Book, 80 pages, gloss art paper, in black ink with a yellow card cover in green ink, centre stapled, titled "The Bendigo Tramways" Details history of Bendigo tramways, its tramcars and the involvement of the various operators. Has maps and photographs. Written by Keith Kings and published by the Victorian Division of the Australian Railway Historical Society and others at the time of the closure of the Bendigo system. Has details of the various organisations that published the book on the rear cover.trams, tramways, bendigo, battery trams, steam trams, history

Wall Calendar - heavy card covers, 12 gloss art pages inside, titled "Trams - 2006" containing full colour photographs of Rockhampton, Ballarat, Fremantle, Grenoble France, Geelong, Sydney, Brisbane, VR Sandringham and Transporting Art Melbourne trams. Has a punched hole along the top edge to enable wall use. Provides dates for holidays, school holidays and Pension payment days and phases of the moon. Produced by Topmill Pty Ltd and distributed by Gordon & Gotch Pty Ltd. Photos by Archer Park, William Scott, A. W. Perry, Ben Parle, Maurice Kelly, Ken Smith,trams, tramways, rockhampton, ballarat, fremantle, geelong, sydney, brisbane, victorian railways, sandringham, brisbane, transporting art, tram 2107, tram 50, tram 384, tram 340, tram 497, tram 567

Twelve page booklet, titled "Ballarat and Bendigo, Victorian Tramway Preservation" written by D. Menzies and J.H. Price, reprinted from Modern Tramway. Front cover has BTPS tram 38 on original depot fan, green banner centrally with title, and Bendigo Birney No. 28. A circular white sticker with "1.00" written on is stuck on the right hand side, centrally. Saddle stapled print in black ink on 120gsm art paper. Written material covers background history of both Ballarat and Bendigo tramways, tramcars, closure, the formation of the BTPS and the Bendigo Trust tramways and their operational history up to about mid 1975 as it mentions the first COTMA meeting. Also has 12 photos inside. On rear cover is an advertisement for the TMSV and the Light Railway Transport League (UK) (LRTL). PDF copy of full book added 16-3-2017."D. W. Lees 2/2/76" on top of page 2 and "D. W. Lees" on side of page 10 in a fine felt pen ink.trams, tramways, ballarat, bendigo, lrtl, tram preservation

Set of 70 different types or blocks of Melbourne Metcards, passes and associated tickets contained within their own envelope and placed in a heavy duty black folder within photographic sleeves or sheets by the Museum. All collected by Maxwell Hayes, These comprise: Folder Sheet Description 1A Sunday Saver Dec 05 1B Zones 1 to 3 combination Adult - 3 hour 1C Deaffympic games Dec. 04 1D Fares and Travel guide Dec 00 single 2A Safety and Security - Set 4 - Oct. 03 2A Federation May 01 2B Arts Festival 05 2C Melbourne Landmarks July 2000 2D Zones 1 to 3 combination concession - 3 hour 3A Herald Sun - free ticket 3B Art Set 4 Sept 03 3C Arts Festival 05, single Oct 05 3D Worlds Masters games, July 02 4A First issue March 98 4B First issue March 98 with arrows printed on top 4C Celebrity set 10 complete - Set 2 4D Early Bird tickets - wrapped with a Metlink newspaper advert. 5A MMTB / MTA Single Journey 5B Pre Decimal tickets MMTB 5C MMTB Machine tickets 5D Decimal MMTB/ MTA check tickets 6A MetroCard 1981 6B City Savers 6C MMTB Day tripper 6D MTMB/MTA paper tickets 7A Prepurchased Section tickets 7B MMTB Machine generated tickets 7C Monthly travel permits 7D MMTB Railway checks 8A Seniors travel passes 8B Victorian Railways Motor coach 8C Prepaid Travel voucher 8D City Section - concession 9A Misc. - Bus Proprietors Association tickets 9B Night Rider 9C Skybus 9D Neighbourhood Monthly 10A Neighbourhood student passes 10B Zone 1 concession 3 hour 10D Neighbourhood family travelcard 11A Neighbourhood concession 11B Set of 6 Melbourne 2000 Millennium Metcards 11C Melbourne Art Festival 2000 - set of 6 11D Federation Sq Metcard - two sets 12A Melbourne International Comedy festival Metcards 12B Free Internet trial Metcard Oct 1999 - 1 off 12C Two packets of Soccer tickets Metcards 12D Myer Metcard 13A Painted tram launch ticket 13B VR Spirit of Progress Metcard 13C Give blood Metcard May 03 13D Commonwealth Games Metcards Feb 06 14A Private bus lines 14B Melbourne food 2003 15A Neighbourhood full fare and off peak 15B Zone 1 full fare 3 hour 16A Zone full fare 2 hours 16B Neighbourhood travel cards - first issues? 17A Zone 1 to 3 and combinations full fare daily 17B TheatreWorks Travel card - Storming Mont Albert 18A National Bus Company 18B Zone concession - 2 hour 18B Machine issued MMTB - alpha zones 19A Sex (Party line) advertising on reverse 19B Machine issued MMTB Alpha zones 20A Veterans travel passes 20B Special Passes 21 Sample tickets - introduction of photo cards 22 Sample of MTA Gold pins Detail scans of Veterans passes and single journey tickets made - see images i2 to i5trams, tramways, tickets, metcard, metlink, buses, passes, nightrider

Josh MUIR (1991- 2022) Yorta Yorta/Gunditjmara/Barkinjl Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice. Computer generated image on canvas.josh muir, aboriginal, artwork, artist, hutchinson indigenous fellowship

Poster features headlights from some of the Transporting Art program. Document acts as a catalogue for a 1983 Arts Exhibition. Gives a background to the project, lists the trams, notes on the artists, notes from the artists on their work, black and white images of the tram parts. Printed for the Victorian Ministry for the Arts Gallery, exhibition 12/9 to 14/10 1983Yields information about the first series of Transporting Art trams.Folded A2 (into A4 sheets) printed on gloss paper.Tram No. for 396 changed to "336" in ink.trams, tramways, transporting art, decorated trams, exhibitions, tram 234, tram 525, trtam 607, tram 345

Poster titled "Melbourne's Painted Trams" with subtitle "Transporting Art", printed on one side of a single sheet of art paper, then folded in half, then folded in concertina style (6 panels), featuring the 15 Melbourne W2 class tramcars that were painted in the years between 1978 and 1982. Provides notes on the artists, their thoughts on the projects and details of the project. Sponsored by the Victorian Ministry for the Arts and Ministry of Transport. Notes that 14 of 15 trams had reached the end of their working lives and were to be auctioned on 7/12/1986, that No. 504, Clifton Pugh was to be donated to Museum of Victoria and that a new series of 20 painted trams were being sponsored. Poster prepared by Malpass and Burrows of the Design group with photographs by Stephen Hall and Regina Grant. Decorated trams, artists. Features trams and artists 525 - Les Kossatz 243 - Mirka Mora 504 - Clifton Pugh 503 - John Nixon 497 - Erica McGilchrist 567 - Peter Corrigan in 1978 and repainted by Paul Mason in 1982. 345 - Gareth Sansom 384 - Howard Arkley 234 - Andrew Southall 336 - Mike Brown 444 - Trevor Nickolls 502 - Rosemary Ryan 340 - Don Laycock 607 - Craig Gough 439 - Stewart Merrett 2nd copy added 2/6/15. Electric Traction, August 1979, page 135 has noted on the removal of the Japanese flags on tram 567 by artist Peter Corrigan.trams, tramways, transporting art, decorated trams, exhibitions, melbourne

Photocopied A4 poster on light yellow paper, titled "Art Auction" event, 7/12/1986 for the Transporting Arts trams. Sponsored as a fund raising lunch for the Victorian College of the Arts Foundation. Held at Hyatt on Collins. Noted that the trams could be inspected at Hawthorn Tram Depot. See Reg Item 3954 for the poster of the event.trams, tramways, transporting art, decorated trams, auctions

Book, brown cover patterned (Deer skin?), titled "The Garden City of Australia / Twenty-four views of Melbourne" with 24 pages (smaller than cover) printed pages stapled inside. Inside front cover is a map of Melbourne, with specific buildings marked, inside rear cover - Where to go in Melbourne, General Information and Sight seeing tours. On rear cover is printer details. Page Photo details by 1 Skyline of the City of Melbourne from Yarra Bank Victorian Railways 2 Collins St from Spring St (with trams) ditto 3 Princes Bridge, River Yarra ditto 4 St Kilda Rd from Flinders St Station ditto 5 St Pauls Cathedral ditto 6 Bourke St Shopping Centre - with double deck buses no details of photographer 7 Elizabeth St - with trams and buses Victorian Railways 8 Swanston St with modern skyscrapers (Collins) ditto 9 Aerial view, city of Melbourne ditto 10 Parliament House ditto 11 Public Library, Museum and Art Gallery ditto 12 St Kilda Rd, Looking towards the City trams 772 and W2 ditto 13 Kings Domain - Pioneer Monument ditto 14 Royal Melbourne Hospital - with back view inset ditto 15 Alexandra Gardens and the Shrine of Remembrance ditto 16 Alexandra Gardens and Government House ditto 17 Captain Cook's House - Fitzroy Gardens ditto 18 Albert Park Lake no details of photographer 19 Melbourne Boys School, MacRobertson's Girls High School and Melbourne Uni - no details of photographer 20 Scene in the Botanical Gardens Victorian Railways 21 Aerial view of St Kilda with Brighton in background Victorian Railways 22 Melbourne Cricket ground, taken during the testimonial match to Sir Donald Bradman - no details 23 Queen Victoria Memorial Hospital and Exhibition Buildings and Aquarium - Victorian Railways 24 Dandenong - Showing Silvan Dam Victorian Railways The testimonial match took place in Melbourne during December 1948 (Reference Sir Donald Bradman Museum). Possibly arranged by the Victorian Government Information Bureau given the number of Victorian Railways photographs.trams, tramways, melbourne, st kilda rd, swanston st, bourke st, victorian railways, flinders st station, gardens

Set of 17 Souvenir tickets for each of the painted trams, issued at the time of the launch - first day ticket. Each ticket corresponds to the painted tram number. A project of the Victorian Ministry of Transport and the Ministry of Arts. Printed on gloss card except for ticket No. 1, 9. Tickets 1 to 8 have plain backs. Each ticket has the tram number in a sketch of the front of a tram. These are for the second series of Transporting Art trams.trams, tramways, transporting art, minister for transport, decorated trams

Melbourne Art Trams On the rear is a photo of the SW5 731 Lindsay Dumbrell Transporting Art Tram. Brook Andrew Jon Campbell Bindi Cole Rose Nolan David Wadelton Joining forces Luke Cornish Frey Pitt.1 - pamphlet, folded sheet to give a DL size, blue background titled "Melbourne Art Trams" - Oct. 2013 to April 2014, vote for your favourite tram in the People's choice awards! - part of the Melbourne festival. Notes the Transporting Art trams. Inside the pamphlet are images of the artwork on 8 different trams including the artist names and title of the work if any. Has Yarra Trams, PTV, Arts Victoria and Victorian Govt. logos. .2 - pamphlet, DL size on white paper, featuring W2 602, advertising the Old Treasury Building exhibition titled "Trams Moving Pictures" - 17/12/2012 to mid August 2013. Details the exhibition, has contact details logos.trams, tramways, yarra trams, transporting art, decorated trams, exhibitions

Maryanne COUTTS (1960- ) Born Melbourne, Victoria Maryanne Coutts studied at the Victorian College of the Arts (VCA), The University of Melbourne, 1979 -1981, the University of NSW (UNSW),1984 and was awarded a PhD (Painting) from Federation University Australia in 1999. She has exhibited extensively throughout Australia and internationally including the United Kingdom, Spain and Thailand. She has worked as a Sessional Lecturer at the Arts Academy, University of Ballarat (1999 - 2003), and is currently Head of Drawing at the National Art School, Sydney. In 2007 Maryanne Coutts won the Portia Geach Memorial Award and was the joint winner of the Blake Price in 1982. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.An apple depicted in oil by Maryanne Coutts. This work was created specifically for the 'Imaging the Apple' Touring Exhibition curated by John R. Neeson. It was also exhibited in 'Telling Tales: Maryanne Coutts' at the Ballarat Fine Arts Gallery in 2008. Donated by the Australian Cultural Gifts Program, 2008art, artwork, maryanne coutts, coutts, apple, alumni

Lewis MILLER (1959 - ) Born Melbourne, Victoria Lewis Miller is a figurative and still life painter. He painting from life and close observation. He trained and completed post graduate studies at the Victorian College of the Arts, where he also completed his post graduate studies. Miller won the Archibald Prize in 1998 and has been a finalist seventeen times. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed painting of half an apple. 'Untitled' by Lewis Miller was exhibited in a travelling exhibition called 'Imaging the Apple' which toured from 2004 to 2005.art, artwork, lewis miller, miller, apple, fruit, imaging the apple, still life

Vera MöLLER (1955 - ) Born Bremen, German Arrived Australia 1986 Vera Möller is a Melbourne based artist with a keen interest in the natural world. She studied fine art at the Victorian College of the Arts and Monash University. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Painting of an apple, exhibited in the 'Imaging the Apple' travelling exhibition. art, artwork, vera moller, moller, imaging the apple, fruit, still life, vera moeller

From research from PROV, maker could be Arthur Apps, a Victorian Railways employee (Head Office liftman), who was making those lamps to sell for his "favourite" charity, the Children's Hospital where he was a Life Governor. (Victorian Railways newsletter April 1948, p 11)The lighthouse is the symbol of hope and security for seafarers.Lighthouse shaped lamp with art deco lamp shade. Base is mallee wood, lighthouse is kauri wood.lighthouse, lamp, maritime art, art deco

Edward Heffernan and Geoffrey Mainwaring were Australian artists and art educators who in their very different approaches and passions influenced hundreds of artists and art students throughout their careers. Born only days apart in October 1912 they pursued a lifelong passion for art. Heffernan from Melbourne and Mainwaring from Adelaide gave decades in art education in regional Victoria at Geelong and Ballarat respectively. Heffernan was also influential in working with Melbourne students and encouraging art through the Victorian Artists Society while Mainwaring served to use his art in documenting the role of Australia in the Second World War as an official Australian War Artist. This exhibition catalogue profiles their careers and was the first such retrospective of their lives and work brought together to celebrate their contribution to Australian art and the double centenary of their births.

The decorative art-nouveau style leadlight side and transom lights were a popular form of entrance lighting set into recessed panels in late Victorian homes at Ballarat. This home built by local architect/builder Thomas Turton features these popular glass lights.The side and transom lights at Hymettus form part of a significant and representative historical collection that reflects Ballarat's local history from a family perspective and popular art and architecture movements at the turn of the 19th and 20th centuries. They contribute to our understanding of social and family life in twentieth century Ballarat and providing interpretative capacity for family, local, art, architecture and social history themes.ballarat architects and architecture,, hymettus, taffe, art nouveau, leadlight

Built by artist and cartoonist Percy Leason in 1927 in what was then New Street but renamed Lavender Park Road in the late 1950s/early 1960s. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p121 Said to be a genius, cartoonist Percy Leason’s career was at its peak when in 1925 to 1926 he built his home at New Street (now Lavender Park Road) Eltham. The Herald newspaper owner, Sir Keith Murdoch, had hired Leason for his newly acquired Melbourne Punch magazine at a salary of £1750, making him ‘one of the highest paid cartoonists in the world’.1 With this salary and financial help from Murdoch, Leason was able to build his lovely home in Eltham. At the crest of a sweeping drive, the home now two-storey in white brick with a gabled grey slate roof and dormer windows is flanked by an extension built by another owner in the 1980s. Leason lived in the home with his wife, Isabel and children, until 1937, when he left for the United States of America, where he lived until his death in 1959. The four-bedroom house and garden would have been well-suited to bringing up his family and to entertaining their friends in style. Large airy rooms have high ceilings with moulded plaster, timber floors and several are brightened with bay windows. Leason made friends with many of the artists and personalities who gravitated to Eltham. Around 1931 Justus Jörgensen, founder of the Montsalvat Artists’ Colony, helped Leason build his large studio at the back of the house. Another friend was journalist Mervyn Skipper, father of jeweller and sculptor Matcham, and artists Helen and Sonia. Leason’s teacher, artist Max Meldrum, also visited and rented accommodation in Eltham, opposite Wingrove Park. Punch folded in 1925, but Leason continued as cartoonist for Table Talk. In 1926 Leason began the cartoons of a mythical Australian town Wiregrass, which were inspired by Kaniva, his home town. The art gallery in Main Road Eltham was named Wiregrass in Leason’s honour. Leason completed 1000 drawings from 1919 to 1937, which author Garrie Hutchinson claimed, were technically unsurpassed and had regional and universal interest. Leason’s acute observations of country life stemmed from his childhood in Kaniva in Victoria’s western Wimmera, where he was born, the son of a selector, in 1889. Meldrum claimed that Leason could name every plant and the habits of every animal.2 Leason also painted 28 portraits of the last full-blooded aboriginals in Victoria at Lake Tyers in Gippsland, most of which are in a private collection. In Sydney Leason illustrated Henry Lawson’s Selected Poems and worked for The Bulletin. Leason had begun his career at 13 as an apprentice lithographic artist at Sands and MacDougall. He attended night classes at the National Gallery and the Victorian Artists Society. Leason first visited Eltham in 1910 to paint with fellow artist William ‘Jock’ Frater. They camped near Bible and Pitt Streets and along the Diamond Creek on the site of the present Eltham Retirement Centre. Despite his success as a cartoonist, Leason wanted to be recognised as a serious painter and for his anthropological work.3 He was also conservative and felt uncomfortable with the modern art scene in Melbourne.4 So he left for the United States of America to work as a painter. Ironically his time in New York saw the burgeoning of modern art, notably by artists such as Jackson Pollock. But Leason found his niche by running an art school, painting society portraits and illustrating books and magazines.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, landscape, lavender park road, percy leason, new street

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

Built in 1953, the Rice House was leading Melbourne architect Kevin Borland's first commssion and was one of two houses of its kind. The design of the shell-like structure was inspired by the Arch of Ctesiphon, built in the second century south of Baghdad. Cement with a waterproofing agent was applied in layers to a form of regularly spaced timber arches covered in hessian. This ctesiphon system was developed in the United Kingdom by engineer J.H. de Waller in 1947. Commissioned in 1951 by Harrie and Lorna Rice, after Harrie, then an art student, met Borland at The Age Small Homes Service. Borland suggested they buy land in Eltham because at that time it was the only council in Melbourne that would grant a permit for such an innovative house. Covered under Victorian Heritage. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p157 Inspired by an ancient arch in Iraq, a house stands on top of a hill in a private position, off Ryans Road, Eltham. One of only two houses of its kind, it was leading Melbourne architect Kevin Borland’s first commissioned house, which he built in 1953. The shell-like structure, partially screened by giant trees and cacti, was inspired by the Arch of Ctesiphon south of Baghdad, built in the second century.1 Cement with a waterproofing agent was applied in layers to a form of regularly spaced timber arches tightly covered by hessian. This ctesiphon system was developed in the United Kingdom by engineer J H de Waller in 1947. This house was the first of three such structures built in Victoria, of which only one other remains, although substantially altered.2 It is the Wood House and supermarket, at the corner of Cleveland Road and High Street Road, Ashwood, designed by Robin Boyd in 1952. The Rice House demonstrates Kevin Borland’s innovative and experimental work. It is an outstanding example of the post-war period of experimentation in domestic architecture in Melbourne – by Robin Boyd, Kevin Borland and others – for The Age Small Homes Service from 1947 to 1953. This was partly an expression of late-Modernism and also necessitated by the post-war shortage of building materials. In Eltham, the post-war shortage of building materials largely resulted in mud-brick houses. Examples of Borland’s public work include contributions to the Olympic Swimming Pool in Melbourne and the Preshil Junior School in Kew. After more than 50 years of living in the house, Harrie and Lorna Rice still love it. Facing north-east with large windows overlooking the garden and two courtyards, it is well lit and benefits from a through breeze. The couple commissioned the extraordinary house after Harrie, then an art student, met Borland in 1951 at The Age Small Homes Service. Harrie was so impressed by the recently graduated Borland’s enthusiasm, that he asked him to design them an interesting house for a low budget.3 The unusual design presented several hurdles for the young couple before they could construct it. Borland suggested that they buy land in Eltham, because at that time it had the only council in Melbourne that would allow such an innovative house. Another hurdle was to gain finance for this remarkable house. The State Savings Bank Manager refused finance on the grounds that it was ‘unliveable’ and a ‘disgrace’. Fortunately, through a family connection, the couple borrowed money from the National Bank. But they discovered years later, that the bank’s evaluation stated the two ‘concrete sheds’ were of no value!4 The house built in off-white concrete, consists of two sections. The main house has four arches supported by brick and concrete walls that create a series of inter-connected rooms. Inside, the ceiling follows the roofline. Originally this section was only ten square metres, because of building restrictions at the time. But in 1973 Borland added two rooms and a carport. The second structure of two arches was originally a garage and a studio for art teacher Harrie Rice. To accommodate the growing family, in the mid 1950s, Borland converted the second structure into two children’s bedrooms, a kitchenette, a bathroom and a living room. The two structures were originally linked by a covered way of suspended draped-concrete, but this collapsed in the 1980s. The design has several maintenance problems. Cracks developed where two halves of the shells were joined. Then the material sprayed over the cracks became brittle, causing leaks. Fortunately Harrie found another material he could use. The valleys between the arches collect water, requiring annual painting with a waterproof material to prevent leaking. Lorna framed the house with native and exotic plants, which provide privacy and as a bonus, the garden attracted the rare Eltham Copper Butterfly.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, rice house, ryans road

Robert Thomas Miller Born in Melbourne in 1916 Studied commercial art at RMIT and for many years worked as graphic designer and design director at ACI Ltd. Member of the Victorian Artists's Society (Council member since 1965), Australian Guild of Realist Artists, Old Water Colour Society Club (past president), Australian Watercolour Institute, Hughesdale Arts Group (past president), Burnie (Tas.) Coastal Art Group. His watercolours have won over 40 major awards, including Victorian Artists' Society, 1973 Artist of the Year Award, and the Rotary Club of Camberwell Watercolour Prize (twice). Represented in many Australian collections both public and private.Maritime artRobert T. Miller, Mission to Seafarers Victoria CollectionA framed and glazed mat mounted watercolour painting by award winning artist Robert T Miller in ''landscape" format showing moored, masted ships; The modern frame is of moulded or carved wood with appearance of brushed gilt type gilding; image is mounted with pale grey window mount; Backing sealed with paper wire strand hanging system;Artist signed front lower right corner of painting in black ink; no date; sepia label adhered on top centre Verso with artist bio and brief CV ; Other exhibition labels adhered ; inscription describing acquisition and title of work; ( details TBA) M3 in black markerharbour, dockside, artwork, marine art, robert thomas miller, robert t. miller, watercolour, artwork-paintings

Robert Thomas Miller Born in Melbourne in 1916 Studied commercial art at RMIT and for many years worked as graphic designer and design director at ACI Ltd. Member of the Victorian Artists's Society (Council member since 1965), Australian Guild of Realist Artists, Old Water Colour Society Club (past president), Australian Watercolour Institute, Hughesdale Arts Group (past president), Burnie (Tas.) Coastal Art Group. His watercolours have won over 40 major awards, including Victorian Artists' Society, 1973 Artist of the Year Award, and the Rotary Club of Camberwell Watercolour Prize (twice). Represented in many Australian collections both public and private.Maritime ArtRobert T. Miller, Mission to Seafarers Victoria CollectionContemporary framed in limed wood, mounted and glazed watercolour painting by R.T. MILLER in portrait format. Mat mount is white. Image features freighter with black hull at mooring in dockland setting; wire hanging systemInterpretation label adhered to back, includes photographic portrait of the artist Value on label Signature M4 in black markermarine painting, port melbourne, artwork, docklands, tug boat, robert thomas miller, robert t. miller, r.t. miller, artwork-paintings, tugboat

Great Hall at Montsalvat built 1938-52, designed by Justus Jorgensen Covered under National Estate, National Trust of Australia (Victoria) State Significance, Victorian Heritage and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p129 At first glance, Montsalvat, the artists’ community at Hillcrest Avenue, Eltham, could belong to another time and place. The French provincial Gothic-style buildings blend picturesquely with the introduced and native trees and farm animals on the five hectare property. But Montsalvat belongs very much to today’s Eltham, having inspired much of its creative activity and style. The use of mud-brick and recycled building materials, for which Eltham is so well-known, was largely popularised by Montsalvat. Montsalvat – unique in Victoria and probably in Australia – is registered by the National Trust and National Estate.1 Montsalvat, named after the castle of the Knights of the Holy Grail, has attracted artists and intellectuals since it was founded in 1934. For years at weekends, artists, lawyers, philosophers, politicians and others, who shared a love for what Montsalvat stood for, gathered for a meal and stimulating discussion. The focus for this gathering of talent was Justus Jörgensen, an eccentric man with vision and charisma. It was Jörgensen’s foresight that saw the creation of Montsalvat, which in 1975 was formed into a trust to benefit the Victorian people. The property was then valued at about three million dollars. It is now visited by thousands of people annually. Born in 1894 and brought up a Catholic, Jörgensen had trained as an architect. He later studied painting at the National Gallery School under artist, Frederick McCubbin, then joined the studio of artist Max Meldrum. In 1924, Jörgensen married medical student Lillian Smith, and with artist friends they travelled to Europe to study the great masters. In London Jörgensen exhibited in several major galleries. One of his still life paintings was included in the book The Art of Still Life by Herbert Furst, which featured 100 of the greatest ever still life paintings.2 In 1929, Jörgensen returned to Melbourne where Lil, now qualified, worked as an anaesthetist at St Vincent’s Hospital. They bought a small house in Brighton and Jörgensen rented a large building in Queen Street for his studio until the Royal Automobile Club of Victoria bought it in 1955. While designing and overseeing the building of a studio for his friend the famous cartoonist Percy Leason, in Lavender Park Road, Jörgensen decided to buy land for a country retreat in Eltham. So the building of Montsalvat began. Jörgensen gathered around a dozen of his friends and students from his Queen Street studio. They set to work, first at weekends then some decided to live permanently on the site. Jörgensen had seen mud-brick buildings in Spain and recognised that Eltham’s clay soil was ideal for mud-bricks and although labour intensive, it was a very cheap way of building. Jörgensen’s students and friends worked under his direction with the help of local tradesmen, including carpenter, Len Jarrold and later stone mason, Horrie Judd. In return Jörgensen would give the students a painting lesson or two. It was the Great Depression when many were out of work. Jörgensen also inspired people to give generously of money and materials. With their help Jörgensen found second-hand materials for building. Friends donated slate for roofing, discarded firebricks were used for flooring and windows and doors and a cast-iron circular staircase came from a wrecker. The students’ day started at 7am with building and domestic chores, shared equally between the sexes. The first building was used by his friends at weekends and then became a home for his wife Lil. It consisted of three rooms and an attic under a high-pitched roof. Jörgensen then built a similar structure with the same high-pitched roof as a more permanent home for his students. The two buildings were joined together with a tower and a studio for Jörgensen. While excavating for the studio a reef of yellow mud-stone was found and then used in construction. The next building was the Great Hall, to be used for dining, exhibitions and meetings and completed in 1958, after a halt during the war. Whelan the Wrecker donated the stone-framed windows from the building that housed the Victorian Insurance Co. in Collins Street, which had been demolished in the 1930s. The swimming pool was donated and cubicles were built for the students with their initials marked in tiles on each doorstep.1 One of Jörgensen’s great abilities was to recognise how to use material which harmonised. He would comb through wreckers’ yards for what he needed. Regarding his buildings as sculptural pieces, his first consideration was for the aesthetic quality of a building and only then for its functionality.2 At Montsalvat, Jörgensen found he was able to put his ideas into practice without compromise and those who worked with him had to conform to his ideas. With the Jörgensens, the colony’s original nucleus consisted of the Skipper family – Mervyn and wife Lena, daughters Helen and Sonia and son Matcham,who was to become an eminent jeweller and sculptor represented in National Gallery collections throughout Australia and in European museums.3 Other members were Arthur Munday, Lesley Sinclair, Helen Lempriere, Ian Robertson, John Smith, George Chalmers, John Busst and Sue Van der Kellan; also Jörgensen’s three sons – Max, Sebastian and Sigmund – and Saskia, Sonia Skipper and Arthur Munday’s daughter. Montsalvat went through some hard times when local gossips spread rumours of sexual shenanigans at Montsalvat. However Montsalvat also had many local supporters – especially amongst the local tradespeople. The colony was certainly unconventional – with Jörgensen’s wife Lil (and son Max) and life-time partner Helen Skipper, (mother of Sebastian and Sigmund) living at Montsalvat. Sonia Skipper says in her biography that the group were ‘very conscious of their responsibilities to each other and a desire to make their relationships work’.4 By World War Two many buildings around the Great Hall were completed. Jörgensen was a pacifist, as were most of his students. Some of the Montsalvat community enlisted while others engaged in essential services like dairy farming and market gardening for the war effort. It was then that Jörgensen constructed farm buildings. After the war many well-known personalities such as Clifton Pugh, landscape gardener Gordon Ford, and builder Alistair Knox, were drawn to Montsalvat. They learnt that building was not a ‘sacred cow’ only for professionals, but that anyone who was willing to get their hands dirty could do it. The post-war shortage of materials also encouraged builders to follow Montsalvat’s lead in reusing materials. When Jörgensen died in 1975, his influence did not – thanks largely to the vigilance of his son, Sigmund, who became its administrator. The weekend dinners have gone, but in 2008 about 14 artists still work at Montsalvat – some living there – including a couple who have been there since its early days. Under Sigmund’s direction Montsalvat further expanded its activities which included festivals, art exhibitions, concerts and weddings. Sigmund completed the Chapel, then the Long Gallery next to the pool, After the barn burnt down, he replaced it in 1999 (the builder was Hamish Knox, Alistair’s son) with a new gallery and entrance and added a restaurant. Sigmund has been careful that any new building blends in with the character of Montsalvat. In 2006 Montsalvat was restructured for its continued financial viability and with the help of Arts Victoria a new executive officer was appointed. A representative board from the wider community was established, which includes members from the former Montsalvat Trust including Sigmund Jörgensen – who is now the heritage and arts adviser to the new company Montsalvat Ltd.5 Today, visiting Montsalvat one still sees artists, students and visitors enjoying the unique and beautiful surroundings.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, great hall, montsalvat

Vassilieff dynamited rock from his own property to build his house. Stonygrad is reminiscent of a grotto and in parts, of a sculpture. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p135 Stonygrad, the home built by Expressionist painter and sculptor Danila Vassilieff, is reminiscent of a grotto and in parts, of a sculpture. Vassilieff, who amongst others influenced painter Sydney Nolan and Albert Tucker, was a member of the artists group the Angry Penguins.1 He was also a highly regarded art teacher at the nearby Koornong Experimental School and taught at Eltham High School. Art critic Robert Hughes described Vassilieff’s painting as ‘lyrical without social commentary’, and said Vassilieff was ‘the most oddly neglected artist in recent Australian History’.2 Vassilieff, who was born in 1897 in Russia, had an unusually adventurous life before he settled in Warrandyte. The 12th of 18 children, he lived on a farm in the Don Basin. Vassilieff trained with the Imperial Military Academy at St Petersburg and fought in World War One as an officer in the White Russian Army against the communists. In 1920 he was captured, then escaped from prison, stole a horse and rode bareback 150 miles to the Black Sea, helped at first by Tartar freebooters. He then travelled to India, Shanghai and arrived in Queensland as a refugee in 1923 where he began painting. He and his wife Anisia bought a sugar farm near Ingram,3 and later he constructed railway lines at Mataranka, in the Northern Territory.4 In 1929 Vassilieff went to Brazil for formal art training from former fellow-officer Dmitri Ismailovich, but he soon left to travel up the Amazon River. He then worked as a sidewalk artist in the West Indies and travelled for two years in England, France and Spain. In 1937 he arrived in Melbourne where he lived until his death in 1958. His first major Australian series was the Carlton streetscapes and from 1951 he sculpted in local hard limestone.5 Vassilieff rejected all dogma and regarded religious subjects as suitable only for decorative arts. In 1944 he helped defeat a communist attempt to take over the Contemporary Art Society. For a short time, from around 1955, Vassilieff taught at various Victorian schools.6 The Angry Penguins painted mainly between 1937 and 1947, and included Arthur Boyd, Albert Tucker, Sidney Nolan and Joy Hester. The group formed as they felt isolated from European thought and art (including Surrealism) from which their work was derived. They were also angry at what they considered to be the complacency and insularity of their society. They maintained Australians at first were scarcely aware of the threats of the Wall Street Crash and Hitler and were little interested in the Spanish Civil War. The Angry Penguins also objected to the White Australia Policy. Hughes said although most of the Melbourne Expressionists in the 1940s were unskilled and their work crude in style, they helped jolt Australian painting from its pastoral complacency. Their style influenced nearly every painting produced by significant figurative artists in Melbourne in the 1950s such as Charles Blackman. From 1939 Vassilieff built Stonygrad, mainly with local stone. The house stands at the end of a private road surrounded by trees with the quiet occasionally broken by the sounds of bellbirds. To build his house Vassilieff dynamited rock and cut trees from his own property. The original section of the three-level house is of irregular-shaped pieces of solid stone, exposed inside like the exterior. Vassilieff later built sections with timber and brick. Inside is rustic and cave-like, and several rooms are linked by arched openings with no doors. One undulating wall was carved out of rock from which two sculptured heads protrude. Several ceilings are of rough-hewn logs and the built-in table and bookcase are rough, as is a timber ladder leading to a bedroom. Not for the elderly or unsteady! Yet the general impression in the muted light is beautiful, with artistic originality.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, danila vassilieff, hamilton road, north warrandyte, stonygrad

From Antiques Reporter: Florence Tatham Mellblom, (Australian, 1900 - 1983), Visit Portland The First Victorian Settlement, during the Centenary Celebrations from 15th to 23rd November 1934', 1934 colour lithograph, signed 'F. Mellblom' in image lower left, 63.5 x 101.5 cm. Linen-backed. Text continues in lower margin: 'Arbuckle, Waddell Pty Ltd Print, Melb.', Mellblom (nee Henry) was a painter, naturalist and photographer. She was born at Portland, Victoria, and studied art in Ballarat. She was a talented etcher from childhood, and joined the Portland Camera club. She also produced many watercolour paintings of the historic places of Portland. She was married (1932) to Karl Enoch Mellblom.A bluestone building on an arid landscape. Yellow grass in the foreground with one tree standing at the front. There is a blue sky behind. The left hand wing has a door which is slightly open. Above each wing is an engraved piece of stone. Left - Portland, right - Shire. An old rickety fence to the left of the building.Bottom Right - F. Mellblomfemale artist, women, female, landscape, portland landscape, portland shire

"The Progressive Woman" covers all types of topics - from baby news, the world of art and theatre, the love of books, better housekeeping, recipes, knitting patterns etc.the victorian housewives association, world war ii

Provides information about an exhibition at Scienceworks, opened by the Minister for the Arts, Haddon Storey on 15-11-1993 featuring the story of the painting of the third series of Transporting Art trams. Gives the names of the artists and sponsor - Victorian Health Promotion Foundation. The trams themselves did not go.Yields information about a Transporting Art exhibition at Scienceworks during late 1993.News Release - Transporting Art Exhibition - dated with a hand date stamp 24 Nov. 1993.Has number 4377 in ink.exhibitions, press release, news release, transportiong art, minister for the arts, scienceworks, haddon storey