamorska, ceramics, jan feder memorial ceramics collection, gippsland campus, strzelecki spotkanie, chair

Robert WAGHORN Robert Waghorn was a mature age student at the Ballarat School of Mines when Head of the Art Department, Brian McLennan, commissioned this work. Born: 1957 – Ballarat, Vic 1984 – Diploma of Fine Art (Painting), Phillip Institute of Technology 1985 – Studied art throughout Europe, United Kingdom and Egypt 1987 – Graduate Diploma (Art & Design). Phillip Institute of TechnologyAbstract Painting If you can provide information on this artist or artwork please use the comment box below.robert waghorn, brian mclennan, ballarat school of mines, artist, artwork

Alan PEASCOD (1943-2007). Born England. Arrived Australia 1952. Alan Peascod was one of Australia’s most highly acclaimed ceramic artists. For over 35 years his work has been at the forefront of the Australian ceramics movement, developing radical techniques previously unexplored with his developments in unusual glazes and firing methods. His creative repertoire includes dry glazed vessels, alkaline glazes, majolica, saturated metals, and many post firing finishes. Alan's work with the very difficult reduced lustre technique is highly regarded. He was taught the method by Professor Said El Sadr in Cairo, Egypt in 1972 and this led to lifelong research of the technique throughout the Middle East and Europe. His work in the field led to the completion of his doctoral studies at the University of Wollongong in 1994. This study also led to satirical figurative sculpture themes dealing with the human condition. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007. Lustre glazed earthenware form with sgraffito decoration.art, artwork, ceramics, alan peascod, available, available ceramics, lustre glaze, university of woolongong

Christopher HEADLEY Born York, England Arrived Australia 1974 Chris Headley studied at York School of Art before majoring in Ceramics at the Central School of Art in London, learning to throw with (the late) Michael Casson and hand-build with Gordon Baldwin. Chris graduated in 1973 and set out for Australia. He travelled overland across Europe and Asia, through Turkey, Afghanistan and Iran. He was invited to attend a traditional wedding in Pakistan by someone he made friends with on the bus trip from Isfahan to Teheran, got lost several times in India and ran out of money in Thailand. Eventually, a year after leaving England, he arrived in Australia, where he has lived and worked ever since. He undertook his Master’s degree at the Australian National University, graduating in 1991; and in 1999, with Dr Owen Rye as his supervisor, gained his PhD from Monash University, Victoria. (http://www.christopherheadley.net/#!about) While artist-in-residence at the Arts Academy, Federation University in 2009 Chris was spotted dragging his ceramic figures and photographic equipment across mullock heaps near Ullina, around Lake Wendouree and inside the Art Gallery of Ballarat where he was photographing Mount Warrenheip. These figures were used in the photographs. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Two white earthenware glazed ceramic figures, one with a kangaroo head.art, artwork, christopher headley, ceramics, sculpture, artist in residence, figures

Chris HEADLEY Born in York, England Chris Headley studied at York School of Art before majoring in ceramics at the Central School of Art in London, learning to throw with (the late) Michael Casson and hand-build with Gordon Baldwin. Chris graduated in 1973 and travelled overland across Europe and Asia, through Turkey, Afghanistan,and Iran arriving in Australia. A year after leaving England, he arrived in Australia, where he has lived and worked ever since. He undertook his Master’s degree at the Australian National University, graduating in 1991, and in 1999, with Dr Owen Rye as his supervisor, gained his PhD from Monash University, Victoria. Sculptural form on wheels black fired with three gold fish hanging. This work forms part of the Jan Feder Memorial Collectionjan feder memorial collection, jan feder, ceramics, artwork, artist, gippsland campus, chris headley, jan feder memorial ceramics collection

Robert BARRON (1957- ) Born in Harpenden, England. Robert Barron first worked full-time with clay in 1976, the family pottery at Croydon, Victoria. In 1979, he left Australia on a five-year journey to New Zealand, North America, England, Europe, and South Korea to work with skilled potters in woodfiring. During this time, he visited Michael Cardew at Wenford Bridge Pottery, Cornwall, UK., and was engaged as an apprentice at Cornwall Bridge Pottery, Connecticut, USA. Returning to Australia in 1984, he established Gooseneck Pottery at Kardella, Victoria. With the assistance of a Crafts Board grant Robert Barron built a 1000 cubic ft five-chambered Nabori-Gama style woodfired kiln. This kiln one of the largest wood-fired kilns in Australia. Robert Barron is influenced by the philosophies of Bernard Leach and Michael Cardew.artwork, artist, ceramic, gippsland campus, robert barron

The portrait was painted by Robert Hannaford in 2000, Archibald prize finalist. Painted by South Australian artist Robert Hannaford AM. He started off as a cartoonist for the Adelaide Advertiser, studied in the School of Mines in Ballarat and has lived and worked in India, Europe and Africa. This portrait is part of the Record Series 74. Permanent/Semi-Permanent Displayed Works.Oil Painting of Mrs Ruth Tideman Headmistress Mrs Ruth Tideman Headmistress 1983-2000

Ill, p.64.non-fictionMurillo was the leading painter in Seville in the later 17th century. He remained one of the most admired and popular of all European artists in the 18th and early 19th centuries. His early works were much influenced by the early works of Velázquez, executed before Velázquez left Seville in 1623, and by the paintings of Zurbarán.painters - spain, art - spain

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Devy Erlih, Town Hall, Bendigo, The Australian Broadcasting Commission presents Final Concert in the International Celebrity Concert Series. Devy Erlih-Violinist, Raymond Lambert-Piano. Thursday, 22nd October 1959, 8pm. Article with photograph about Devy Erlih. Erlih is 30, born in Paris and studied at Paris national Conservatory of Music. Established an international status at a young age.1956 engaged in international concerts. 1955 won first prize in the international Margurite Long-Jacques Thibaud competition. Concerts in Japan.1956 won the French Record Academy prize. Concert in Vienna. Bartok Concert with the Berlin Philharmonic Orchestra at Strasbourg International Festival of a concerto dedicated to him by Pierre Max Dubois. . . Article with photograph on Raymond Lambert. Lambert has made the full Commonwealth tour with some of the A.B.C.'s. most outstanding visiting artists, including Australian signers as well as several from overseas. Inherited voice of chamber music from his father, the late Edouard Lambert. He first toured Australia with his father. Australian tour 1952. Tour Europe and America in 1953 and 1955. Australia 1956.Accompaist for Mattiwilda Dobbs . . . Programme. Analytical Notes. News; of Music and Musicians. Advertisements: Philips, The Ace of Clubs, Barossa Pearl. The Australian Broadcasting Commission, Sir Richard Boyer, K.B.E., M.A., Chairman. E R Dawes, SEQ., C.M.G., - Vice Chairman. Sir John Medley, KT., D.C.L., LL.D., M.A. The Hon. Dame Enid Lyons, G.B.E. Mrs. G.L. Blyth, O.B.E., B.A. A G Lowndes, M.SC. HB Halvorsen, F.C.A., F.C.I.S. Charles Moses, C.B.E. General Manager. Ewart Chapple, Manager for Victoria. Ray Humphrey, Concert Manager for Victoria.entertainment, music, classical

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

Great Hall at Montsalvat built 1938-52, designed by Justus Jorgensen Covered under National Estate, National Trust of Australia (Victoria) State Significance, Victorian Heritage and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p129 At first glance, Montsalvat, the artists’ community at Hillcrest Avenue, Eltham, could belong to another time and place. The French provincial Gothic-style buildings blend picturesquely with the introduced and native trees and farm animals on the five hectare property. But Montsalvat belongs very much to today’s Eltham, having inspired much of its creative activity and style. The use of mud-brick and recycled building materials, for which Eltham is so well-known, was largely popularised by Montsalvat. Montsalvat – unique in Victoria and probably in Australia – is registered by the National Trust and National Estate.1 Montsalvat, named after the castle of the Knights of the Holy Grail, has attracted artists and intellectuals since it was founded in 1934. For years at weekends, artists, lawyers, philosophers, politicians and others, who shared a love for what Montsalvat stood for, gathered for a meal and stimulating discussion. The focus for this gathering of talent was Justus Jörgensen, an eccentric man with vision and charisma. It was Jörgensen’s foresight that saw the creation of Montsalvat, which in 1975 was formed into a trust to benefit the Victorian people. The property was then valued at about three million dollars. It is now visited by thousands of people annually. Born in 1894 and brought up a Catholic, Jörgensen had trained as an architect. He later studied painting at the National Gallery School under artist, Frederick McCubbin, then joined the studio of artist Max Meldrum. In 1924, Jörgensen married medical student Lillian Smith, and with artist friends they travelled to Europe to study the great masters. In London Jörgensen exhibited in several major galleries. One of his still life paintings was included in the book The Art of Still Life by Herbert Furst, which featured 100 of the greatest ever still life paintings.2 In 1929, Jörgensen returned to Melbourne where Lil, now qualified, worked as an anaesthetist at St Vincent’s Hospital. They bought a small house in Brighton and Jörgensen rented a large building in Queen Street for his studio until the Royal Automobile Club of Victoria bought it in 1955. While designing and overseeing the building of a studio for his friend the famous cartoonist Percy Leason, in Lavender Park Road, Jörgensen decided to buy land for a country retreat in Eltham. So the building of Montsalvat began. Jörgensen gathered around a dozen of his friends and students from his Queen Street studio. They set to work, first at weekends then some decided to live permanently on the site. Jörgensen had seen mud-brick buildings in Spain and recognised that Eltham’s clay soil was ideal for mud-bricks and although labour intensive, it was a very cheap way of building. Jörgensen’s students and friends worked under his direction with the help of local tradesmen, including carpenter, Len Jarrold and later stone mason, Horrie Judd. In return Jörgensen would give the students a painting lesson or two. It was the Great Depression when many were out of work. Jörgensen also inspired people to give generously of money and materials. With their help Jörgensen found second-hand materials for building. Friends donated slate for roofing, discarded firebricks were used for flooring and windows and doors and a cast-iron circular staircase came from a wrecker. The students’ day started at 7am with building and domestic chores, shared equally between the sexes. The first building was used by his friends at weekends and then became a home for his wife Lil. It consisted of three rooms and an attic under a high-pitched roof. Jörgensen then built a similar structure with the same high-pitched roof as a more permanent home for his students. The two buildings were joined together with a tower and a studio for Jörgensen. While excavating for the studio a reef of yellow mud-stone was found and then used in construction. The next building was the Great Hall, to be used for dining, exhibitions and meetings and completed in 1958, after a halt during the war. Whelan the Wrecker donated the stone-framed windows from the building that housed the Victorian Insurance Co. in Collins Street, which had been demolished in the 1930s. The swimming pool was donated and cubicles were built for the students with their initials marked in tiles on each doorstep.1 One of Jörgensen’s great abilities was to recognise how to use material which harmonised. He would comb through wreckers’ yards for what he needed. Regarding his buildings as sculptural pieces, his first consideration was for the aesthetic quality of a building and only then for its functionality.2 At Montsalvat, Jörgensen found he was able to put his ideas into practice without compromise and those who worked with him had to conform to his ideas. With the Jörgensens, the colony’s original nucleus consisted of the Skipper family – Mervyn and wife Lena, daughters Helen and Sonia and son Matcham,who was to become an eminent jeweller and sculptor represented in National Gallery collections throughout Australia and in European museums.3 Other members were Arthur Munday, Lesley Sinclair, Helen Lempriere, Ian Robertson, John Smith, George Chalmers, John Busst and Sue Van der Kellan; also Jörgensen’s three sons – Max, Sebastian and Sigmund – and Saskia, Sonia Skipper and Arthur Munday’s daughter. Montsalvat went through some hard times when local gossips spread rumours of sexual shenanigans at Montsalvat. However Montsalvat also had many local supporters – especially amongst the local tradespeople. The colony was certainly unconventional – with Jörgensen’s wife Lil (and son Max) and life-time partner Helen Skipper, (mother of Sebastian and Sigmund) living at Montsalvat. Sonia Skipper says in her biography that the group were ‘very conscious of their responsibilities to each other and a desire to make their relationships work’.4 By World War Two many buildings around the Great Hall were completed. Jörgensen was a pacifist, as were most of his students. Some of the Montsalvat community enlisted while others engaged in essential services like dairy farming and market gardening for the war effort. It was then that Jörgensen constructed farm buildings. After the war many well-known personalities such as Clifton Pugh, landscape gardener Gordon Ford, and builder Alistair Knox, were drawn to Montsalvat. They learnt that building was not a ‘sacred cow’ only for professionals, but that anyone who was willing to get their hands dirty could do it. The post-war shortage of materials also encouraged builders to follow Montsalvat’s lead in reusing materials. When Jörgensen died in 1975, his influence did not – thanks largely to the vigilance of his son, Sigmund, who became its administrator. The weekend dinners have gone, but in 2008 about 14 artists still work at Montsalvat – some living there – including a couple who have been there since its early days. Under Sigmund’s direction Montsalvat further expanded its activities which included festivals, art exhibitions, concerts and weddings. Sigmund completed the Chapel, then the Long Gallery next to the pool, After the barn burnt down, he replaced it in 1999 (the builder was Hamish Knox, Alistair’s son) with a new gallery and entrance and added a restaurant. Sigmund has been careful that any new building blends in with the character of Montsalvat. In 2006 Montsalvat was restructured for its continued financial viability and with the help of Arts Victoria a new executive officer was appointed. A representative board from the wider community was established, which includes members from the former Montsalvat Trust including Sigmund Jörgensen – who is now the heritage and arts adviser to the new company Montsalvat Ltd.5 Today, visiting Montsalvat one still sees artists, students and visitors enjoying the unique and beautiful surroundings.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, eltham, great hall, montsalvat