Colour Photo taken from slide

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘The Bend of the Yarra at Studley Park’ : Views of Victoria (General Series) No.49 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: The subject of the present illustration is taken from near the Kew Road, on the Park-hill side of the Yarra. The curve of the River at this and other parts of the Park represents a gigantic letter S. It is a remarkable fact that the hilly side of the River is covered with a mass of foliage of various descriptions, from the stately gum tree to the stunted wattle, whilst the opposite side of flat country has scarcely a shrub to be seen any where.’nicholas caire (1837-1918), studley park, yarra river, kew, landscape photography - victoria

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The 60 photographs that comprise the series were issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.'Sylvan Dell, near Loutitt Bay’ : Views of Victoria (General Series) No.54 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘Sylvan Dell is one of the favourite resorts for visitors who are in search of the romantic. The peculiarly slender and upright foliage which is seen near the foreground is that of the myrtle tree. Dogwood, brush, staghorn, ferns, and wattle make up the background. Considerable difficulty is experienced in reaching the Dell, in consequence of the precipitous hills and dense scrub which surround it.’nicholas caire (1837-1918), lorne (vic), landscape photography

Purchased in memory of Sue Slonek, Secretary of Surrey Hills Historical Society, volunteer with the Surrey Hills Neighborhood Centre Heritage Collection (Surrey Hills historical Society Collection). A history of Canterbury Primary School written to celebrate the school's 100 year anniversary - 1908-2008A history of Canterbury Primary School written to celebrate the school's 100 year anniversary - 1908-2008canterbury primary school, primary schools, (ms) judy stewart, (mr) ian phillips, (miss) gabriela aloisio, (mrs) marjorie pitt, (miss) joan eltham, (mr) - shannon, (mr) - besant, (mrs) anne bialecki, (ms) diane western, (ms) margaret mason, (miss) hilary barr, (mrs) hilary praetz, (ms) vicki eddison, (miss) margaret kidd, (mr) don kerr, (miss) sarah pitman, (miss) linda summers, (mr) jack tanner, (miss) kate dale, (mr) strapper tanner, (ms) neva rossi, (miss) margot harris, (miss) lauren eddison, (mr) eric alway, (miss) jean alway, (miss) betty alway, (mr) thomas rule, (miss) diane fuller, (ms) barbara chapman, (ms) judy bridges, (ms) julie vango, (ms) judy pitman, (ms) joan le grand, (ms) anne lamborn, (mr) warren walsh, (ms) margaret lee, (ms) barbara gunn, (ms) christine hallman, (mr) murray haby, chris roth, (ms) sue de araugo, (ms) leslie brewer, (ms) judy jordan, sam paterson, (ms) debbie-jane andrews, (mrs) hazel young, (ms) ilse murrihy, (ms) linda summers, (mrs) georgia karatzas, (mrs) sylvia clarke, (mr) eddie clarke, (mrs) - willoughby, (mr) - hopkins, (mrs) - hopkins, (mr) graham salter, (ms) andrea thompson, (miss) - stent, (miss) - mcdonald, (mr) neville daynes, (mr) bruce margetts, (miss) doris thomas, (miss) hazel macdonald, (miss) annette mccoy, (mrs) - feldt, (miss) arwen summers, (miss) grace cameron-muller, manon merakis, terry poulton, (mr) david tolstrup, (ms) sue broadbent, (miss) florence rayment, (miss) yvonne wray, (miss) hazel jarvis, (mr) graham scott, (miss) june smith, (mrs) margaret anderson, (miss) margaret ginn, (miss) kelly jane, (mrs) patricia wion, (miss) patricia lewis, (miss) - edgoose, (mr) john merton, (ms) pauline flynn, (ms) lynne timms, (ms) marilyn taylor, (mrs) anne tonkin, (mrs) flo wilkinson, (miss) flo davies, (mr) jack hardy, (mr) john a bayford, (miss) marion greenwood-smith, (miss) - mcevitt, (miss) - ballantyne, (miss) - riseborough, (ms) (dr) kim dray, (miss) dorothy ambrose, (mrs) - lethbridge, (mrs) - le couteur, (mrs) margaret senior, (miss) margaret macgibbon, (mrs) - briggs, (mr) (major) - moloney, (mr) - poulton, (mr) adrian penniston-bird, prospect hill road, surrey hills, canterbury, canterbury road, molesworth street, highfield road, leeds street, salisbury street, (mr) patrick moloney, (mr) thomas rule, (mr) richard armitage, (mr) frank l oswell, (mr) walter g w webb, (mr) edward bright, (mr) george a allison, (mr) albert r coppin, (mr) william a lucas, (mr) alan g legg, (mr) ralph holden, (mr) dorothy ambrose, (mr) robert storey, (mr) tom neal-williams, (mr) effie miniati, (mr) geoffrey swift, (mr) - baddeley, (mrs) helen mcmillan, (miss) helen mcgibbon, (mr) don walker, (mr) howard hallo, (miss) jean cowen, (miss) felicity coleman, (miss) amanda colahan, (miss) caitlin sum, (miss) brooke webster, (miss) bridget hall, (miss) alison thompson, (mr) andrew lovitt, (mrs) barbara mihan, (miss) barbara prest, (mr) john webster, (mrs) lorna whalley, (mr) stuart margetts, (miss) elaine robinson, (mrs) nonie holman, (miss) nonie lovitt, (mr) brian webster, (mrs) alison cutter, (miss) alison horwell, (mrs) jaqueline lublin, (miss) jacqueline levy, (mrs) gilliam bell, (miss) gillian craig, pinus radiata, the secret garden, lych gate, (mr) geoff swan, talbet oaks, bedford oaks, significant trees, burgundy ash, allepo pine, golden ash, southey oaks, poulton oaks, (mr) (sgt) keith mcdowell, wattle park, (ms) caroline habgood, (mr) henry rotherham, j b cohen, (mr) (major) patrick moloney, (miss) dorothy ambrose, architects, wurundjeri william territory, (mr) - sachse, d kinnaird, builders, danks foundation, (dr) desmond gibbs, 1908, sue slonek, catherine cato, catherine charles, june smith, jenny flynn

Known as ‘Yielima’ 1888-1922 and ‘St. Aubins’ 1922-1956, this ‘modernized’ mansion was built about 1887 for Edward Kellett. He was born in Chorley, Lancashire, England. Edward Kellett married Selina Wells in 1852 at St Peters, Eastern Hill. She was born in c1827 in Aston Clinton, Buckinghamshire, daughter of William Wells and Elizabeth Allan. The family arrived from Aylesbury, Buckinghamshire on the 'Osprey' on 22 March 1849. The couple had 8 children - 5 girls and 3 boys; 3 died in infancy. All were born in Collingwood before the family came to Surrey Hills. Edward's funeral notice in The Argus of 11 July 1893 states that he was a corn merchant of Exhibition Street. His property was sworn at 1512 pounds, 1232 in realty and 280 pounds personally. He was buried in Melbourne General Cemetery (CofE Compartment K, No 306). Selina is listed in Erasmus Street in the 1903, 1905 and 1908 electoral rolls as a boarding house keeper. She died at Surrey Hills on 22/10/1911. In her will she left realty valued at 900 pounds and personally at 220 pounds. She was buried with her husband. 'Yielima' was sold on 19 Febraury 1919 with a sale of contents on 18 March 1919. From 1922-1947 Thomas Daniel O’Callaghan (c1871-1962), a police magistrate, made his home here. He is remembered as being of ‘soldierly demeanour, with a flowing mane of hair’. He always carried a walking stick and wore a flower in his buttonhole. His wife was Florence (nee Harling, c1873-1933) pre-deceased him. They had previously lived in Essendon, Moonee Ponds and Stawell before coming to Erasmus Street. After moving out of Erasmus Street he is listed in the 1949 and 1954 electoral rolls at 90 Durham Road, Surrey Hills. In 1952 the property was purchased by Father Timothy Fitzpatrick, Parish Priest of Our Holy Redeemer Parish, Surrey Hills. It consisted of a large two storey house, a coach house and stable, and an acre and a half of land. In 1954 the coach house and stable were converted into the Church of Our Lady of Perpetual Succour and the following year Father John Kelly was appointed parish priest. and resided in the house. At this time the house was not in good repair. "The gentleman who had lived there alone since his wife died many years before, lived in the servants quarters and the rest of the house had been badly neglected. (REF: https://ourholyredeemer.cam.org.au/history) At the beginning of 1957 the Missionary Sisters of the Sacred Heart opened a school next door. As they travelled from Balwyn on a daily basis, the property at 301 Elgar Road was purchased as a presbytery and 'Yielima' became a convent. The stables continued to be used as a church until 1964 when a new church was completed and opened by His Grace Archbishop Simmonds on the 20th of March. There were never large numbers of double-storey Victorian mansions in Surrey Hills. 'Yielma' is significant as one of the few remaining ones. It is also significant for its association with the Catholic Church.A black and white photograph of an Italianate style home with a weatherboard building with a cross on it in front of the main building and to the left of the photograph. There are some well established trees in the garden, a car parked in the parking area and a picket fence along the front.yielima, st aubins, house names, erasmus street, surrey hills, 1887, (mr) edward kellett, (mr) thomas daniel o'callaghan, corn merchant, police, italianate style, wattle park roman catholic church, (mrs) florence o'callaghan, mrs selina kellett, miss selina wells, convent, presbytery, our lady of perpetual succour

Information provided by Stan Smith: Riversdale Road looking east 1912-1914. Wattle Park, then a farm is on the right. The near row of trees across the picture, indicates the driveway in Wattle Park. Wattle Park was then Fenwick's farm - or - Fennies to the local boys. Note: Riversdale Road becomes not much more than a track after passing the farm entrance.A dirt road in the lower left corner of the photograph is bounded by a post and rail fence. Two cyclists are on the road. "Wattle Park" is written to the right side of the road.wattle park, 1912, farms, 1914, fenwicks farm, fennies, fences, trees, roads and streets, riversdale road, pine trees, gum trees, cyclists

This book includes a description of the early settlement of Wattle Park; who owned the farms prior to it becoming parkland; and the development and management since including the Melbourne and Metropolitan Tramways Board.This book includes a description of the early settlement of Wattle Park; who owned the farms prior to it becoming parkland; and the development and management since including the Melbourne and Metropolitan Tramways Board.wattle park, trees, box trees, golden wattle trees, she-oak trees, (mr) james atkinson, aborigines, first tree, (mr) hector bell, croquet, golf, orienteering, (mr) henry de carle, (mr) john lawler, (mr) walter craig, (mrs) eliza welch, the grange, (miss) effie eliza ball, hawthorn tramways trust, (mr) - membrey, metropolitan tramways park, (mr )david pureau, by-laws, g. t. usher, o. fenwick, f. c. garyder, e, bennet, a. snowden, g. tweedy, (mr) (sir) arthur stanly, (mr)alan holt, (mrs) a bennet, world war, 1939-1945, eucalypts, elm trees, ash trees, (ms) faye shepherd

Vision Australia Foundation staff and clients were asked to make a square representing their base, which would be sewn together to represent the multi-faceted nature of the organisation. Unfortunately the patchwork wall hanging incorporating them was not made, however these squares were sent in: Warragul - sun and sunshine, clouds and water, a house on a hill with flowers around it, trees, water, people, a cow on a green hill that has daffodils and Pindari sewed upon it. Ballarat - Kelaston sown in same lettering as Ballarat, large fabric flowers with button centres, a mine head, a person panhandling, a person with a pickaxe. Warrnambool - sun and clouds over a seaside, a boat and whales in the water, a large fir tree and lighthouse. Hamilton - thick plaited stalks with fabric leaves and yellow pom poms as wattle. Digital imagevision australia foundation

Box of 20 slides not labelled or dated. Relating to Arboriculture. Trees, machinery. One labelled Wombat Gardens. Feb-Sep.arboriculture, trees, acacias, wattles, machinery, ditch witch, street trees, wombat gardens

Miscellaneous slides labelled "BHC Historical". Some individually labelled. 1, 2 and 5. of a display "trees to serve the community". "VPRI" (Victorian Plant Research Institute). 10 and 11. of "Wilson's Prom" 1950's. 12. "Apiary" 13. "Students Planting Wattle" beside the Yarra Oct 72. 17. "Native Park Area" 1960's. 14. Garden view.burnley horticultural college, trees, community, vpri, victorian plant research institute, wilsons promontory, apiary, students, wattle, garden views, yarra boulevard

TOM COLLINS–from the reel to reel tape recording at Melton 1969 In the years between 1890 and to about 1913 Melton was a quiet little hamlet alongside the Toolern Creek, once called the Pennyroyal Creek, 24 miles from Melbourne on the Ballarat Road. There was a fair amount of woodland left around it, mostly grey and yellow box with sheoak, and golden wattle, which in spring time made a rather attractive setting. Most of the premises were in the main or High Street, with its line of elm and pepper trees on each side. Unitt, McKenzie and Henry streets each contained only a few dwellings. Hotels were four in number, Minns’s, Mrs Hay licencee, now Mac’s, Golden Fleece – Sheblers. The Royal or Ryan’s as it was then called, later Graham had the licence, and the Raglan - Kilpatricks had the licence and afterwards Tom Manning. This was situated about where Mr K. Young had his residence. There was a store attached to the hotel until about 1900. Both the Royal and the Raglan were delicensed, later on the Royal being converted to a green grocery and a boarding house, the Raglan was demolished. The Royal green grocery and boarding house was kept by E Carew and after he retired, E Radford. The Post and Telegraph Office was on the opposite side of the street to the Raglan Hotel about two doors west of the Shire Hall and was kept by Mrs Ferris and Lady Farmer until her retirement, when it was carried on by Miss Lottie Ross. A store was attached to the Post Office and was sometimes used as a store and at one time housed the National Bank. There were two full time banks at Melton, the other being the Commercial which built premises about 1904 and on the corner of High and Smith Streets, which it still occupies. Mr G Egan was the manager of the Commercial and Mr Stradling and later Mr Lee of the National. However as business was not thought good enough they reverted to a part time branch operated from Bacchus Marsh. Grocer shops were Chalmers, with a news agency and drapery now Arnolds, Jongebloeds had the bakery. Mr Fox also a produce merchant, was where Melton Real Estate is now, it was later occupied by Buchanans, Atleys, and Mrs Ross. Not long after the War Mrs Ross built the Post Office, since demolished where Miss Lottie Ross was the Post Mistress and later built the store which she conducted. It was later turned into a factory and in now the barbers shop. McNichols was just west of the Minns Hotel. He travelled as far a Ballan weekly, buying calves and dairy produce for sale in Melbourne. Afterwards he sold the business and bought Minns Hotel and changing the name to Macs. Blacksmiths were three in number. Blackwoods – later James Byrnes next door to Jongebloeds. Alex Cameron who learnt his trade with Blackwoods had his shop about the rear of where Ken Youngs Garage is now he later moved to the north west corner of High and Alexander Street. He was also the Registrar of Birth and Deaths and Electoral Registrar. After his retirement he was weighbridge keeper at Melton South. Two of his sons were engaged in the carpentry trade, but both died at an early age. Whittingtons shop was a few doors east of the Mechanics Hall and it was later occupied by Gordon Macdonald who did business there until about eight years ago. The butchers of the period were George Graham, that is where Mandy Lees hairdressing establishment is now. Euan MacDonald had premises later occupied by Whittingtons blacksmith shop. Later shifting next door. He left here about 1901, he slaughtererd animals at a slaughter house right where Chas Jones now resides, it had previously been a slaughter house and butcher shop of that site. George Spring also operated as a butcher for two or three years about the 1900 or so. Ted Simpsons shop was where John Kontek now has his Estate Agency, he used it as an branch shop from Bacchus Marsh bringing meat from there by a two horse lorry. Jimmy Butler the manager was well known and loved, his son was later a steeplechase jockey. The Court House and Police Station would be built sometime before 1900. The Constables at the time were McGuire, later Wade, Riely and McKenzie after that Robert Wilson and Seinfort were here, they were a bit later on. The Mechanics Hall was first opened by Ryan of the Royal Hotel who sold it to the Hall Committee. It was on Unitt Street and it was moved by McLellans the house shifters from Unitt Street to its present site. Bluestone premises formerly occupied by the bootmaker Carew, were later demolished and replaced by the brick frontage to the Hall. Keith Orensini [?] the local bricklayer built brick portion to the Hall. In the cottage adjoining the Hall a Frenchman named Baudin, had a boot repairing business.This cottage was the later residence of J Hill, a local carpenter and builder from whom I learnt my trade. Granny Watts was the well known local nurse and operated the Mid-Wifery Hospital in Yuille Street on the Sherwin Street corner. Mrs Nissen was on the opposite side of Yuille Street a short distance nearer the township. She conducted the laundry. Carew had a greengrocers shop next door to the Post Office in the High Street for some time before transferring to the Royal Hotel site. He also bought [?] calves for killing. W Cecil was a tank maker and also had a produce round, he lived on Pyke and Sherwin Street. Later Gus Shebler, builder and carpenter engaged in tank making being well known for good workmanship. Shebler was very energetic in forming the Gun Club which met for a good number of years where the golf course now has its headquarters. Of the four churches only three are in use, Christ Church, Scots and St Dominics. The Methodist closed down but later transferred to Melton South. Monthly stock sales were held at the yards in Unitt Street at Minns Hotel by McPhail Auctioneers, later held by McCarthur and McLeod. After the Council built the pound and sale yards they transferred sales to these premises, but lack of patronage caused them to be abandoned. A familiar sight in the district was blind Bob Nixon, who lived in a tumbled down cottage in Centenary Road near W Coburns, being led by his dog down the road to Melton, that is Palmerston street, to the Post Office, butcher and baker for his supplies and then back home. He was able to do his own cooking and other chores. Sundays he would come down Raleighs Road to the back of the church and tie his dog to a tree. Someone, mostly one of the boys would guide him into the church and out again after the service, when the dog would lead him home again. State School 430, a two roomed bluestone building it was the only school in the district, none at Melton South. The nearest would be Rockbank and Toolern Vale. Scholars had a fair distance to walk in most cases. The teachers were Mr T Lang Headmaster. I put a query here, Miss Winters, I’m not certain of the name, Mrs Skinner and Miss Silke as Assistant Teachers. Miss Augusta Cecil and Miss Maud Lang were Junior teachers. One boy who attended the school about the turn of the century was Hector Fraser who resided with his parents in Keilor Road, where Jim Gillespie now lives. He was an excellent gun shot and at the age of about 17 years his father took him to France or Monaco where he won the Gran Prix for pigeon shooting and became the champion boy shot of the world. However he died there from pneumonia. He shot under the name of “Parvo”. The Melbourne Hunt Club used to meet in Keilor Road north side just east of the Toolern Creek on what was originally Pykes Run. This was also the place where the races were held and the Sports Meetings. Dave Murphy, employed at Clarke’s Rockbank Station usually provided the fox which he liberated for the Club. Greyhound coursing was usually held on Moylans property Mt Kororoit, or Mt Misery as it was known then. Later it was held at Melton Park, Mr Matt Carberry was the judge and Percy Cook the slipper. Early in the 1900’s the Recreation Park was created and the Caledonian and the ANA sports meetings were held there, they were annual events. L Paterson from Melton South was a successful competitor in all the cycling events as a young man. He later in life became the Deputy Chief Officer of the Metropolitan Fire Brigade. The present Chief Officer of the Fire Brigade is John Paterson, nephew of his, and spent his early life in Exford where his father was manager of the Exford Estate. Notes Tom Collins was born c 1895. He lived on the south side of the Ballarat Road near the intersection of Keilor Road.Historical image of Palmerston Street in Meltonlocal architecture, landscapes of significance

Miranda was a very popular journalist of this era, whose homely style appealed to many readers, especially women, her main audience in her writing. Here she talks about renting a new demonstration holiday home (probably a Coldon Home), which, although small, had a 'dream kitchen'. She describes the birds and walk through the wattle to the beach, but also the many blocks for sale and wonders what the island will be like in 10 years time from their visit. Her son drove them to Pyramid Rock where they almost got bogged on the road. They visit the usual spots, which she describes with a combination of curiosity and enjoyment. She also mentions another block fenced off on the main road which was a gift from the ratepayers of Phillip Island, and which the Young Farmers were to plant out for koala trees.This article is significant because thousands of Weekly Times newspaper readers read Miranda’s letter article without fail each edition. She describes renting a house for a holiday, which indicates the move away from family holidays in guest houses. She also describes some of the rough roads in parts of the island at the time. She concentrates on the island’s natural attractions rather than man- made tourist attractions, which is also significant in letting us see why people would visit Phillip Island in that era. Miranda also predicts the explosion of the holiday home owner market which took place soon after, and continues today though in a more controlled way.Photocopy of newspaper article cut out from full page. Cutting has three columns of text, no images. Black text on white paper. Dark areas due to poor photocopyingWEEKLY TIMES / 2/9/65phillip island, miranda, weekly times newspaper, holiday home, phillip island flora and fauna, pyramid rock, phillip island pengiun parade, young farmers, phillip island beaches, cuddly koala bears, phillip island housing estate land sales

Earliest known Prospectus from the Wattle Tree Road school site. Use of motto and palm leaves later used in the School crest

A detailed account of the story of Lone Pine in Gallipoli and how seedlings were grown from a pine cone brought back by Sgt. Keith McDowell. The author and date of this account is not known but was post 1989. The text says: " Gallipoli Lone Pine Lives On The Gallipoli Lone Pine has become a piece of living history in Australia. Every Australian solider who served at Gallipoli, knew Plateau 400 or ‘Lone Pine’ – the scene of some of the fiercest hand-to-hand combat by Australian in World War 1. The Plateau was distinguished by a solitary lone pine which bore silent witness to the heroism and tenacity of Australians who fought there. Lone Pine was a heavily fortified Turkish trench position, identified by a solitary Pinus Halepensis species commonly known as an ‘Aleppo Pine’. (** NB this has since been corrected and the species is not an 'Aleppo pine' but Pinus Brutia, commonly called Turkish pine) At 5.30 pm on August 6th, 1915, Australians of the First Brigade attacked the Turkish trenches under heavy machine-gun and artillery fire. The Australians found the trenches were roofed over with pine logs covered with earth. They clawed the roofing back and jumped into the trenches below. After savage hand-to-hand fighting the trenches were taken by 6 pm. Attack and counter attack continued until August 10, when fighting at Lone Pine ceased, and the position as firmly held in Australian hands. The six Australian Battalions involved lost 80 officers and 2197 men in the battle for Lone Pine. Turkish deaths were estimated at between 5,000 and 6,000. At Gallipoli during the evacuation, 33 men of the 24th Battalion mounted a gallant action. They were left behind to keep up the pretence that the Lone Pine trenches were still occupied. They destroyed the remaining guns, and embarked before daylight 20 minutes before the appointed time, and less than two hours before a storm blew up which would have made withdrawal impossible. Although the Lone Pine was destroyed in the fighting it lives on today in Australia. Which is where the Legacy Lone Pine story begins. During the withdrawal a soldier, Sgt. Keith McDowell, picked up a pine cone from the original Lone Pine and placed it in his haversack as a souvenir. Sgt. McDowell carried the cone for the remainder of the war and when he returned to Australia gave it to his Aunt, Mrs Emma Gray of Grassmere near Warrnambool. “Here Aunty, you’ve got a green thumb, see if you can grow something out of this”, the late Mrs Gray’s son, Alexander, recalled. But it wasn’t until some 12 years later that Mrs Gray planted the few seeds from the cone, five of which sprouted and grew into little trees. One of the pines eventually died but the remaining four survived. In May, 1933, one was planted in Wattle Park on the occasion of the Trooping of the Colour by the 24th Battalion. On the 11th June 1933, the second tree was planted with full military honours by S G Savige of the 24th Battalion, at the Shrine of Remembrance in Melbourne, where it now shades the well-loved statue of Simpson and his donkey. The late Lieutenant-General Sir Stanley Savige KBE, CB, DSO, MC, ED, was the founder of Melbourne Legacy. Formed in 1923, the Melbourne Legacy Club was the first such Club to be established. On the 18 June 1933 the third tree was planted at the Sisters, near Terang, just north east of Warrnambool. This is the area Mrs Gray’s family lived and the home of several Gallipoli veterans. The fourth tree was planted in the Warrnambool Gardens on 23 January 1934. In 1964 Legatee Tom Griffiths, then President of Warrnambool Legacy, put forward the idea that more seedlings should be raised in the Jubilee Year of Gallipoli from the established trees with the object of planting memorial trees throughout Australia in memory of those who fell in action at Lone Pine in 1915. The project was outlined in a paper presented to the Perth Conference in 1965 and was strongly supported. Two batches of cones were sent to Melbourne, one from the tree at ‘The Sisters’ and another from the tree at the Warrnambool Gardens, and the full cooperation of the (then) Forests Commission of Victoria, was guaranteed by the Chief Commissioner, Mr Benallack. Unfortunately, these cones had been gathered too late as the seeds had already been cast, and the few seeds that survived failed to germinate. However, Melbourne Legacy then undertook the propagation and distribution of seedlings. With the assistance of the Shrine of Remembrance Trustees, permission was granted by the Melbourne City Parks and gardens Curator to harvest a limited number of cones from the 24th Battalion tree at the Shrine and these were gathered by the Forest Commission and after the necessary preparatory treatment were planted in the Commission’s nursery at Macedon. Approximately 150 seedlings were raised from these cones by Dr Grose, Director and Silviculture. Melbourne Legacy’s Commemoration Committee was responsible for the collection, propagation, presentation and dedication of Lone Pines from the 24th Battalion tree at the Shrine of Remembrance. One the 14 September 1989 further cones were collected with the hope to raise 1000 trees from the seeds. This could not have been done without the invaluable assistance of the Department of Natural Resources and Dr Peter May at the Victorian College of Agriculture and Horticulture in Richmond, Victoria. Thus, Legacy is helping to keep the memory of the Gallipoli ‘Lone Pine’ alive – its spirit living on today. Presentations are made to schools, ex-service organisations and interested bodies by Legacy Clubs in the hope that they will be cherished as a symbol of Australian nationhood and of its just pride, devotion, courage, selflessness and sense of service to others. "The Legacy Lone Pine program helped promote the Anzac story throughout Australia.White A4 paper with black type x 3 pages recounting the story of Legacy's propagation of Lone Pine seedlings. lone pine, gallipoli

Poor video quality (noise and interference), incomplete and unedited raw footage. A video documenting the demolition of the Shire of Eltham offices at 895 Main Road Eltham under the direction of the Commissioners appointed for the new Shire of Nillumbik and some of the communities activities surrounding the event. The building was demolished exactly 25 years after the southern wing housing Engineering and Planning on the upper level and the Eltham Library on the ground level was opened in celebration of the Shire of Eltham's centenary. Video has lots of distortion and noise, and sections of clips dubbed over. Immediate initial footage of Jenni Mitchell talking about asbestos claims in the Shire Offices (Sigmund Jorgensen standing behind her) advising Council did a review of the building several years previously and had been cleared of health problems. Cuts to group of people standing outside front door of offices but possibly voice dub over not related ? Then the date 27 Jul 1996 on a scene flashes on screen immediately followed by an edited clip intro of title and credits with classical music track. It then opens with Jenni Mitchell driving to the Shire Offices on Saturday 27 July 1996 at 11.00am. Footage of Main Road past Pitt Street, Alistair Knox Park then entering Shire Office driveway which is fenced off and contractor signs hanging up. Scenes at rear of building showing some internal demolition has commenced. View of the Administration wing. More clips of road driving, Alistair Knox Park, Eltham Library and visitor car park for Shire Offices. Cuts to a group of people standing in access to visitor carpark with new Eltham Library in background, one being immediate former Shire of Eltham President, John Graves. Scenes of people looking through chain link fence and security guard checking front door. John Graves being filmed that someone informed him the Shire was offering the building to the Community Health Centre for $2.3 million and that if they had been offered a price of $1.1 for what it apparently was sold for they would have snapped it up. View of truck loaded with brick rubble literally struggling to ascend the hill of Library Place to exit into Main Road. Cuts to a scene looking at Eltham War memorial Hall through the Memorial Gate, then the Shillinglaw trees and large banner sign ‘Delta Demolitions’ hanging on office façade. Views of front door, old library and bluestone wall. Scene (31 Jul 1996) filmed at night of several white crosses with “RIP Community” and “RIP Democracy”. Scene (1 August 1996) again driving along Main Road towards the Shire Offices then scenes of the offices showing substantially more demolition to exterior, groups of people standing on footpath outside watching, Delta heavy demolition machines, woman holding sign “Democracy where have you gone …”, the odd person in full protection gear and breathing apparatus hand carrying materials out to place on rubbish pile in front of people standing on footpath watching (with no protection) and then stamping on it to break it creating dust, security person in hard hat (no other protection) wandering around, many groups standing around watching, news film crew, person standing on roadside edge holding signs facing traffic stating “Pirate Planning” and “ Grant us your ears” also sign on back of parked car “Elthams High Jacks”, another sign “Community Democracy”, views of crosses in Main Road median strip “RIP Community”, groups of people on footpaths and reporters conducting interviews, footage of unknown person standing with Jenni Mitchell and Sigmund Jorgensen advising people have the right to protest, Jenni Mitchell urging people to ask questions of local MP and Council and Sigmund Jorgensen referring to the three historic Shillinglaw trees with demolition machinery operating in background, Jenni Mitchell and others installing more crosses in median strip; demolition machines operating inside and outside the building, more views of onlookers including Sigmund Jorgensen then Police approaching on footpath, workers and machinery continuing to operate, views of the old library being demolished, the former Community Services department, security personnel. Scene (2 August 1996) more heavy demolition machinery in operation smashing building up, people standing around southern wing watching, view overlooking Eltham Library of train pulling in to Eltham station. Scene (7 August 1996) more heavy demolition and people wandering around with only hard hat protection, no dust protection, comments from one operator dumping a bin of material stating “wait till there’s a Hungry Jack’s here, you’ll be laughing, fuel, videos, hamburgers. You’ll be up with the rest of the world soon, you’ll have electricity and everything here, ha ha ha ha”, more heavy machinery demolition and breaking up of materials, view of Hitachi train going by and Administration wing, view inside the front door opening of the staircase leading to upper level, person walking around operating heavy machinery with a hose spraying rubble (no protective gear other than hard hat interspersed with edit cuts of meeting of Commissioners and independent observers on panel as well as members of the community in public gallery. Nillumbik Shire CEO Barry Rochford addressing the meeting., Chief Commissioner Don Cordell directly addressing Jenni Mitchell with respect to permission to take photographs, Barry Rochford continues to address the question asked of Council about the valuation of the former Shire of Eltham Office building/site, public gallery calling out asking why was building demolished, what was the urgency. Scene (14 August 1996) views of southern wing, previous single demolition operator again mocking people filming, operators working in and around building, Shillinglaw trees and largely demolished front, heavy demolition equipment at work, piles of building rubble, hose spraying water over rubble, large trucks arriving for rubble removal and loading of truck. Scene (21 August) more of the same, building virtually down, Shillinglaw trees standing tall and alone, water spraying on rubble and wattle in bloom. Cuts to Council meeting with public onlookers. Barry Rochford walks out, Wayne Phillips addresses meeting explaining one or two people shouting, members of the community challenging Council (Commissioners) about why due process appear to have been subverted. Former Shire President Robert Marshall in public audience, cuts back to Shire office carpark entrance site and sign hung on fence in front of library “Think Again!” and people standing around observing awaiting a protest demonstration erecting a large sign on stilts stating “Shell No!”, people singing a revised version of God Save the Queen (God Save Us All), Sigmund Jorgensen in attendance, Jenni Mitchell, Sigmund Jorgenson and others address the protest crowd, followed by people mingling, music being played then people standing around the cleared site circumference all with arms linked (video very broken up with noise) then chants “Save the Gateway” and “No Shell for Eltham” and more music and singing “Put up a parking lot”. The crowd then proceeds to walk along the footpath of Main Road. Scene (15 Sep 1996) meeting at Montsalvat in Great Hall addressed by Sigmund Jorgensen discussing a recently published list of the Commissioner’s to senior Council Officers of banned Nillumbik people, others encouraging people to view proposed plans for the site and lodge objections. Specific issues regarding asbestos claims are also addressed. Harry Gilham addresses the meeting on the subject of the Eltham War Memorial and Memorial Gardens and how Council believe a roundabout in the vicinity is of greater importance. Views of various artworks on display (for auction) and music performance in the Barn Gallery. Meeting addressed by Sigmund Jorgensen discussing an appeal against Council granting a permit to Dallas Howgate to develop the site and that the Minister has called the matter in to be decided by the governing council. This is followed by an auction of paintings. 0.05 - Jenni Mitchel, Sigmund Jorgensen and Peter Doughtery in background. 0.18 - Jock Kyme in front of building – David Essex, Marg Johnson on his left-hand side. 5.34 - John Graves – ex Shire of Eltham Councillor and President. 9.02 - Unknown person being interviewed. 9.30 - Jenni Mitchell, unknown person, Mark Burns, community activist. 10.04 - Sigmund Jorgenson, Jenni Mitchell. 12.04 - Police members 21.33 - Nillumbik Council offices 7 August 1996 Barry Rochford CEO, Vin Heffernan Commissioner, Don Cordell Chief Commissioner, Kevin Abbott Commissioner, unknown person. 28.00 - Barry Rochford CEO 28.05 - Kahn Frankie - in commissioner’s seat after commissioners and council staff have vacated the council chamber. 28.26 - Wayne Phillips, State Liberal member for Eltham, addressing community in response to questions. 28.36 - Mark Burns, community activist addressing gallery. 28.48 - Ken Hines, ex Shire of Eltham Councillor and President. 29.34 - Ken Hines, ex Shire of Eltham Councillor and President standing, Robert Marshall, ex Shire of Eltham Councillor and President seated in front. 29.41 - Karen Gerhards, community activist. 30.06 - Marg Johnson with loud hailer, next to Jock Kyme, community activist. 31.32 - Marg Johnson with possibly Frank Burgoyne?, Sigmund Jorgensen, Jock Kyme. 35.35 - Harry Gilham at meeting at Montsalvat on 15 September 1996. 35.43 - Sigmund Jorgenson at lectern. 36.42 - Marg Jennings. 37.47 - Mark McDonald, Jim Connor, ex Shire of Eltham Councillor in background. 36.28 - John Cohen, ex Shire of Eltham Councillor and President. 38.56 - Ken Hines, ex Shire of Eltham Councillor and President. 41.11 - Harry Gilham, president of the Eltham District Historical Society. 43.55 - Sigmund Jorgensen in Long Gallery at Montsalvat, at start of the art auction to raise funds for community action. 45.50 - Unknown person conducting art auction. VHS Video cassette (poor quality) Converted to MP4 file format 45:01, 535MBvideo recording, 895 main road, alistair knox park, artworks, auction, barn gallery, barry rochford, community health centre, dallas howgate, delta demolitions, demolition, don cordell, eltham, eltham library, eltham shire office, eltham war memorial, eltham war memorial gate, eltham war memorial hall, great hall, harry gilham, jenni mitchell, john graves, library place, main road, memorial gardens, mervyn hannan, montsalvat, pitt street, protest, robert marshall, roundabout, shell oil, shillinglaw trees, sigmund jorgensen, sign, wayne phillips

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

This old apple tree situated beside the Plenty River Trail at Greensborough has been associated with Melbourne Founder John Batman. Known as Batman's Tree, this apple tree is on the bank of the Plenty River near Leischa Court, Greensborough. It is said that Melbourne Founder John Batman may have planted the tree and later signed his treaty here with the Aboriginal people. It still bears fruit and its recorded on the National Trust's Register of Significant Trees, as the oldest apple tree in Victoria. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p7 Was This John Batman's Tree? An apple tree on the bank of the Plenty River near Leischa Court, Greensborough, is believed to have belonged to Melbourne’s founder, John Batman. It could also stand where John Batman signed his famous treaty with the Aboriginal people.1 Known as Batman’s Tree, it still bears fruit and is recorded on the National Trust’s Register of Significant Trees, as the oldest apple tree in Victoria. It is ‘Believed to have been planted by either John Batman, (c1837) or Martin Batey (1841)’.2 In 1966 a Horticultural Adviser, Mr Rolfe, after extensive questioning of aged Greensborough residents, wrote: ‘it thus seems fairly certain that the old tree on the banks of the Plenty River is an original Batman apple tree’. Mr Rolfe said that the tree stood on a spot formerly called Wattle Bend: ‘one of the sites claimed to be where John Batman signed his famous treaty with the aboriginals. ‘My main source of information has been interviews with people who attended school in the Greensborough area from 70 to 80 years ago. Their parents were close to the days when Melbourne was founded so information passed on by word of mouth.’ Around 1920 the tree was struck by lightning and a concrete block was placed in the split. The concrete is inscribed with the date 1841 when the tree was thought to have been planted. Not everyone agrees with Mr Rolfe however. Former secretary of the Nillumbik Historical Society, Kevin Patterson, said there was no written evidence to support the claim. But he said the tree had been known to locals for decades as Batman’s Tree. In the 1920s a holiday resort in the area advertised: ‘Come to Greensborough and see John Batman’s tree’. Mr Patterson said it was thought that when Batman died in 1839 his land was sold and a Greensborough man Frederick Flintoff bought seedlings from his orchard for £1 each. This was the only one left.3 Mr Rolfe said: ‘If planted in 1837, or even a few years later, it undoubtedly is the oldest living apple tree in Victoria. Title records of the property on which the tree grows show that the land was a crown grant of F D Wickham in 1840. Mr Wickham was reputed to be a friend of John Batman. All the early settlers prior to the crown grants were squatters, by virtue of Batman’s treaty. This treaty was revoked by the then New South Wales Government, so it is likely that Wickham or an agent was in occupation before 1840. ‘According to Mrs Mavis Latham (John Batman – Great Australian Series, Oxford University Press) when Batman came to Port Phillip in 1835 he brought fruit trees with him. He failed to get a crown grant for his selection on Collins Street, which included 20 acres (eight ha) of orchard and cultivation. His residence became the Government Office and Melbourne grew from wild bushland in 1835 to a town of over 20,000 people by 1841. It is possible Batman visited Wickham and presented him with a tree.’ However a Flintoff descendant in 1933 said Frederick Flintoff ordered his bailiff Martin Batey to transplant the Batman Tree from the Spencer Street orchard to its present site as a memorial to his friend Batman.4 Mr Rolfe spoke to many people, including descendants of the Bateys and Flintoffs and pupils at the Greensborough Primary School. Many had gained their information from a ‘very highly respected’ head master Lewis Amiet at the Greensborough School from 1895 to 1917. He must have gained this information from residents in the district and had this information been incorrect, the parents of the children would have promptly corrected him.’ One woman who attended the school before Mr Amiet’s appointment, said the previous teacher also taught that the tree on the Plenty River was a Batman tree, Mr Rolfe said.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, greensborough, john batman tree, plenty river trail

Poppet head behind slope of hill. Trees in foreground, wattle out. Inscription markings: Nell Gwynne Reefs on back, hand written.organization, business, nell gwynne reefs mine

CEMA Art Collection Winner of 1962 Portland Artists' Society Prize for the category Painting. Included in the 1999 "Salvage" Exhibition at CEMA Arts Centre.The painting depicts several trees on a multi-coloured ground with mountains in the background. The trees in the foreground are linear and completed in shades of browns and pinks. The work has a white, gold and blue hand-painted frame with exposed canvas.Front: Werther '62 (bottom right, brown paint) Back: PORTLAND "DEAD WATTLES" 40 GNS FRANK WERTHER COTTLES BRIDGE VIC per MAYNE NICKLESS (white chalk) Red sticker: 32 Yellow sticker: 1962cema, portland artists society

Set of 7 photographs, probably by the MMTB of Wattle Park. 1 - Night photo of the chalet 2 - view looking across to the chalet with people picnicking 3 - One of the former W2's at the park. 4 - General view of the park with people. 5 - Another view with one of the W2's in the view, 6 - View with the golf course 7 - General view with mature trees.Yields information about Wattle Park during the 1960s, which was owned and maintained by the MMTB.Set of 7 black and white photographs.tramways, mmtb, wattle park, golf

Pamphlet, folded sheet, six folds, full colour on blue background gloss paper titled "Wattle Park - a gold and green oasis" giving information on the park, its history, management (MMTB) and sporting uses. Has a number of photos of sporting activities, the Tramways band, buildings, the Lone Pine tree. On the rear is a map showing route 70 and details of the tram timetable. In the bottom right hand corner of the pamphlet are the words "MTB Publication". No contact numbers or addresses given. Printed in the same style as Reg Item 594. Second copy added 19-1-2017 from donation of John PrideauxIn ink in top left hand corner "4J40" - AETA Library location.trams, tramways, wattle park, mmtb

Set of seven black and white prints of prototype tram 1041, during its first days of commissioning and testing in the city and on the Wattle Park route. All printed on Kodak paper. .1 - at Preston workshops, showing City, route 088 .2 - ditto .3 - ditto - 2nd copy added from donation of Geoff Warburton added 10/10/17. .4 - In Riversdale Road, Wattle Park, showing W. Park Elgar Rd, route 070. .5 - ditto, but showing special and route 000 - trees behind the tram had been faded out. .6 - turning out of Bourke St into Spring St with destination of E. Brunswick, route 96. Has been painted with words "Welcome Board" and "Enter here" on front door. Has the Windsor hotel in the background. Second trolley retriever fitted as well. .7 as for .5 but at a different location. 2nd copy of .3 added 10/10/17.4 - notes to remove pole, ext and I HT and grating on rear along with a sketch of the tram outline and number 16. .6 - on rear "9 3/4 x 6 1/8" .7 on front of the photo "9 3/4" x 6 1/4" in felt pen. .3 - second copy "1041-Preston-3-MMTB" in pencil on rear.trams, tramways, mmtb, prototype tramcar, 1041, riversdale rd, wattle park, preston workshops, tram 1041

When the numerous gold mines declined in production, the eucalyptus oil industry became an important source of work. The first eucalyptus oil producer in Bendigo was a chemist called Richard Sandner who operated a plant and refinery in Bridge Street from 1876. By 1900, many other distillers operated on the northern edge of Bendigo and in the Whipstick. In 1926, the Forest Commision established a eucalyptus distillery at Gunyah in Wellsford State Forest. See the Wellsford Forest Note for more information. Today, there are just two eucalypt distilleries operating in Bendigo. Most of the world’s eucalyptus oil is now produced overseas. Peter Ellis Collection: eight slides of Whirrakee Wattle regeneration near Bagshot, Eucalyptus History museum, Ruedin's Steam Traction engine, Eucalyptus oil condensor and a Mallee roller to rip out the eucalytpus trees. Peter was a chemistry lecturer at the Bendigo Institute of technology.history, bendigo, peter ellis collection, bendigo institute of technology, b.i.t., whipstick bendigo, bendigo state forests, eucalyptus oil, malle roller, whirrakee wattle, bagshot, steam traction engine, eucalyptus oil condensor