Showing 111 items matching orchids

Greensborough Historical Society
Folder, Ely Family, 1878o

Contents: Ely family tree Frederick Ely was born in Cowlinge Suffolk, in 1838. (His parents were George Ely b1793 and Sarah Poulter b1792, both born in Cowlinge. Frederick came to Australia on the ship 'Ocean Monarch' in 1856 with (most likely) his brother George, aged 34, his wife Elizabeth Piper, aged 22, and daughters Elizabeth, aged 2, and Harriet, aged 1. George and his family settled in the Harcourt area of Victoria, as did his brothers William and Henry. In 1857, Henry, his wife Mary Anne (Parker) and a daughter came to Australia, and settled in Greensborough for a short time, then moved to Harcourt, taking a large amount of apple tree cuttings and plants from Greensborough, where he, brother William, William Eagle, a childhood friend from Cowlinge, and a Nathan Vick, planted and stated apple orchids.History of the origins of this Greensborough family.20-page plastic binder, spiral bound, clear cover. Contains documents relating to the Ely family.Collected by Greensborough Historical Society. Folder commenced 2012.ely family, splatt family
Federation University Historical Collection
Document - Correspondence, Ballarat Science and Field Naturalists Club Wildflower Exhibition, 1915, 07828.1; 1st 0ctober 1915. 07828.2; 8th September 1916

... orchids ...

The Ballarat Scinece and Field Natualists' Club was closely associated with the Ballarat School of Mines. Two typed carbon copied letters from the Ballarat Science and Field Naturalists Club regarding wild flower exhibitions. .1) dated 1st October 1915 and signed C. A. Hoadley and H. L. Williamson (Honorary Secretaries). .2) dated 8th September 1916 and signed W. H. Collyer and H. B. Williamson (Honorary Secretaries). Letters describe the picking, packaging and delivery of flowers for the show..1) THE BALLARAT SCIENCE & FIELD NATUALISTS' CLUB 1st October, 1915 We intend holding an Exhibition fo Woldflowers on Saturday the 16th October next with a view of helping the Red Cross Fund. Thinking that in your locality there are a number of native shrubs in bloom, we appeal to you to help by sending along some bunches for show and sale. ... .2) THE BALLARAT SCIENCE AND FIELD NATUALISTS' CLUB 8th September, 1916 Dear ................................... Encourage by the interest in our Wild-floweres Show held in October last yer, and mindful of the fact that our efforts resulted in a substantial ampint being raised for the Red Cross fund, we have decided to hold another Exhibition on the 7th October next, in aid of the same Fund and the Lady Mayoress' League. May we hope for help from you in sending boxes of blooms for show and sale? It may be that you were one of our contributers last year. ... charles hoadley, c. a. hoadley, h. l. williamson, h. b. williamson, smb, ballarat school of mines, ballarat science and field naturalists club, flora, wattles, acacias, herbaceous plants, orchids, lilies
The WAMA Project : The National Centre for Environmental Art
Painting, Marianne Wehl (1867 - 1926), Untitled (Tetratheca ciliata, Marianthus bignoniaaceus, Leptospermum myrsinoides, Thryptomene calcina, Epacris impressa), c1887 to 1924

The artist: Marianne Louise Charlotte Amalie Wehl (19 Sept. 1867, Mt Gambier; 26 Oct. 1926, Melbourne), a flower painter who was active in South Australia and Victoria, and not to be confused with Marie Magdalene Wehl. Connection with Baron von Mueller: Von Mueller’s younger sister, Clara married Doctor Eduard Wehl and they lived in South Australia. They had 14 children, 6 of whom collected and painted botanical studies – some now in the National Herbarium, Melbourne. A cousin of Doctor Wehl – Carl Wehl – married Sophia Caroline (née Gorte) and one of their daughters was Marianne Wehl. It is recorded that von Mueller visited the Wehls and D’Altons in Halls Gap (Henrietta D'Alton was also a painter of wildflowers), so it is hard to believe that there is no influence at least. Von Mueller had over 1,400 collectors/artists working for him and 225 of them were women and children. Their work is housed in the National Herbarium, Melbourne. The donor believes that Marianne contributed to this work. There is no record of that, however, as only 169 of the artists have been identified, it may be a possibility. Marianne was one of six children of Carl Jakob Wilhelm Wehl (1830–1899) and Sophia Caroline Wehl (née Gorte) (1843–1920). She never married. https://data.environment.sa.gov.au/Content/Publications/JABG34P001_Dowe.pdf The plants: All of the plants painted by Marianne Wehl's in this donation were identified by Botanist Neil Marriott & Wendy Marriott, in July 2022. Neil Marriott said that the quality and beauty of these botanical studies made it easy for them to identify all the plants. He suggested they may be some of the first paintings of Grampians wildflowers. This makes the paintings highly important scientifically and botanically. Visitors to WAMA will be able to compare them with today’s plants in the Endemic Garden. Neil marvelled that Marianne found the specimens, as some of them are endemic and found only in the highest parts of the Grampians (Mt Rosea, Mt William and Major Mitchell Plateau) and are listed as rare and endangered. Some of these same rare plants have now been propagated by the WAMA team and in winter 2022 were planted in WAMA's Endemic Garden. Left to right: (Neil's comments) Tetratheca ciliata - Black-eyed Susan. Common and widespread. Marianthus bignoniaceus –Orange Bell-Climber. Confined to drainage lines and winter-wet areas, generally well shaded. A most beautiful light climber with the Grampians being its only location in Victoria, but amazingly, it is also found in small numbers in the wetter parts of the Mt Lofty Ranges and on Kangaroo Island in South Australia. Although not strictly endemic, it has been propagated for planting in our endemic garden due to its rarity in Victoria. Leptospermum myrsinoides - Heath Tea-tree. Common and widespread. Spider Orchid Caladenia species- need my orchid books for accurate identification! Thryptomene calycina - Grampians Thryptomene. Grampians endemic but common. Epacris impressa - Common Heath - white flower form. Common and widespread NB In some records she is called Marianna (as the donor calls her) and in others Marianne. Wildflower art, Wildlife artGift of Barbara Crick in memory of Marjorie and Lachlan McLennanSix individual, small paintings of Grampians wildflowers, matted together and framed in a smooth gloss olive green simulating wood or bamboo.All are signed with the initials “M.W.” underlined, to the left or right of the stem of the plant. On the reverse side - Shield-shape stamp centre top: “J.A. Reynolds. Decorator & Picture Framer, 28 Sturt St., Ballarat”. Hand-written right of that in black felt pen at an angle, “McLennan, 106 Bennett Rd. (2)”.wildflowers, flowers, marianne wehl, marianna wehl, wama, painting, gouache, wildlife art museum australia, wild art museum australia, flower painter, works on paper, halls gap, botany, baron von mueller, ferdinand von mueller, carl wehl
Eltham District Historical Society Inc
Map, George W. Bell, A Visitor's Guide Map; ELTHAM, WARRANDYTE and Environs, c.1969

Commissioned by George W. Bell, designed by Anthony Harvey. An old gold mining and wine growing district eighteen miles from Melbourne, now notable for its arts, crafts, good food and historic buildings. On the reverse side (of one copy only) is printed in 8 panels (3 half-folds) advertising for Montsalvat, Eltham; Setel Downs Coffee Kitchen Art Gallery, Kangaroo Ground; Country Art Store, Eltham; Alfred's Homestead, Warrandyte; Neville F Emmerson Estate Agent, Lower Plenty; Eltham Crafts. Monstsalvat, Eltham; Tantoon native plants and culinary herbs, Eltham; Flavour of Eltham, Shillinglaw Coattage Preservation Society; The Eltham Barrel; Potters Cottage, Warrandyte. In addition is provided by cateogory listing: POTTERY AND CRAFTS Country Art Store, Eltham Diamond Creek Handicrafts, Diamond Creek Eltham Crafts, Eltham John Mills, Eltham Potters Cottage, Warrandyte Setel Downs, Kangaroo Ground The Claypot, Warrandyte Warrandyte Quarries and Pottery, Warrandyte GOOD FOOD AND DRINK Alfred's Homestead, Warrandyte Geranium Parlour,. Research Inglenook, Warrandyte La Ronde, Eltham The Barrel, Research The Potters Restaurant, Warrandyte Setel Downs, Kangaroo Ground GALLERIES Hassall's Gallery, Research Lodge Gallery, Warrandyte The Bird Gallery, Eltham Royalat Gallery, Panton Hill PLANTYS, TREES AND SHRUBS Danson's Gardens, Research Dean's Orchids & Dahlias, Templestowe Diamond Vlley Trees & Shrubs, Warrandyte Jum Jum, Diamond Creek Parson's, Research Tantoon, Eltham Warran Glen, Warrandyte44..8 x 57.5 cm (Two copies) On the reverse side (of one copy only) is printed in 8 panels (3 half-folds) advertisingeltham, warrandyte, map, country art store, diamond creek handicrafts, eltham crafts, john mills, potters cottage, setel downs, the claypot, warrandyte quarries and pottery, alfred's homestead, geranium parlour, inglenook, la ronde, the barrel, the potters restaurant, hassall's gallery, lodge gallery, the bird gallery, royalat gallery, danson's gardens, dean's orchids & dahlias, diamond vlley trees & shrubs, jum jum, parson's, tantoon, warran glen, advertising, eltham barrel
Eltham District Historical Society Inc
Document - Folder, Pugh, Clifton

The artist, Clifton Pugh, grew up in Briar Hill. He served in WWII and settled at Cottles Bridge, building his own house and forming Dunmoochin artist colony. He married three times and had two sons. He painted the portraits of many eminent people. Contents Newspaper article: "This is the house that Cliff built", The Age, 2 May 1964. Description of Clifton and Marlene Pugh's house.. Folder: Brief biography Clifton Pugh. Photocopy section of "Clifton Pugh: Patterns of a lifetime", Traudi Allen, Nelson, Melbourne 1981. Magazine article: "Clifton Pugh: His home is a work of art", Woman's Day, 16 January 1894. Describes Clifton Pugh's house at Hurstbridge. Newspaper article: "A guide to our orchids", Diamond Valley News, 14 February 1984. Clifton Pugh contributed to the book "A Year of Orchids". Newspaper article: "A family tradition is continued". Diamond Valley News, 28 February 1984. Clifton Pugh's childhood and career. Magazine article: "Clifton Pugh's bush paradise", Home Beautiful, May 1989. Clifton Pugh's house and studio. Clipping: "Clifton Pugh award winning artist". Clifton Pugh currently working on illustrations for a book, with Pam Blashki, on wood chipping ["A Kingdom Lost: A Story of the Devastation of Our Wilderness", published 1989]. Newspaper article: "Funeral drama shows the Pugh touch", The Age, 19 October 1990. Clifton Pugh's funeral at Montsalvat. Newspaper article: "Friends bid farewell to Pugh". Herald-Sun, 19 October 1990. Clifton Pugh's funeral at Montsalvat. Newspaper article: "Friends paint a lowing portrait". Herald-Sun, 19 October 1990. Funeral and obituary of Clifton Pugh. Newspaper article: "Montsalvat mourns passing of a great". Diamond Valley News, 23 October 1990. Clifton Pugh's funeral at Montsalvat. Newspaper article: "Loner who was a fair dinkum mate". Diamond Valley News, 23 October 1990. Obituary of Clifton Pugh. Newspaper article: "Pugh's last works", Tempo, The Age, 17 July 1991. Clifton Pugh was illustrating Helen Lunn's book 'The Digger's Mate' when he died. Newspaper article: "Dunmoochin's rich tradition to live on", Diamond Valley News, 29 October 1993. Dunmoochin Foundation Board to advertise lease of studios. Newspaper article: "Clean up for Cliff", Herald Sun, 8 December 1993. Preparation for exhibition of Clifton Pugh's work at LaTrobe University Art Museum. Flier: Exhibition "Clifton Pugh: A Retrospective", Montsalvat, 12 to 14 November 1999. Newsletter: "Dunmoochin: an edited version of the history prepared for the Heritage Study by David Bick", Eltham District Historical Society newsletter 140, September 2001 Newspaper article: "Hail rising of Phoenix", Diamond Valley Leader, 20 July 2005. Dunmoochin Foundation and official opening of buildings Phoenix I and Phoenix II after the 2001 bush fire. Newspaper article: "Legacy to the arts", Diamond Valley Leader, 10 August 2005. Dunmoochin Foundation and the rebuilding after the 2001 bush fire. Newspaper article: "Tiwi art to go on show", ?publication, ?2002. Shane Pugh, Johnny Young and Ian McKimmie organising exhibition of Tiwi art to mark 100th birthday of Strathewen hall. Flier: Exhibition "Clifton Pugh AO: Reflections of Dunmoochin". Briar Hill Primary School, 23 to 25 November 2007. Printout: "Dunmoochin", http://www.standrews.vic.edu.au/dunmoochin.html. 19 May 2004. Newspaper article: "Hail rising of Phoenix", Diamond Valley Leader, 20 July 2005. Rebuilding at Dunmoochin after bushfire. Newspaper article: "Legacy to the arts", Diamond Valley Leader, 10 August 2005. Rebuilding at Dunmoochin after bushfire. Newspaper article: "Artist's legacy on show". Dunmoochin one of four Cottles Bridge sites for a tour by Trust for Nature, 2 and 3 October no year. Newspaper clippings, A4 photocopies, etcclifton pugh, hurstbridge, adriane strampp, princess michael of kent, arthur boyd, john brack, charles blackman, fred williams, shane pugh, marlene pugh, professor jock marshall, briar hill victoria, cottles bridge victoria, turner family of briar hill, yandell family of briar hill, st helena church, st helena road, briar hill primary school, eltham high school, dunmoochin, campbell beardsell, david beardsell, ivanhoe boys grammar school, national gallery art school, hurstbridge grevillea, montsalvat, george dreyfus, kew city band, justus jorgensen, sir edward "weary" dunlop, prue acton, john howley, fay dunmore singers, derryn hinch, jeff kennett, tom uren, dennis gowing, matcham skipper, kyra skipper, gordon ford, hilary jackman, peter graham, robert marshall, john greaves, jenni mitchell, rodney roschollor, gough whitlam, sir john kerr, lionel murphy, manning clark, arts policy committee of victorian branch of the australian labor party, latrobe's art museum, rudy komon gallery, leonard french, jon molvig, rick armor, john olsen, latrobe university, donovan pugh, trevor welshman, australia council visual arts board, lesley alway, dailan pugh, paul barnett, helen nixon, helen lunn, a year of orchids book, campbell bearsdell, david bearsdell, johnny young, ian mckimmie, tiwi art, strathewen hall, rhonda noble, latrobe university art museum, traudi allen, clifton pugh patterns of a lifetime book, trust for nature, randall robinson
Eltham District Historical Society Inc
Photograph - Digital Photograph, Alan King, Kinglake National Park, 27 March 2008

Fern gullies around Jehosaphat Gully Covered under National Estate. Published: Nillumbik Now and Then / Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p125 The magnificent Kinglake National Park, fringing Nillumbik’s north, is the largest national park close to Melbourne. Thanks to the vision and hard work of a band of local people, the park was created from what was rapidly becoming degraded land. Seeing a threat to Kinglake’s indigenous flora and fauna, several prominent local people campaigned for a national park, which was established in 1928.1 Since then, the park has grown through donations and acquisitions of land, from around 13,800 acres of land (5585ha) to 22,360 hectares. The Sugarloaf and Everard Blocks – of almost 8000 hectares – stand in Nillumbik and the park extends into Mitchell and Murrundindi Shires and the City of Whittlesea. Mt Everard commemorates William Hugh Everard, State member for Evelyn when the park was established. Before 1928, European settlers had degraded the Kinglake area, which was named after the celebrated English author and lawyer, Alexander William Kinglake. Remains of gold shafts and diggings in the park are reminders of Kinglake’s first settlers, who hoped to strike it rich at the gold diggings. But like other gold fields in this shire, they proved not very lucrative and soon timber cutting replaced mining in importance. However, before long, the accessible timber supply ran out, so in the 1920s agriculture took over – particularly potatoes and berry fruits – which involved large-scale clearing.2 The park’s instigator was retired Melbourne University Professor of Music, William Laver.3 As chair of the Kinglake Progress Association he began negotiations to have crown lands on the southern scarp of the Great Dividing Range reserved as a national park. Even before the park was proclaimed, from 1927, KPA members cut tracks to the major scenic points. Professor Laver was one of several people who gave land for the park, donating around 50 acres (20ha), including the Jehosaphat Gully.4 Laver chaired the park’s first Committee of Management, which raised money to employ a ranger and provide facilities, including tracks and roads for fire protection vehicles, toilets and shelters. The committee charged fees for firewood collection, some grazing of livestock, and visitor entrance, and obtained small State Government and Eltham Shire grants. In 1957 the State Government provided revenue for national parks. Then, in 1975, the State Government took over the management and the Committee of Management became an advisory committee, which disbanded in 1978. Originally, the park covered crown land in the Shires of Eltham and Whittlesea; then Wombelano Falls in Yea and other areas were added. In 1970 the park extended into the Shires of Eltham, Healesville, Whittlesea and Yea.5 Bush fires have been an ongoing problem. In 1939 hundreds of eucalypts and acacias had to be sown around the Jehosaphat Gully to rejuvenate the forest. To manage bushfires, the Committee of Management, then the State Government, worked closely with the Forestry Commission, shire councils and local fire brigades. Early national parks focussed on recreation. But by the 1980s, conservation, education and scientific research became more important, playing a vital role in preserving representative samples of the natural environment. Each year many thousands of people use the park’s extensive network of walking tracks amongst the protected plant and animal life as well as camping, cycling and horse riding. The park, along the slopes of the Great Dividing Range, has lookouts revealing magnificent views of the Melbourne skyline, Port Phillip Bay, the Yarra Valley and the You Yangs. Vegetation in the Masons Falls area includes messmate forest, Austral grass-trees, ferns and Hazel Pomaderris. In spring, orchids, lilies, everlasting daisies, correas, grevillea and heath appear. Around Jehosaphat Gully are wet and dry forest, fern gullies and banksia. Animal life includes wallabies, kangaroos, koalas, echidnas, possums, gliders and bandicoots. Male lyrebirds can be heard mimicking in the Jehosaphat Gully, particularly in the Everard Block in winter.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, kinglake national park, jehosaphat gully
Eltham District Historical Society Inc
Photograph - Digital Photograph, Marguerite Marshall, Art Gallery at Clifton Pugh's Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge, 5 February 2008

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
Eltham District Historical Society Inc
Photograph - Digital Photograph, Marguerite Marshall, Doorway of Clifton Pugh's former house at Dunmoochin, Barreenong Road, Cottles Bridge, 5 February 2008

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
Bendigo Historical Society Inc.
Document - ROYAL PRINCESS THEATRE COLLECTION: MAJORIE IN WONDERLAND, 12 Aug 1916

Royal Princess Theatre - Majorie in Wonderland. Saturday, 12 August, 1916. Price of Program, One Penny. Australian Children's Pantomime. Matinee Performance. In Aid of Fruit and Vegtable Fund For Our Soldiers in The Trenches. Produced by Miss Girlie Mackay. Children's Vocal Training by Madame Rossow. Dialogue by Miss Eileen O'Keefe. Musical Director, Mr Stanley Upton. Stage Manager, Mr J Dunphy. Lighting Effects Mr W Wenborn. Theatre kindly lent by W Crowley, Esq. Hon. Sec., Norman Howell. Prologue. The curtain rises showing the flowers asleep. The fairies, summoned by daylight, entre and sing, awakening the flowers, and leave. Then Puck entres, followed by the Blue Wrens, singing, and after them the Bunnies, who are all . . . Sale of Sweets supervised by Miss Nita Weller and Assistants. Novelties by Mrs Julius Cohn. Dresses designed and made by Mrs McQuie, Mrs Marc Cohn, Miss Lena Weller, and Miss Girlie Mackay, assisted by Mrs Balsillie, Mrs Ralph Ross. Mrs Robert Makayand the Misses Gladys McQuie, Norma Moorhead, Carola Iser, and Hilda Meurer. Program: Songs sung throught Performance. Act I. 1 Chorus-Fairy Song. 2 'Bunnies' Adventure' by the Bunnies. 3 Chorus-Holiday Song. 4 Bell Bird Duett-Jean & Jim Walker. 5 Sailor's Hornpipe-Crissie Cravino. 6 'Marjorie Sunbeam'-Myrtle Glanville. 7 'As I went o'er the Paddock'-Jean Walker. 8 Chorus'Billy Tea. 9 Song-'Possum'-Bertie Barkell. 10 'Bogie Man'-Stella Coghlan. 11 'Kookooburra'-Mel Wearne. 12 Chorus-'Winter Bells'. Act II. 1 Chorus-'Autumn Winds'. 2 'Stay Little Wave'-Jean Walker. 3 'Southern Cross'-Rose Murphy. 4 Song-'Kangaroo'-Brownies. 5 'Pixie Man'-Ruthie Murphy. 6 Chorus-'Wattle'. 7 'Grow Little Mushroom'-Stella Cook. 8 'Cooee'-Myrtle Glanville & Marie Hamilton. 9 Butterfly Dance-Sheila Shannon.10 'King Billy & Black Mary'-Ken McQuie. 11 Boomerang Song-Ken McQuie. 12 Final Chorus-'To the Fairies', 'Good Night'. God Bless Our Splendid Men. Cast of Characters:Marjorie & Jean Walker, Myrtle Glanville, Ruthie Murphy, Marie Hamilton, Thelma Thomas, Stella Coghlan, Jim Walker, Jim Long, Bertie Barkell. Fairies:-Mary Hunter, Lily Brown, Una Grelis, Biddie Bulley, Rosa Dyring, Ellie Colcough, Ida Collins. Puck:-Una Leggo. Butterfly:-Sheila Shannon. Brownies:-Tom Green, Douglas McQuie, Hunphrey, Gill, Mel Wearne, Laurence Skewes. Aboriginal:-Ken Mquie. Frog:-Sid Whitelaw. Native Bear:-Ken Moore. Blue Wrens:- Alma Jorgenson, Doris Reed, Geoff Schultz, Jean Cahill. Flowers. Orchids:- Joyce Ross, Margaret Long, Dorothy Thomas, Margaret McQuie, Mollie Roberts, Rose Murphy. Pink Gums:-Lorna Weddell, Minnie Hartley, Isola Woodward, Jean Moran, Decima Holtorf, Merle Nagel. Flannel Flowers: Gwen Hunter, Nancy Tatchell, Catherine Green, Mary Rymer, Thelma Cairns, Cecil Gleeson. Poppies:-Lorna Cattran, Alice Murphy, Maisie O'Grady, Eileen Coglan, Alma McWilliams, Jean Miller. Blue Bells:-Mavis Tozer, Vivian Reed, Monnie Fattorini, Gwennie Seely, Alice Evans, Lily O'Conner. Southern Cross:-Eileen Martin, Jean Murdoch, Effie Williams, Verna Mayne, Minnie Hartley, Mollie Martin.Cambridge Press, Print.program, theatre, royal princess theatre, royal princess theatre - majorie in wonderland. 12 august, 1916. program, one penny. australian children's pantomime. matinee performance. in aid of fruit and vegtable fund for our soldiers in the trenches. produced by miss girlie mackay. children's vocal training by madame rossow. dialogue by miss eileen o'keefe. musical director, mr stanley upton. stage manager, mr j dunphy. lighting effects mr w wenborn. theatre lent by w crowley, esq. hon. sec., norman howell. prologue. the curtain rises showing the flowers asleep. the fairies, summoned by daylight, entre and sing, awakening the flowers, and leave. then puck entres, followed by the blue. . . sale of sweets supervised by miss nita weller and assistants. novelties by mrs julius cohn. dresses designed and made by mrs mcquie, mrs marc cohn, miss lena weller, and miss girlie mackay, assisted by mrs balsillie, mrs ralph ross. mrs robert makayand the misses gladys mcquie, norma moorhead, carola iser, and hilda meurer. program: songs sung throught performance. act i. 1 chorus-fairy song. 2 'bunnies' adventure' by the bunnies. 3 chorus-holiday song. 4 bell bird duett-jean & jim walker. 5 sailor's hornpipe-crissie cravino. 6 'marjorie sunbeam'-myrtle glanville. 7 'as i went o'er the paddock'-jean walker. 8 chorus'billy tea. 9 song-'possum'-bertie barkell. 10 'bogie man'-stella coghlan. 11 'kookooburra'-mel wearne. 12 chorus-'winter bells'. act ii. 1 chorus-'autumn winds'. 2 'stay little wave'-jean walker. 3 'southern cross'-rose murphy. 4 song-'kangaroo'-brownies. 5 'pixie man'-ruthie murphy. 6 chorus-'wattle'. 7 'grow little mushroom'-stella cook. 8 'cooee'-myrtle glanville & marie hamilton. 9 butterfly dance-sheila shannon.10 'king billy & black mary'-ken mcquie. 11 boomerang song-ken mcquie. 12 final chorus-'to the fairies', 'good night'. god bless our splendid men. cast of characters:marjorie & jean walker, myrtle glanville, ruthie murphy, marie hamilton, thelma thomas, stella coghlan, jim walker, jim long, bertie barkell. fairies:-mary hunter, lily brown, una grelis, biddie bulley, rosa dyring, ellie colcough, ida collins. puck:-una leggo. butterfly:-sheila shannon. brownies:-tom green, douglas mcquie, hunphrey, gill, mel wearne, laurence skewes. aboriginal:-ken mquie. frog:-sid whitelaw. native bear:-ken moore. blue wrens:- alma jorgenson, doris reed, geoff schultz, jean cahill. flowers. orchids:- joyce ross, margaret long, dorothy thomas, margaret mcquie, mollie roberts, rose murphy. pink gums:-lorna weddell, minnie hartley, isola woodward, jean moran, decima holtorf, merle nagel. flannel flowers: gwen hunter, nancy tatchell, catherine green, mary rymer, thelma cairns, cecil gleeson. poppies:-lorna cattran, alice murphy, maisie o'grady, eileen coglan, alma mcwilliams, jean miller. blue bells:-mavis tozer, vivian reed, monnie fattorini, gwennie seely, alice evans, lily o'conner. southern cross:-eileen martin, jean murdoch, effie williams, verna mayne, minnie hartley, mollie martin.
Old Castlemaine Schoolboys Association Inc.
Poem, The Castlemaine Old Schoolboys' Annual Reunion

Written by George E Scott who was born in Creswick March 1900. Moved to Vaughan in 1904. Attended Yapeen State School utill 1913 then to Castlemaine high school and technical schools. Poem written in 1950s.There is a lift to the old boys step tonight, and is feeling young and gay his eyes are bright and his heart is light, and his thoughts are far away. Back in his dear old Castlemaine, or out in the hills around living the days of his youth again feeling his pulses bound. For he's just answered the call that comes to the loyal hearts every year insistent, clear as the beating of drums it falls on the listening ear so the old boy went and his mates went to back home in their hundreds strong and years were bridged in at long day through in story and speech and song. At at the Bush school love so well he gathered with his comrades gay, old Lads and Lassie's with tales to tell of memories tucked away. And bright eyed children had joined them in there happy young faces shone, as they showed old scholars are pride and care in the school that was handed on. Around them the bushland was bright with flowers, and the dear little orchid blue Bloom there with bright, in the sunlit bowers- for it is our emblem true. So the old boy drained through that day again, and it lifted his heart like a song, then Knight came down on the old home town and the hall, with its happy throng. In long brave lines they had mustered there as they had on the days of yore, and as they answered the roll - but the years take toll- there were mates who would come no more. The toast called, and the speeches made, when, trooping into the hall, with faces bright, and their eyes alight, came the girls- the toast of them all. So they broke up and wandered and formed into groups, while many have time for a song, But bashing the ear was permissible here, and they kept at it- steady and long. So the hours flitted by happiest notes of memories sweet old refrain, old friendships renewed - past doing's reviewed, the old boy was feeling strain. For his ears had been punished, his hand had been wrung, his voice was hoarse as a crow, with an ache in his jaw- "I can't take any more, while I'm all in one piece, mates, I'll go." With Auld lang syne is singing a broke up and parted, "next year we will see you again" when the message goes ringing, their thoughts will go winging and calling them back to 'Mainepoem, yapeen
University of Melbourne, Burnley Campus Archives
Album - Black and white and colour slides, Burnley Views, 1947-1955

Contributor: T.H. KneenCardboard box of 108 35mm glass slides in metal frames made by "Gnome." Box labelled "Burnley Gardens Slides." Also 16 unused slides (1) Swan Street entrance c. (2) Orchid? b/w. (3) Nursery b/w. (4) Pasture area with man working b/w. (5) Draught horse working in the Orchard b/w. (6) Crop of corn in the Orchard c. (7) Magnolia c. (Magnolia x soulangeana). (8) Display of orange flowers c. (9) Lemon tree in the Orchard c. (10) Sign advertising 'Fruit Tree Pruning Demonstarion Sat. 2nd July (1949) c. (11) Jersey cow c. (12) Rock Point c. (13) Dahlias in the Orchard c. (14) Foundation Stone '28th August, 1946' c. (15) Felled Cypress tree 1951 b/w. (16) School truck in front of glasshouses and cacti b/w. (17)Administration Building completed but surrounded by rubble C.1949 c. (18) Plant Research Institute c. (19) Inside a glasshouse. c. (20) Administration Building c. (21) Group of female students dressed up for a function c. (22) Solenostemon (Syn. Coleus) in a glasshouse. (23, 24)Stock Matthiola incana. (25) Blossom in the Orchard c. (26) Orchard c. (27) Picking fruit in the Orchard c. (28) 2 female students holdong large bunches of poppies c. (29) Flowers growing in the Orchard c. (30) House - not Burnley c. (31) Students on an excursion c. (32) Staff member with Gladioli c. (33) Garden view - not Burnley? c. (34) Administration Building c. (35) Roses c. (36) Flowers in the Orchard c. (37) Draught horse working in the Orchard c. (38) Staff member amongst flowers in the Orchard c. (39) Garden view c. ((40) Blossom in the Orchard c. (41) Orchard c. (42) Flowers inside glasshouse c. (43) Mesembryanthemums in pots possibly in the nursery c. (44) Tree b/w. (45) Garden bed c. (46) Sign, 'Agrostology Branch, pasture Plant Research Field,' c. (47) Path to Principal's Residence c. (48) Irrigation in the Orchard b/w. (49) Cactus flowers b/w. (50) Garden view with T.H. Kneen children playing c. (51) (52) Cinerarias (now Pericallis x hybrida) in pots c. (53) Temporary building where the Grey Garden is now b/w. (54) Garden view b/w. (55) Unknown building b/w. (56) Person pruning in the Orchard c. (57) Students working in the Orchard c. (58) Swan Street with recently completed rock wall constructed by the Public Works Department b/w. (59) Lagoon paddock b/w. (60,62) Pavilion and new Administration Building before the Pavilion was removed b/w. (61) As (60) but viewed from a different direction c. (63) Plant c. (64) View through a window on the stairs in the Administration Building c. (65) Plant c. (66) Garden view of trees c. (67) Garden View b/w. (68) Blossom tree c. (69 )Garden view along path to Principal's Residence c. (70) Lagoon Paddock c. (71) Lagoon Paddock with cows b/w. (72) Inside a glasshouse b/w. (73) Entrance sign- Department of Agriculture Burnley Gardens, School of Horticulture & Primary Agriculture, Plant Research laboratory, Agrostology Branch, Fruit Preserving Branch c. (74) Plant Research Laboratory b/w. (75) Students on an excursion c. (76) Glasshouses b/w. (77) Garden view b/w. (78) Kniphophia c. (79) Hibiscus c. (80) Garden view c. (81) Dairy, Silo and dog b/w. (82) Irrigation in then Orchard b/w. (83) Garden view with magnolia c. (84) Flower plots in the Orchard c. (85) Pruning demonstration b/w. (86) Administration Building under construction c. (87) Rock Point c. (88) Mrs Kneen and Magnolia c. (89) Glasshouses c. (90) Sequoia sempervirens b/w. (91) Inside Administration Building c. (92) Luffmann Ponds b/w. (93) Sequoia sempervirend, Mrs Kneen and child c. (94) Garden bed in front of Sequoian sempervirens c. (95) Principals Residence b/w. (96) Poultry pens b/w. 1947 (97) Principals Residence b/w. (98) Student picking fruit from netted tree b/w. (99) Rock Point and Long Border c. (100) Administration Building under construction c. (101) Greenhouse b/w. (102) Rock Point c. (103) Flowers in the Orchard c. (104) Waterlilies in the Pond c. (105) Blossom tree c. (106) Hilda Kirkhope Rockery c. (107) Long Border c. (108) Plant Research Institute with flower border along drive c.burnley gardens, flower, nursery, pasture, draught horse, orchard, crops, magnolia, chicken coops, egg laying competition
Ringwood and District Historical Society
Programme, Ringwood and District Horticultural and Garden Club, Ringwood and District Horticultural and Garden Club Schedule for the Annual Autumn Show, 1971, 1971

Ringwood and District Horticultural and Garden Club Schedule for the Annual Autumn Show, 1971.12 page booklet- typed Schedule.Front Page Ringwood and District Horticultural and Garden Club Schedule for the Annual Autumn Show To be held in the Assembly Hall, Ringwood High School, Bedford Road, Ringwood Saturday, March 6, 1971. (Doors Open at 2 p.m.) Entries close: 9 p.m. Thursday March 4th, 1971. Admission: Adults: 30 centsChildren: 5 cents Next Page OFFICE BEARERS LIFE MEMBERS: Mrs.Lord, Mrs.W.McDowell, Mr.B.J.Hubbard, Messrs.W.Gillespie, E.Bennett, G.W.Burns, E.T.Kearsley, Les.Ingram, W.McDowell. PRESIDENT:Mr.J.Roberts 39 Warrandyte Road Ringwood, Telephone: 870-1483 VICE-PRESIDENTS: Mrs.D.Hutchinson Mr.V.H.Wilson MENS' COMMITTEE: Mr.G.W.Burns, Mr.W.McDowell, Mr.E.Frame, Mr.V.H.Wilson, MR.J.Percival LADIES COMMITTEE: Mesdames: W.McDowell, D.Hutchinson, A.Mabu, D.Wilson, Miss Isbester TREASURER: Mr.D.Puckey Summit Crescent Ringwood North SECRETARY: Mrs.V.H.Wilson 38 William Street Ringwood, Telephone: 870-7458 ENTRIES CLOSE ON THRUSDAY MARCH 4TH 1971 AT 9 P.M. NO LATE ENTRIES WILL BE ACCEPTED AT THIS SHOW. PROGRAMME Staging of Exhibits 8.30 a.m. till 12 Noon Judging Commences 12.30 p.m. Show Opens 2.30 p.m. Removal of Exhibits 9.00 p.m. Admission: Adults: 30 centsChildren: 5 cents Page One EXHIBITORS MAY MAIL OR TELEPHONE ENTRIES TO THE UNDERMENTIONED:- MRS.V.H.WILSON,38 William Street, Ringwood870-7458 MRS.D.HUTCHINSON, 48 Caroline Street, RINGWOOD 870-8577 ENTRIES CLOSE THURSDAY MARCH 4TH AT 9 P.M. RULES FOR COMPETITORS All Exhibits must be stages by 12 Noon and must not be removed before 9 p.m. Exhibitors must apply on moring of Show to the Secretary for Cards which must be placed in front of Exhibit in the allotted space. All Exhibits, except Floral Art, must be grown by the Exhibitor. Awards will be made by the Judges whose decision is final. Prize Money available at 8 p.m. and if not claimed within one month will revert to the Society. Exhibits should be names. In a close finish this counts. No Exhibitor allowed in Hall whilst Judging is in progress. Any Protest shall be in writing accompanied with a 50 cent deposit lodged with the Secretary before 7 p.m. on day of Show. Protest must be limited to non-accordance of an Exhibit within the Schedule. The Committee is empowered to determine and protest to be forfeited if it deems such to be frivolous. BOWL:- The width of the vessel must be greater than its height. VASE:- The height of the vessel must be greater than its width. Page Two Continuation of: RULES FOR COMPETITORS... The Rules of the Royal Horticultural Society of Victoria will apply. Dahlias will be judged under the Rules and Standards laid down by the National and Royal Dahlias Society of Victoria. A VASE consists of 3 to 6 stems (in Cut Flowers) unless otherwise stated. AWARDS: Bronze Medal of the National Dahlia Society for Best Dahlia Exhibit. BLUE RIBBONS MAY BE AWARDD FOR:- BEST VASE OF CUT FLOWERS BEST DAHLIA OVER 6 INCHES BEST VASE DAHLIAS UNDER 6 INCHESBST FLORAL ART EXHIBIT BEST SEEDLING DAHLIA CERTIFICATES OF MERIT:- GIANT DAHLIA OVER 8 INCHESBEST SHRUB MINIATURE CACTUS DAHLIA BETWEEN 4 1/2" TO 6" BEST POT PLANT CHARM DECORATIVE BETWEEN 6' AND 8' BEST VEGETABLE BEST SINGLE ROSE UNLESS OTHERWISE STATED ENTRY FEE PER SCHEDULE CLA CLASS - 5 CENTS PER ENTRY. PLEASE NOTE THAT ENTRY FEE FOR ITEMS NO. 1 AND 2 IS 25 CENTS IN EACH SECTION ENTRIES CLOSE: THURSDAY MARCH 4TH, 1971 AT 9 P.M. Page Three VICTORIANCHAMPIONSHIPSECTION 1 SCH.NO: FIRST 1DAHLIAS UNDER 8 INCHES 12 Vases (3 of each) Distinct Varieties TROPHY VALUED AT $5.00 29 Giant Dahlias, Distinct Varieties (SPONSORED BY AMETCO TRAVEL AGENCY, RINGWOOD) To be won Three Times - Trophy valued at $20-00 DAHLIAS OPEN SECTION 2 39 Dahlias 3 Medium Cactus, 3 Miniature Cactus, 3 Charm Cactus, Distinct Varieties, Shown separately $2-00 44 Giant Decorative, Distinct Varieties 50c. 51 Giant Decorative 30c. 63 Giant Cactus, Distinct Varieties 50c. 71 Giant Cactus 30c. 86 Medium Garden Cactus N.N.D. 50c. 93 Medium Garden Cactus, Distinct Varieties 50c. 10 3 Medium Decorative Distinct Varieties 50c. 11 1 Medium Decorative 30c. 12 6 Vases Miniature Cactus, Distinct Varieties - 3 of each - 75c 13 3 Vases Miniature Cactus, Distinct Varieties - 3 of each - 50c 14 3 Vases Miniature Decorative, Distinct Varieties - 3 of each 50c 15 1 Vase Miniature Dahlias - 3 Blooms Distinct Variety 30c 16 3 Vases Charm Cactus, Distinct Varieties - 3 of each - 50c 17 3 Vases Charm Decorative - Distinct Varieties - 3 of each 50c Page Four Continuation of: SECTION 2 - DAHLIAS OPEN. SCH.NO. FIRST 18 1 Vase Charm, 3 Blooms, Distinct Variety30c 19 Seedling Dahlia Over Six Inches30c 20 Seedling Dahlia Under Six Inches 30c 21 3 Vases Pompones, Distinct Varieties, 3 of each50c 22 1 Vase Pompones, N.N.D, 50c 23 3 Exhibition Cactus Distinct Varieties 50c 24 1 Exhibition Cactus30c 25 1 Miniature Dahlia20c 26 1 Charm Dahlia 20c 27 1 Vase Dahlias Under 8 Inches, 10 Stalks, N.N.D. 75c SECTION 3: RINGWOOD AND DISTRICT AMATEUR CHAMPIONSHIP DAHLIAS - AMATEUR 28 6 Giant Dahlias, Distinct Varieties $1.00 29 9 Dahlias Distinct Varieties (Shown Separately) 3 Medium Cactus; 3 Miniature Cactus, 3 Charm Cactus $2.00 30 3 Giant Decorative Distinct Varieties 50c 31 1 Giant Decorative30c 32 3 Giant Cactus, Distinct Varieties 30c 34 3 Medium Decoratve Distinct Varieties 50c 35 1 Medium Decorative 30c 36 3 Medium Cactus Distinct Varieties50c 37 1 Medium Cactus 30c 38 3 Vases Miniature Cactus Distinct Varieties (3 of each) 50c 39 1 Vase Miniature Cactus 3 Blooms N.N.D. 50c 40 1 Vase Miniature Decorative 3 Blooms N.N.D.50c Page Five Continuation of: SECTION 3 - AMATEUR DAHLEA CLASS SCH.NO: FIRST 413 Vases Charm Cactus, Distinct Varieties - 3 of each -50c. 421 Vase Charm Cactus, Distinct Variety - 3 Blooms - 30c 433 Vases Charm Decorative, Distinct Varieties, 3 of each50c 441 Vase Charm Decorative 5 Blooms N.N.D. 30c 451 Vase Miniature, 3 Blooms, N.N.D.20c 461 Charm 471 Vase Pompones 5 Blooms N.N.D.50c 481 Vase Show or Ball Dahlias 3 Blooms N.N.D. 50c. SECTION 4: DAHLIAS - NOVICE 491 Giant Dahlia 30c 501 Medium Dahlia 30c 511 Vase Miniature Dahlias, 3 Blooms, N.N.D.30c 521 Vase Charm Dahlias, 3 Blooms, N.N.D. 30c 531 Miniature Dahlia20c 541 Charm Dahlia 20c SECTION 5:R O S E S-O P E N 55Roses, 3 Blooms in Separate Containers, (Distinct Varieties)40c 56Roses, 3 Blooms, 1 colour shown separately 30c 57Roses, 3 Blooms, Bud to Full Bloom 30 c 58Roses, 3 Vases, Distinct Varieties 75c 59Roses, 1 Vase Full Bloom showing stamens 30c 60Roses, 1 Vase C.V.A. 20c Page Six Continuation of: SECTION 5 - R O S E S-O P E N SCH.NO:FIRST 611 Rose in Bloom20c 62Rose, 1 Vase of Floribunda or Grandiflora 30c SECTION 6 - R O S E S - A M A T E U R 63Rose, 1 Bloom20c 64Rose, 1 Vase, C.V.A. 30c 65Roses, 3 Blooms, Distinct Varieties35c 66Roses, 3 Blooms, Bud to Full Bloom 35c 67Roses, 1 Vase Floribunda or Grandiflora30c SECTION 7C U T F L O W E R S -O P E N 683 Vases Cut Flowers, Distinct Kinds, C.V.A. 50c 691 Vase Cut Flowers, Distinct Variety, C.V.A. 25c 701 Vase Cut Flowers, Red Shades, Distinct Kind 25c 711 Vase Cut Flowers, Pink Shades, Distinct Kind25c 721 Vase Cut Flowers, White Shades, Distinct Kind 25c 731 Vase Cut Flowers, Cream or Yellow Shades25c 741 Vase Cut Flowers, Blue Shades 25c 751 Head Hydrangeas25c 763 Vases Geranium or Pelargonium, N.N.D. 25c 771 Vase Asters, C.V.A.25c 781 Vase Zinnias, Distinct Variety, Dahlia Flowered25c 793 Vases Zinnias, Distinct Colours, Dahlia Flowered 25c 801 Vase Lilliput Zinnias, C.V.A. 25c 811 Vase Marigolds. C.V.A. 25c 821 Vase Cut Flowers, not shown in this Schedule 25c 831 Vase Decorative Chrysanthemum, C.V.A., A.N.S.25c Page Seven Continuation of: SECTION 7:CUT FLOWERS - OPEN - SCH.NO: FIRST: 841 Container phlox, C.V.A.25c SECTION 8C U TF L O W E R S - AMATEUR 853 Vases Cut Flowers, Distinct Kinds, C.V.A. 40c 861 Vase Cut Flowers, Distinct Variety, C.V.A. 25c 871 Vase Cut Flowers, Red Shades, Distinct Kinds25c 881 Vase Cut Flowers, Red Shades, Distinct Kinds 25c 891 Vase Cut Flowers, Blue Shades, Distinct Kinds 25c 901 Vase Cut Flowers, White Shades, Distinct Kinds 25c 913 Vases Fuchsias, C.V.A.25c 923 Vases Geraniums or Pelargoniums (N.N.D.) 25c 931 Vase Aster, C.V.A.25c. 941 Vase African Marigolds, Distinct Variety 25c 951 Vase Zinnias, Dahlia Flowered, C.V.A. 25c. 961 Vase Cut Flowers not stated in Schedule 25c 971 Flower not stated in Schedule 25c 981 Vase Geranium, Distinct Variety25c 991 Container Phlox25c Page Eight SECTION 9 - C U T F L O W E R S - N O V I C E SCH.NO:FIRST: 1001 Vase Asters 25c 1011 Vase Snap Dragons C.V.A.25c 1021 Vase Marigold C.V.A.25c 1031 Vase Zemias, Dahlia Flowered, C.V.A. 25c 1041 Vase Zemias, Lilliput, C.V.A. 25c 1051 Container Phlox 25c SECTION 10 F L O R A L A R T O P E N FIRST SECOND 106Arrangement of Flowers for the Home50c 20c 107Table Centre Piece of Mixed Flowers 50c 20c 108Bowl of Dahlias 50c 20c 109Arrangement of Autumn Tones (Any Foliage Allowed)50c 20c 110 Arrangement of Flowers (Dahlias to predominate - May include any plant material and accessories)$1-00 50c 111Dry Arrangement 50c 20c 112Church Arrangement 50c 20c 113A Basket of Fruit 50c 20c 114Line Arrangement (May include any Plant Material) 50c 20c 115"AS I LIKE IT" (May include any Plant Material and Accessories) 50c 20c 116Arrangement, Tall and Stately 50c 20c 117Bowl of Floating Flowers (FLOWERS MUST FLOAT)35c 15c Page Nine SECTION 11 F L O R A L A R T - A M A T E U R SCH.NO: FIRST:SECOND: 118Arrangement of Dahlias35c 15c 119Miniature Arrangement 50c 15c 120Harvest Arrangement of Flowers and/or Vegetables 40c20c 121Arrangement of Gladioli 35c 15c 122One Flower Spray30c 15c 123Arrangement of Five Dahlias 35c 15c 124Presentation Basket50c 20c 125Arrangement in Pink and Gray on Silver 40c 20c S P E C I A L N O T I C E PLEASE NOTE THAT SCHEDULE NUMBERS 106, 118 AND 120, TO BE EXHIBITED IN 2FT.6IN. NICHE.. SECTION 12 F L O R A L A R T - INTERMEDIATE SCH.NO: FIRST: SECOND: 126A Dry Arrangement 30c15c 127Presentation Basket40c20c 128Tall Arrangement 30c15c 129Line Arrangement Five Flowers40c20c ENTRIES CLOSE THURSDAY MARCH 4TH, 1971 AT 9 P.M. Page Ten SECTION 13 F L O R A L A R T - N O V I C E SCH.NO:FIRST: SECOND: 130"My Choice" 30c 15c 131Dry Arrangement 30c 15c 132One Flower Spray 30c 15c 133Presentation Basket 40c 20c 134Arrangement, "AS I LIKE IT"30c 15c SECTION 14V E G E T A B L E S SCH.NO:FIRST: 135Collection of not more than 8 Vegetables $1.50 136Brace (2) of Apple Cuccumbers25c. 137Brace (2) of Long Cuccumbers 25c 138Plate of 4 Tomatoes, smooth, (eith Stalks) 25c. 139Plate of 4 Onions25c 140One Vegetable Marrow25c 141One Pumpkin 25c 142One Lettuce25c 143Plate of Peas - 12 Pods - 25c 144Plate of Climbing Beans - 12 Beans25c. 145Plate of Dwarf Beans - 12 Beans - 25c 146Bunch of Three Carrots with Tops25c 147Bunch of Three Parsnips 25c 148One Head Silver Beet25c 149Plate of 4 Potatoes25c 150Bunch of 3 Red Beet with Tops 25c 1513 Sticks of Rhubarb with Leaves25c 152Vegetable not otherwise specified 25c 1533 Cobs Sweet Corn25c. Page Eleven SECTION 14 - F R U I T SCH.NO: FIRST: SECOND: 154A Dish of 4 Culinary Apples 25c 155A Dish of 4 Dessert Apples 25c 156A Dish of 4 Lemons 25c 157A Dish of 6 Passion Fruit 25c 158A Fruit not otherwise stated 25c SECTION 15 - FLORAL ART - CHILDREN 11 TO 14 YEARS 159Floral Mat 12 inches by 9 inches 75c25c 160Arrangement of 3 Flowers (Any Foliage) 20c10c 161Decorated Saucer of Flowers20c 10c 162Flower Arrangement in Egg Cup 20c10c 163Novelty of any Horticultural Material20c 10c 164Boquet of Flowers 20c 10c 165Miniature Arrangement not to Exceed Three Inches 20c 10c. 166Arranged Vase of Flowers 20c 10c 167Arranged Vase of 6 Dahlias20c 10c. SECTION 16SPECIAL FUCHSIAS SECTION 168Single, 3 Distinct Variety 169Single, 6 Distinct Variety 170Single, 3 C.V.A. 171Single, 6 C.V.A. 172Double, 3 Distinct Variety 173Double, 6 Distinct Variety 174Double, 3 Distinct Variety 175Double, 6 C.V.A. Page Twelve Fuchsias Florets to be displayed on collar in a container (Small). Containers and Collars will be supplied by the Club, PRIZE-CARDS - FIRST, SECOND, WILL BE AWARDED ALSO MERIT CARD. A TROPHY WILL BE AWARDED TO THE BEST EXHIBIT IN SPECIAL FUCHSIAS SECTION SPECIAL OPEN CLASS - POT PLANTS.... SCH.NO:FIRST: 1761 Pot Plant, Foliage30c 1771 Pot Plant, Orchid In Bloom 30c 1781 Pot Succulents 30c 1791 Pot Geranium in Bloom 30c 1801 Pot Geranium Foliage 30c 1813 Indoor Plants - Different Varieties 30c 1825 Pots, at least 3 in Bloom 30c 183Container of Mixed Plants 30c 1841 Pot Plant in Bloom 30c Back Page G A R D E N C O M P E T I T I O N G A R D E N C O M P E T I T I O N sponsored by RINGWOOD CITY COUNCIL (Entries close Thursday February18th) (JUDGING SATURDAY FEBRUARY 27TH, 1971) ENTRIES MAY BE LEFT WITH: MRS.D.HUTCHINSON MRS.V.H.WILSON 43 Caroline Streetor38 William Street RINGWOOD RINGWOOD 870-8577870-7458 JOIN THESOCIETY Our MONTHLY MEETINGS are held on the THIRD MONDAY at 8 p.m. on each month in the PUBLIC LIBRARY, Warrandyte Road, RINGWOOD. YEARLY SUBSCRIPTION: ONE DOLLAR ($1-00) C H R Y S A N T H E M U M S H O W SATURDAY, MAY 8TH, 1971 WATCH FOR FURTHER DETAILS Sunrise Secretarial Service, 12 Grey Street, Ringwood East Telephone: 870-6871
Ringwood and District Historical Society
Newsletter, Minutes of the inaugural meeting of the Ringwood Orchid Society on 9th November, 1979, 1979

Photocopy of minutesHeld at Our Lady's Hall, Bedford Road, Ringwood. Foundation Committee was Mr H Taylor, President, Mr L Cruickshank, Vice-President, Mr R Barlow, Secretary, Mr D Sinclair, Treasurer and Mrs A Mabus, Asst. Treasurer.
Ringwood and District Historical Society
Newsletter, February-April 1980 newsletters of the Ringwood Orchid Society, 1980

Photocopy of newsletters.
Eltham District Historical Society Inc
Slide - Photograph, Bird Orchid, Sweeneys Flats, Eltham, c.2004

Part of a presentation on "Significant Trees, Wildflowers and Local Gardens" by Russell Yeoman to the 10 November 2004 Eltham District Historical Society meeting35mm colour positive transparency Mount - white 7 dots (Technodia Italy)eltham, bird orchid, sweeneys flats
Eltham District Historical Society Inc
Slide - Photograph, Bird Orchid, Sweeneys Flats, Eltham, c.2004

Part of a presentation on "Significant Trees, Wildflowers and Local Gardens" by Russell Yeoman to the 10 November 2004 Eltham District Historical Society meeting35mm colour positive transparency Mount - white 7 dots (Technodia Italy)eltham, bird orchid, sweeneys flats
Eltham District Historical Society Inc
Slide - Photograph, Bird Orchid, Sweeneys Flats, Eltham, c.2004

Part of a presentation on "Significant Trees, Wildflowers and Local Gardens" by Russell Yeoman to the 10 November 2004 Eltham District Historical Society meeting35mm colour positive transparency Mount - white 7 dots (Technodia Italy)eltham, bird orchid, sweeneys flats
Eltham District Historical Society Inc
Photograph, Fred Mitchell, Butterfly Orchid, local Eltham park, 1991, 1991

Digital copy of colour photographfred mitchell collection, 1991, eltham, flora, plants
Eltham District Historical Society Inc
Photograph, Fred Mitchell, Butterfly Orchid, local Eltham park, 1991, 1991

Digital copy of colour photographfred mitchell collection, 1991, eltham, flora, plants
Eltham District Historical Society Inc
Photograph, Fred Mitchell, Caladenia Dilitata Green Spider Orchid, local Eltham park, 1991, 1991

Digital copy of colour photographfred mitchell collection, 1991, eltham, flora, plants
Federation University Historical Collection
Booklet, Helen Ogden, Flowers of Western Australia, 1960

Paperback booklet with painted wildflowers on the front cover and blue-grey back cover. 22 leaves of plates.Stamped in gold inside front cover: With Compliments A.H.A. Western Australian branch 1967 National Conferencewildflowers, western australia, helen ogden, ida richardson, c a gardner, flora, botany, australian native plants, orange banksia, kangaroo paw, hibbretia hypercoides, leucopogon pulchellus, isopogon roseus, qualup bell, blue leshenaultia, geradton wax plant, catspaw, wild clematis, sturt pea, donket orchid, spider orchid, hovea trisperma, black wattle, pink myrtle, boronia, christmas tree
Whitehorse Historical Society Inc.
Document, Sylvan Glades Paddock Blackburn, C1922
Brochure advertising land sales
Brochure advertising land sales on corner of Blackburn Road and The Avenue, Blackburn.Brochure advertising land sales land subdivision, sylvan glades paddock blackburn, t. r. b. morton & son, orchid street, blackburn, heath street
Brimbank City Council
Etched clear glass sculpture, Scott Cowcher, Orchid plate, 1985

Local artistEtched clear glass
Ararat Gallery TAMA
Textile, Frances Burke, Spider Orchid (place mat), c. 1955

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.
Ararat Gallery TAMA
Textile, Frances Burke, Spider Orchid (mat), c. 1955

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.
Kew Historical Society Inc
Journal, The Kewriosity Sheet Vol.1 No.5 : October 1979
What's doing in Kew for October / p1. Keeping Kew beautiful [Parks and Gardens: Alexandra Gardens - Kew; Kew Garden Club; Willsmere Park; Victoria Park; Eglinton Reserve] / p1. Your news is good news / p1. Got some spare time [Henry Pride] / p1. Young people's club [Fitzwilliam Street People's Church] / p1. Fun and fellowship [Kew Uniting Church Youth Group] / p1. Learn to swim next year! / p1. Bring your orchid [Kew Garden Club] / p2. Retired and looking for something to do? [Kew Elder Citizens] / p2. Your help needed [The Kewriosity Sheet] / p2. [Aphorisms] / p2. Songs my mother sang / p2. Recreation courses / p2. Multiple Sclerosis Unit / p2. You you get ideas? [East Kew Uniting Church] / p2. E.P.R.G. (Early Planning for Retirement Group] / p2. Mum - It's for you! / p2. Action for the handicapped / p2. Biggest rug in the world / p2. Council News [City Hall Bookings; Town Planning; Unburnable rubbish; Family Day Care Scheme; Community Occupational Therapist; Kew Community Directory; Come meet your Mayor (Cr Kaye Cole) / p2. Do it yourself duplicating [Copy Shop] / p2. Meals on - tables [Kew Elderly Citizens' Club] / p2.
The Kewriosity Sheet (1979-83) was first published in the City of Kew (Victoria) in June 1979 as a two-sided 'community newssheet'. It aimed to: 'share news about Kew happenings and Kew people, and to exchange ideas about living in Kew'. Later issues gradually evolved into a 4-page, quarto sized publication. The Kewriosity Sheet was superseded by the Kew Council publication 'Kewriosity' (1983-1994).non-fictionWhat's doing in Kew for October / p1. Keeping Kew beautiful [Parks and Gardens: Alexandra Gardens - Kew; Kew Garden Club; Willsmere Park; Victoria Park; Eglinton Reserve] / p1. Your news is good news / p1. Got some spare time [Henry Pride] / p1. Young people's club [Fitzwilliam Street People's Church] / p1. Fun and fellowship [Kew Uniting Church Youth Group] / p1. Learn to swim next year! / p1. Bring your orchid [Kew Garden Club] / p2. Retired and looking for something to do? [Kew Elder Citizens] / p2. Your help needed [The Kewriosity Sheet] / p2. [Aphorisms] / p2. Songs my mother sang / p2. Recreation courses / p2. Multiple Sclerosis Unit / p2. You you get ideas? [East Kew Uniting Church] / p2. E.P.R.G. (Early Planning for Retirement Group] / p2. Mum - It's for you! / p2. Action for the handicapped / p2. Biggest rug in the world / p2. Council News [City Hall Bookings; Town Planning; Unburnable rubbish; Family Day Care Scheme; Community Occupational Therapist; Kew Community Directory; Come meet your Mayor (Cr Kaye Cole) / p2. Do it yourself duplicating [Copy Shop] / p2. Meals on - tables [Kew Elderly Citizens' Club] / p2. community publications --- kew (vic.), the kewriosity sheet, newsletters - kew (vic.)
Port Fairy Historical Society Museum and Archives
Magazine - Newsletter, Richard Patterson, Port Fairy Post, September 2020
Bi monthly newsletter of the Port Fairy Museum and Archives
A 4- 12 to 14 page newsletter of the Port Fairy Historical Societynon-fictionBi monthly newsletter of the Port Fairy Museum and Archivesnewsletter, mechanics institute, lighthouse keeper, john joseph thomas cooper, mary ann disxon, a.dudley dobson, rev george poynder, rev alexander laurie, charlotte elizabeth halford, maidens bush pea, grampians, dwarf spider orchid, golf club, patrick tennyson, a.w.kirk, miss whitehead, j.c.mccallum, doris carter, lucy mears, dr orchard, lesley earle, alexander hill, robert farrar, helena gill, s.s.casino, lindsay bruce, helena lucy hughes, albert luther gill, w.major, illa care, nora convery, jane greer, edward mcdermid, percy jenkins, william newlands, boarding school bay, segregated bathing, swimming, pea soup, climate, dr w.a.forsyth, john v brown, chimney pots, george gordon, gas manager, j.c.holden, sir alexander peacock, john baulch, alfred noar, mr wilson
Friends of Ballarat Botanical Gardens History Group
Work on paper - Photo of Thomas Rooney, Curator, Ballarat Botanical Gardens, 1896-1914, Unknown

Thomas Rooney was born in Den Carvan, Ireland, spent 36 years in Australia. Tom was married with nine children, he died 6th May 1914, aged 57 years, and at that time he was the Curator of the Ballarat Botanical Gardens.As Curator of the Ballarat Botanical Gardens Thomas Rooney made the begonia and orchid houses famous throughout Australia, which was part of his valuable contribution to the development of the Gardens.Black and white reproduction of an old photograph of T.Rooney in an oval frame with a black backgroundT.Rooney is printed at the bottom of the photograph and underlined.john garner collection, garner, dr, rooney, ballarat botanical gardens, ballarat, gardens, curator, thomas rooney, charles robert rooney, john lingham, w.r guilfoyle, begonias, orchids., ballarat old cemetery, grave
Federation University Herbarium
Plant specimen, Alexander Clifford Beauglehole, Thynninorchis huntiana (F.Muell.) D.L.Jones & M.A.Clem, 22/11/1978

Cliff Beauglehole was an orchardist at Portland, Victoria, who throughout hislife took an intense interest in the plants of Victoria. Over his lifetime he collected 90,000 plant specimens as part of a comprehensive study of Victoria's plants and wrote thirteen books under the heading The Distribution and Conservation of Vascular Plants in Victoria, each written to cover the 13 study areas of the Victorian and Conservation Council.A mounted botanical specimen.beauglehole herbarium, herbarium specimen, botany, herbarium, plant science, plant specimen, field naturalists' club ballarat, federation university herbarium, thynninorchis huntiana, arthrochilus huntianus, orchidaceae, common elbow orchid
Federation University Herbarium
Plant specimen, Alexander Clifford Beauglehole, Acianthus exsertus R.Br, 25/10/1978

Cliff Beauglehole was an orchardist at Portland, Victoria, who throughout hislife took an intense interest in the plants of Victoria. Over his lifetime he collected 90,000 plant specimens as part of a comprehensive study of Victoria's plants and wrote thirteen books under the heading The Distribution and Conservation of Vascular Plants in Victoria, each written to cover the 13 study areas of the Victorian and Conservation Council.A mounted botanical specimen.beauglehole herbarium, herbarium specimen, botany, herbarium, plant science, plant specimen, field naturalists' club ballarat, federation university herbarium, acianthus exsertus, mosquito orchid, orchidaceae, gnat orchid

Search Victorian Collections

Showing 111 items matching orchids

Folder, Ely Family, 1878o

Document - Correspondence, Ballarat Science and Field Naturalists Club Wildflower Exhibition, 1915, 07828.1; 1st 0ctober 1915. 07828.2; 8th September 1916

Painting, Marianne Wehl (1867 - 1926), Untitled (Tetratheca ciliata, Marianthus bignoniaaceus, Leptospermum myrsinoides, Thryptomene calcina, Epacris impressa), c1887 to 1924

Map, George W. Bell, A Visitor's Guide Map; ELTHAM, WARRANDYTE and Environs, c.1969

Document - Folder, Pugh, Clifton

Photograph - Digital Photograph, Alan King, Kinglake National Park, 27 March 2008

Photograph - Digital Photograph, Marguerite Marshall, Art Gallery at Clifton Pugh's Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge, 5 February 2008

Photograph - Digital Photograph, Marguerite Marshall, Doorway of Clifton Pugh's former house at Dunmoochin, Barreenong Road, Cottles Bridge, 5 February 2008

Document - ROYAL PRINCESS THEATRE COLLECTION: MAJORIE IN WONDERLAND, 12 Aug 1916

Poem, The Castlemaine Old Schoolboys' Annual Reunion

Album - Black and white and colour slides, Burnley Views, 1947-1955

Programme, Ringwood and District Horticultural and Garden Club, Ringwood and District Horticultural and Garden Club Schedule for the Annual Autumn Show, 1971, 1971

Newsletter, Minutes of the inaugural meeting of the Ringwood Orchid Society on 9th November, 1979, 1979

Newsletter, February-April 1980 newsletters of the Ringwood Orchid Society, 1980

Slide - Photograph, Bird Orchid, Sweeneys Flats, Eltham, c.2004

Slide - Photograph, Bird Orchid, Sweeneys Flats, Eltham, c.2004

Slide - Photograph, Bird Orchid, Sweeneys Flats, Eltham, c.2004

Photograph, Fred Mitchell, Butterfly Orchid, local Eltham park, 1991, 1991

Photograph, Fred Mitchell, Butterfly Orchid, local Eltham park, 1991, 1991

Photograph, Fred Mitchell, Caladenia Dilitata Green Spider Orchid, local Eltham park, 1991, 1991

Booklet, Helen Ogden, Flowers of Western Australia, 1960

Document, Sylvan Glades Paddock Blackburn, C1922

Etched clear glass sculpture, Scott Cowcher, Orchid plate, 1985

Textile, Frances Burke, Spider Orchid (place mat), c. 1955

Textile, Frances Burke, Spider Orchid (mat), c. 1955

Journal, The Kewriosity Sheet Vol.1 No.5 : October 1979

Magazine - Newsletter, Richard Patterson, Port Fairy Post, September 2020

Work on paper - Photo of Thomas Rooney, Curator, Ballarat Botanical Gardens, 1896-1914, Unknown

Plant specimen, Alexander Clifford Beauglehole, Thynninorchis huntiana (F.Muell.) D.L.Jones & M.A.Clem, 22/11/1978

Plant specimen, Alexander Clifford Beauglehole, Acianthus exsertus R.Br, 25/10/1978