The Lady Barbara Grimwade Costume Collection is comprised of Lady Barbara Grimwade's personal apparel and includes 145 pieces of clothing, 10 hats, 19 handbags, 66 pairs of shoes and assorted accessories of gloves, belts and scarves. In its breadth, this significant acquisition ranges from the mundane to the memorable, therefore giving a balanced representation of one person's taste. Following Lady Barbara Grimwade’s death in March 1990, Ararat Gallery formally accepted the generous gift of clothing and accessories donated by Lady Grimwade's son, Mr Angus K Grimwade, on 28 August 1991. Subsequent smaller donations in 1995 enhanced the collection. Lady Grimwade's Scottish forebears, the Gaerloch Campbells, first settled in Australia in 1861 in the Ararat-Beaufort district. Her great great grandfather, Mr Henry Campbell, died on the voyage to Australia. His widow, Jane, with 10 of her 13 children, farmed and grazed land, firstly at Stockyard Hill then at Fiery Creek, near Buangor, before leaving the shire in 1873. Lady Grimwade held a privileged position in Melbourne society. As the wife of Sir Andrew Grimwade, a prominent businessman, Chairman of several boards and a Trustee of various committees, Lady Grimwade met with royalty, heads of state, politicians, corporate directors, and horse and cattle breeders. Excerpt from 'Hot Pink Summers' catalogue essay, Helen Jackson, 1995.

The Lady Barbara Grimwade Costume Collection is comprised of Lady Barbara Grimwade's personal apparel and includes 145 pieces of clothing, 10 hats, 19 handbags, 66 pairs of shoes and assorted accessories of gloves, belts and scarves. In its breadth, this significant acquisition ranges from the mundane to the memorable, therefore giving a balanced representation of one person's taste. Following Lady Barbara Grimwade’s death in March 1990, Ararat Gallery formally accepted the generous gift of clothing and accessories donated by Lady Grimwade's son, Mr Angus K Grimwade, on 28 August 1991. Subsequent smaller donations in 1995 enhanced the collection. Lady Grimwade's Scottish forebears, the Gaerloch Campbells, first settled in Australia in 1861 in the Ararat-Beaufort district. Her great great grandfather, Mr Henry Campbell, died on the voyage to Australia. His widow, Jane, with 10 of her 13 children, farmed and grazed land, firstly at Stockyard Hill then at Fiery Creek, near Buangor, before leaving the shire in 1873. Lady Grimwade held a privileged position in Melbourne society. As the wife of Sir Andrew Grimwade, a prominent businessman, Chairman of several boards and a Trustee of various committees, Lady Grimwade met with royalty, heads of state, politicians, corporate directors, and horse and cattle breeders. Excerpt from 'Hot Pink Summers' catalogue essay, Helen Jackson, 1995.

The Lady Barbara Grimwade Costume Collection is comprised of Lady Barbara Grimwade's personal apparel and includes 145 pieces of clothing, 10 hats, 19 handbags, 66 pairs of shoes and assorted accessories of gloves, belts and scarves. In its breadth, this significant acquisition ranges from the mundane to the memorable, therefore giving a balanced representation of one person's taste. Following Lady Barbara Grimwade’s death in March 1990, Ararat Gallery formally accepted the generous gift of clothing and accessories donated by Lady Grimwade's son, Mr Angus K Grimwade, on 28 August 1991. Subsequent smaller donations in 1995 enhanced the collection. Lady Grimwade's Scottish forebears, the Gaerloch Campbells, first settled in Australia in 1861 in the Ararat-Beaufort district. Her great great grandfather, Mr Henry Campbell, died on the voyage to Australia. His widow, Jane, with 10 of her 13 children, farmed and grazed land, firstly at Stockyard Hill then at Fiery Creek, near Buangor, before leaving the shire in 1873. Lady Grimwade held a privileged position in Melbourne society. As the wife of Sir Andrew Grimwade, a prominent businessman, Chairman of several boards and a Trustee of various committees, Lady Grimwade met with royalty, heads of state, politicians, corporate directors, and horse and cattle breeders. Excerpt from 'Hot Pink Summers' catalogue essay, Helen Jackson, 1995.

The Lady Barbara Grimwade Costume Collection is comprised of Lady Barbara Grimwade's personal apparel and includes 145 pieces of clothing, 10 hats, 19 handbags, 66 pairs of shoes and assorted accessories of gloves, belts and scarves. In its breadth, this significant acquisition ranges from the mundane to the memorable, therefore giving a balanced representation of one person's taste. Following Lady Barbara Grimwade’s death in March 1990, Ararat Gallery formally accepted the generous gift of clothing and accessories donated by Lady Grimwade's son, Mr Angus K Grimwade, on 28 August 1991. Subsequent smaller donations in 1995 enhanced the collection. Lady Grimwade's Scottish forebears, the Gaerloch Campbells, first settled in Australia in 1861 in the Ararat-Beaufort district. Her great great grandfather, Mr Henry Campbell, died on the voyage to Australia. His widow, Jane, with 10 of her 13 children, farmed and grazed land, firstly at Stockyard Hill then at Fiery Creek, near Buangor, before leaving the shire in 1873. Lady Grimwade held a privileged position in Melbourne society. As the wife of Sir Andrew Grimwade, a prominent businessman, Chairman of several boards and a Trustee of various committees, Lady Grimwade met with royalty, heads of state, politicians, corporate directors, and horse and cattle breeders. Excerpt from 'Hot Pink Summers' catalogue essay, Helen Jackson, 1995.

The Lady Barbara Grimwade Costume Collection is comprised of Lady Barbara Grimwade's personal apparel and includes 145 pieces of clothing, 10 hats, 19 handbags, 66 pairs of shoes and assorted accessories of gloves, belts and scarves. In its breadth, this significant acquisition ranges from the mundane to the memorable, therefore giving a balanced representation of one person's taste. Following Lady Barbara Grimwade’s death in March 1990, Ararat Gallery formally accepted the generous gift of clothing and accessories donated by Lady Grimwade's son, Mr Angus K Grimwade, on 28 August 1991. Subsequent smaller donations in 1995 enhanced the collection. Lady Grimwade's Scottish forebears, the Gaerloch Campbells, first settled in Australia in 1861 in the Ararat-Beaufort district. Her great great grandfather, Mr Henry Campbell, died on the voyage to Australia. His widow, Jane, with 10 of her 13 children, farmed and grazed land, firstly at Stockyard Hill then at Fiery Creek, near Buangor, before leaving the shire in 1873. Lady Grimwade held a privileged position in Melbourne society. As the wife of Sir Andrew Grimwade, a prominent businessman, Chairman of several boards and a Trustee of various committees, Lady Grimwade met with royalty, heads of state, politicians, corporate directors, and horse and cattle breeders. Excerpt from 'Hot Pink Summers' catalogue essay, Helen Jackson, 1995.

The original owner of the evening bag was Elizabeth (Betty) McGregor. The bag was a gift from her husband, Ian McGregor (Managing Director of Ingersoll Rand), during a trip to Europe. The bag was purchased in Burlington Arcade, London in 1955. An accompanying photograph shows Betty, in attendance at a Captain's cocktail party with the evening bag on her arm. Betty was the best friend of the my mother, and not having children of their own, Betty and Ian were very good to my sister and I. Betty gifted the bag to me in 1983. As a Kew resident, it gives me much pleasure to pass on this evening bag to the Fashion & Design collection of the Kew Historical Society. (Kate Reeve, 2022)Small brass evening bag, covered with black silk and rhinestones. The box is of a flattened cylindrical shape with a looped handle. The lid of the bag is hinged on one side and contains a mirror on its interior. Inside the evening bag is a small black silk purse attached to the bag with a brass chainNilfashion & design - 1950s, accessories, evening bags

This velvet opera cape was worn by Agnes Emmeline "Dot" McCowan (nee Iredell, 1887-1969) to a reception for English aviatrix Amy Johnson in her North Road home in the early 1930s. Amy Johnson achieved worldwide fame in 1930 when she became the first woman to fly solo from England to Australia. Dot was the fourth child, and only surviving daughter, of Dr Charles Lesingham Maynard Iredell and Frances Keziah Iredell (née Hill), both formerly of Regents Park, London. Her parents had arrived in Australia in 1885 after Charles, a medical specialist, lost his money and house in the financial crash of 1880. In Melbourne, Charles established a reputation as an ear, nose and throat specialist and counted Dame Nellie Melba among his patients. Dot was schooled at Fairlight College in St Kilda. After falling from a tree at the age of twelve, she developed curvature of the spine. While recuperating, she took a correspondence course in theory and harmony of music with the Royal College of Music, London. She continued to pursue music after her recovery, ultimately winning an international scholarship to study piano and singing in Leipzig, Germany, but did not take up the offer due to her father's objections. She instead remained in Melbourne, where she put her skills to use as a music teacher. After her first fiancé disappeared at sea, Dot found happiness again with George Drummond. George owned a substantial property in Manjimup, Western Australia, and the couple planned to settle there after the wedding. It was not to be. Like many Australian men, George was killed in action on the Western Front during the First World War. It had become customary in George's wealthy family to give each son's bride a gift of one thousand pounds. Though Dot and George were never able to marry, the family nevertheless honoured the custom, and between their generous financial gift and her own teaching income, Dot was able to buy a well-appointed home at 9 North Road, Brighton for herself and her parents. The house remained in the family for many decades. In 1923, at the age of thirty-six, Dot met and fell in love with Alexander James McCowan. They were married on 28 February 1924; the reception was held in the North Road house.Salmon pink velvet opera cape with a padded collar and long fringe. Fastens at collar with a pair of circular metal clasps engraved with floral designs and accentuated with purple enamel. Silk lining.agnes emmeline iredell, agnes emmeline mccowan, opera cape, 1920s, 1930s, amy johnson

Note from collector: I love the generous size and thickness of Albany blankets and know someone who collects from this Mill only. The colour shades and combinations Albany used are still so gorgeous. From Western Australia. Note from collector - "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from. " Checked blanket, blues and creamAlbany Woollen Mill/Blanket/All Pure Wool/Emblem: A, Albany blanket, blanket fever, wool, albany, albany woollen mills

Paddy FORDHAM WAINBURRANGA (c1930-2006) (Katherine, Northern Territory)Framed lithograph where artist Paddy Fordham Wainburranga has depicted 'Bolung', the Rainbow Serpent, an important life giving figure for the Rembarrnga people whose clan country lies to the south and west of Ramingining, towards the Katherine area. Donated through the Australian Gifts Programme by Katherine Littlewood.bolung, rainbow serpent, rembarrnga, paddy fordham wainburranga, paddy fordham, wainburranga, artist, artworks, aboriginal

Kenneth JACK AM MBE RWS, (5 October 1924 – 10 June 2006) Australian watercolour artist Kenneth Jack who specialised in painting the images of an almost forgotten outback life; old mine workings, abandoned ghost towns, decaying farm buildings. He became a professional painter at the age of 39 after giving up his job as senior instructor at the Caulfield Institute of Technology. In 1977 he was elected to The Royal Watercolour Society and in 1982 was awarded the MBE, and the Order of Australia (AM) followed in 1987. Framed three block lino print showing the volcanic plains of Victoria around Stony Rises. It is Number 6 in the Volcanic Plains of Victoria series. Donated through the Australian Gifts Programme by Katherine Littlewood.31/40artwork, artist, kenneth jack, printmaking, volcano, mt porndon, mount porndon, linocuts

Colour slide of a red wagon giving children rides at Government House in 1960. Melbourne Legacy held an annual Christmas Party for Junior Legatees and Widows at Government House for many years. Junior Legatees were given gifts. Was with many other slides taken in the 1950s and 1960s. The slides have been photographed to make digital images and moved to archive quality sleeves. In many cases the original images were not well focussed and the digital image is the best available.A record of a Legacy Christmas party held at Government House.Colour slide of a wagon ride at a Legacy Christmas Party at Government House, in a cardboard Kodak mount with red printing.Handwritten 'Wagon Rides Govt House Party 1960' in blue ink.christmas party, government house party, horses, wagons

Colour slide of a group of Legacy CEO handing out ice creams at Government House in 1960. Melbourne Legacy held an annual Christmas Party for Junior Legatees and Widows at Government House for many years. Junior Legatees were given gifts. Was with many other slides taken in the 1950s and 1960s. The slides have been photographed to make digital images and moved to archive quality sleeves. In many cases the original images were not well focussed and the digital image is the best available.A record of a Legacy Christmas party held at Government House.Colour slide of CEO Ivan Layton giving out ice creams at a Legacy Christmas Party at Government House, in a cardboard Kodak mount with red printing.Handwritten 'Ice Cream Service, Govt House Party 1960' in blue ink.christmas party, government house party, ivan layton

01 Gives an account of the Morey Gates and Pergola over time and 02 the Ballarat Courier 16/12/1893 gives an account of the Unveiling of the Two Marble Lions in the Gardens being postponed.Important in the History of the Ballarat Botanical Gardens and as gifts designed in Ballarat and to adorn main entrance to the Gardens01 One half page in point form 02 Ballarat Courier 16/12/1893 02 References written in black biro, 2nd column of page and reference to presentations by Morey and Ham. Ballarat Courier, 18/8/1894.morey gates, pergola in the ballarat botanical gardens. chronology of the gates and pergola, donor of gates and pergola, construction, designers, damage to structures, original plan, mr d. ham mlc, two marble lions in the ballarat botanical gardens, mr e. morey mlc., john garner collection, garner, dr, ballarat botanical gardens, gardens, ballarat

According to the paper label "Over 300 Legatees participated in the ANZAC Day march commemorating Legacy's 70th Anniversary." Photos show the Legatees assembling before the march, including Legatee Barbara Leach with a tray of Rosemary for the marchers to wear. The sign says "A gift from Legacy". The Legacy Widows club puts together the trays of rosemary prior to Anzac Day to give to the public. (See also 00754 and 00756). Plus an article in the Answer reporting on the day.A record of a Anzac Day march to commemorate the 70th Anniversary.Black and white photo of Anzac Day March 1993.Marked B15 which is the frame number from the B proof sheet (00754.2)70th anniversary, anzac day, answer, march, rosemary

This ashtray was given as a keepsake to customers of Gehrig Dairy in Wodonga. The dairy was located on the corner of Hovell Street and Wodonga Street in the late 1960s. It was owned and operated by Graham Charles Gehrig. It was customary for the dairy to give a Christmas gift each year. Other items included a thermometer and can or bottle openers. Mr. Gehrig passed away in 2019 and is buried in Wodonga. He served over 30 years as a member of the Wodonga Cemetery Trust, many of those as Chairman. He also lived for many years in Melbourne and was a member of the Lions Club of Beaumaris.This item is representative of a local business enterprise in Wodonga in the late 1960sA medium sized melamine ashtray inscribed with the name of business in gold letteringOn top section: "XMAS 1969 /GEHRIGS DAIRY/ PH. 24 2532" Underneath: "REG. DESIGN / A BLUE POINT PRODUCT/ TYPE. MO."gehrig dairy, businesses wodonga, dairy industry wodonga

A pair of cufflinks with the Legacy symbol. It is not known if they were produced to sell during Badge Week or whether they were are gifts to Legatees or former Junior Legatees. The badge of Legacy is the Torch and Wreath of Laurel. The Torch signifies the undying flame of service and sacrifice of those who gave their lives for their country. The Wreath of Laurel is the symbol of our remembrance of them. Diamond jubilee cufflinks were issued for Legatees to purchase in 1983. No photo available but a drawing looks similar to these.Example of Legacy items that were produced to raise money for Legacy's work or to give in appreciation. A pair of cufflinks with the Legacy symbol on a medium blue enamel background and set in gold coloured metal, mounted in a black velour gift box.badge week, fundraising, souvenir

A medical alert bracelet with the Legacy symbol. It is not known if they were produced to sell during Badge Week or whether they were are gifts to Legatees or former Junior Legatees. The badge of Legacy is the Torch and Wreath of Laurel. The Torch signifies the undying flame of service and sacrifice of those who gave their lives for their country. The Wreath of Laurel is the symbol of our remembrance of them. Example of Legacy items that were produced to raise money for Legacy's work or to give in appreciation. A medical alert bracelet with the Legacy symbol on gold coloured metal in a white satin lined cardboard box.badge week, fundraising, souvenir

According to the paper label "Over 300 Legatees participated in the ANZAC Day march commemorating Legacy's 70th Anniversary." Photos show the Legatees assembling before the march, including Legatee Barbara Leach with a tray of Rosemary for the marchers to wear. The sign says "A gift from Legacy". The Legacy Widows club puts together the trays of rosemary prior to Anzac Day to give to the public. (See also 00754 and 00756). Plus an article in the Answer reporting on the day.A record of a Anzac Day march to commemorate the 70th Anniversary.Black and white photo x 3 of Anzac Day March 1993.Marked B15, B17 and B14 which are the frame numbers from the B proof sheet (00754.2)70th anniversary, anzac day, answer, march, rosemary

Kenneth JACK AM MBE RWS, (5 October 1924 – 10 June 2006) Australian watercolour artist Kenneth Jack who specialised in painting the images of an almost forgotten outback life; old mine workings, abandoned ghost towns, decaying farm buildings. He became a professional painter at the age of 39 after giving up his job as senior instructor at the Caulfield Institute of Technology. In 1977 he was elected to The Royal Watercolour Society and in 1982 was awarded the MBE, and the Order of Australia (AM) followed in 1987. Framed three block linocut depicting the Glasshouse Mountains in the Australian State Queensland. Donated through the Australian Gifts Programme by Katherine Littlewood.21/32artwork, artist, kenneth jack, printmaking, glasshouse mountains, queensland, available, linocut

Victoria once had well over one hundred fire lookouts and firetowers. Fire lookouts, or observation posts, were often just a clearing on a hill or a vantage point, whereas firetowers were definite structures. Many were established by the Forests Commission Victoria (FCV) in the 1920s, but the network was expanded rapidly in response to recommendations of the Stretton Royal Commission after the 1939 Black Friday bushfires. When a fire or smoke was spotted from the tower a bearing was taken with the alidade and radioed or telephoned into the district office. It was then cross referenced with bearings from other towers on a large wall map to give a "fix" on the fire location. Alidades and telescopes were used in the post war period but were replaced with a much simpler map table and reference string suspended from the centre of the tower cabin. This "Fire Finder" was used in Canadian fire towers to identify the location of wildfires. The unique design was first developed by the British Columbia Forest Service (BCFS) in the early 1950s. Close examination of the map indicates that this particular Fire Finder may have been once used at Bluejoint Mountain lookout in Granby Provincial Park. This Fire Finder was a gift to Barry (Rocky) Marsden from the British Columbia Forest Service in the late 1980s in recognition of the close relationships that had been forged with the staff at the Altona Workshops over many decades. Fire Finders were originally painted black but this one was repainted green after it arrived at Altona. The BC Forest Service had a large facility where they manufactured Fire Finders and many other items of equipment, but in the 1980s it was shut down. Heavy cast iron circular object with a paper topographic map mounted on it. The metal dial and ruler works similar to a compass. The sight tube is used to determine the bearing and elevation of the fire on the map. This Fire Finder also sometimes known as an Alidade. Its a different design from the Osborne Fire Finder widely used in North American fire lookouts from the 1920s. British Columbia Forest Service. Model 62A. Serial Number 6308.bushfire

Victoria once had well over one hundred fire lookouts and firetowers. Fire lookouts, or observation posts, were often just a clearing on a hill or a vantage point, whereas firetowers were definite structures. Many were established by the Forests Commission Victoria (FCV) in the 1920s, but the network was expanded rapidly in response to recommendations of the Stretton Royal Commission after the 1939 Black Friday bushfires. When a fire or smoke was spotted from the tower a bearing was taken with the alidade and radioed or telephoned into the district office. It was then cross referenced with bearings from other towers on a large wall map to give a "fix" on the fire location. Alidades and telescopes were used in the post war period but were replaced with a much simpler map table and reference string suspended from the centre of the tower cabin. This "Fire Finder" was used in Canadian fire towers to identify the location of wildfires. The unique design was first developed by the British Columbia Forest Service (BCFS) in the early 1950s. Close examination of the map indicates that this particular Fire Finder may have been once used at Bluejoint Mountain lookout in Granby Provincial Park. This Fire Finder was a gift to Barry (Rocky) Marsden from the British Columbia Forest Service in the late 1980s in recognition of the close relationships that had been forged with the staff at the Altona Workshops over many decades. Fire Finders were originally painted black but this one was repainted green after it arrived at Altona. The BC Forest Service had a large facility where they manufactured Fire Finders and many other items of equipment, but in the 1980s it was shut down. Heavy cast iron circular object with a paper topographic map mounted on it. The metal dial and ruler works similar to a compass. The sight tube is used to determine the bearing and elevation of the fire on the map. This Fire Finder also sometimes known as an Alidade. Its a different design from the Osborne Fire Finder widely used in North American fire lookouts from the 1920s. British Columbia Forest Service. Model 62A. Serial Number 6308.bushfire

This home was the second cottage built by the Old Colonists' Association, and was the gift of Sydney W.J. Clark. It was completed in 1925. From the minute books: "Mr and Mrs F.J. Williams, both natives of Ballarat, offered to build a cottage on the Association's ground at PErry Park [now Charles Anderson Grove] something after a style of the Hassell Homes. That Offer was immediately followed by another from Mr S.W.J. Clark, a member of the Council. Both offers were promOne of the first objectives of the Association was "to provide the shelter of a hose for those Pioneers of the Goldfields whom the reverses of fortune have deprived of the means of procuring the comforts of life in their declining years." The first home at Charles Anderson Grove was built in 1925. Before that time the Association provided relief for needy pioneers. relief included monthly monetary payments, loads of firewood, medical assistance and distribution of Christmas bosed of groceries to deserving pensioners, and in some cases payment of burial costs. ::a) The dominant purpose of the Association is to give public benevolent relief as a charity, but providing independent living accommodation in our Retirement Village for person in need who are over 65. ::b) To raise funds by membership subscription, commercial and residential rents, donations, gifts and voluntary work, for the purpose of providing direct relief of poverty, distress, misfortune or helplessness. ::c) To maintain the important heritage and ongoing viability of the Old Colonists' Association. (Revised Rules of the Old Colonists' Association of Ballarat Inc., 2016) Colour photograph of The Old Colonists' Association Cottage at The Old Colonists' Assiation of Ballarat Inc retirement village at Charles Anderson Grove, Ballarat.ballarat old colonists' club, charles anderson grove, sydney w.j. clark, s.w.j. clark

This cottage was completed in 1956. One of the first objectives of the Association was "to provide the shelter of a hose for those Pioneers of the Goldfields whom the reverses of fortune have deprived of the means of procuring the comforts of life in their declining years." The first home at Charles Anderson Grove was built in 1925. Before that time the Association provided relief for needy pioneers. relief included monthly monetary payments, loads of firewood, medical assistance and distribution of Christmas bosed of groceries to deserving pensioners, and in some cases payment of burial costs. ::a) The dominant purpose of the Association is to give public benevolent relief as a charity, but providing independent living accommodation in our Retirement Village for person in need who are over 65. ::b) To raise funds by membership subscription, commercial and residential rents, donations, gifts and voluntary work, for the purpose of providing direct relief of poverty, distress, misfortune or helplessness. ::c) To maintain the important heritage and ongoing viability of the Old Colonists' Association. (Revised Rules of the Old Colonists' Association of Ballarat Inc., 2016) Colour photograph of Permewan Cottage at The Old Colonists' Assiation of Ballarat Inc retirement village at Charles Anderson Grove, Ballarat.old colonists' association, ballarat, ballarat old colonists' club, charles anderson grove, permewan, permewan cottage, retirement village

The Wilson homes were completed in 1966. One of the first objectives of the Association was "to provide the shelter of a hose for those Pioneers of the Goldfields whom the reverses of fortune have deprived of the means of procuring the comforts of life in their declining years." The first home at Charles Anderson Grove was built in 1925. Before that time the Association provided relief for needy pioneers. relief included monthly monetary payments, loads of firewood, medical assistance and distribution of Christmas bosed of groceries to deserving pensioners, and in some cases payment of burial costs. ::a) The dominant purpose of the Association is to give public benevolent relief as a charity, but providing independent living accommodation in our Retirement Village for person in need who are over 65. ::b) To raise funds by membership subscription, commercial and residential rents, donations, gifts and voluntary work, for the purpose of providing direct relief of poverty, distress, misfortune or helplessness. ::c) To maintain the important heritage and ongoing viability of the Old Colonists' Association. (Revised Rules of the Old Colonists' Association of Ballarat Inc., 2016) Colour photograph pf a cream brick building known as the Wilson Homes. They are a part of the Old Colonists' Association, Ballarat Retirement Village at Charles Anderson Grove. old colonists' association, ballarat, ballarat old colonists' club, charles anderson grove, wilson, wilson homes

This home was the first cottage built by the Old Colonists' Association, and was the gift of Mr and Mrs F.J. Williams. It was completed in 1925. From the minute books: "Mr and Mrs F.J. Williams, both natives of Ballarat, offered to build a cottage on the Association's ground at Perry Park [now known as Charles Anderson Grove] something after a style of the Hassell Homes. That offer was immediately followed by another from Mr S.W.J. Clark, a member of the Council. Both offers were promptly and gratefully accepted." One of the first objectives of the Association was "to provide the shelter of a hose for those Pioneers of the Goldfields whom the reverses of fortune have deprived of the means of procuring the comforts of life in their declining years." The first home at Charles Anderson Grove was built in 1925. Before that time the Association provided relief for needy pioneers. Relief included monthly monetary payments, loads of firewood, medical assistance and distribution of Christmas bosed of groceries to deserving pensioners, and in some cases payment of burial costs. ::a) The dominant purpose of the Association is to give public benevolent relief as a charity, but providing independent living accommodation in our Retirement Village for person in need who are over 65. ::b) To raise funds by membership subscription, commercial and residential rents, donations, gifts and voluntary work, for the purpose of providing direct relief of poverty, distress, misfortune or helplessness. ::c) To maintain the important heritage and ongoing viability of the Old Colonists' Association. (Revised Rules of the Old Colonists' Association of Ballarat Inc., 2016) Mr and Mrs Fred John and Matilda Anne Williams of Melbourne made a generous donation to enable this cottage to be built. It was opened in their presence in 1925. Fred John Williams was the son of John Williams and Thomassina Whilley. Together with his brother Frank Williams, Fred Williams was the proprietor of J. Williams and Sons. The brothers took over the business when their father, John Williams, retired in January 1893. In 1918 Fred Williams left Ballarat for Melbourne, at which time he was described as someone who had ‘tried to benefit the whole of Ballarat’. He was highly involved with the Forward Ballarat Movement At the time of his death in February 1926 at Lorne F.J. Williams was a partner in the firm Williams Shoemen Pty. Ltd. By 2021 the cottage had numerous cracks and required work. These photographs are a record of the condition of the cottage at that time.Colour photograph of the interior views of Williams Cottage at The Old Colonists' Association of Ballarat Inc retirement village at 3 Charles Anderson Grove, Ballarat.old colonists' association, ballarat, ballarat old colonists' club, charles anderson grove, f.j. william, retirement village, williams cottage, fred john williams, matilda anne williams, fred williams, matilda williams, 3 charles anderson grove

This home was the first cottage built by the Old Colonists' Association, and was the gift of Mr and Mrs F.J. Williams. It was completed in 1925. From the minute books: "Mr and Mrs F.J. Williams, both natives of Ballarat, offered to build a cottage on the Association's ground at Perry Park [now known as Charles Anderson Grove] something after a style of the Hassell Homes. That offer was immediately followed by another from Mr S.W.J. Clark, a member of the Council. Both offers were promptly and gratefully accepted." One of the first objectives of the Association was "to provide the shelter of a hose for those Pioneers of the Goldfields whom the reverses of fortune have deprived of the means of procuring the comforts of life in their declining years." The first home at Charles Anderson Grove was built in 1925. Before that time the Association provided relief for needy pioneers. Relief included monthly monetary payments, loads of firewood, medical assistance and distribution of Christmas bosed of groceries to deserving pensioners, and in some cases payment of burial costs. ::a) The dominant purpose of the Association is to give public benevolent relief as a charity, but providing independent living accommodation in our Retirement Village for person in need who are over 65. ::b) To raise funds by membership subscription, commercial and residential rents, donations, gifts and voluntary work, for the purpose of providing direct relief of poverty, distress, misfortune or helplessness. ::c) To maintain the important heritage and ongoing viability of the Old Colonists' Association. (Revised Rules of the Old Colonists' Association of Ballarat Inc., 2016) Mr and Mrs Fred John and Matilda Anne Williams of Melbourne made a generous donation to enable this cottage to be built. It was opened in their presence in 1925. Fred John Williams was the son of John Williams and Thomassina Whilley. Together with his brother Frank Williams, Fred Williams was the proprietor of J. Williams and Sons. The brothers took over the business when their father, John Williams, retired in January 1893. In 1918 Fred Williams left Ballarat for Melbourne, at which time he was described as someone who had ‘tried to benefit the whole of Ballarat’. He was highly involved with the Forward Ballarat Movement At the time of his death in February 1926 at Lorne F.J. Williams was a partner in the firm Williams Shoemen Pty. Ltd. By 2021 the cottage had numerous cracks and required work. These photographs are a record of the condition of the cottage at that time.Colour photograph of the exterior views of Williams Cottage at The Old Colonists' Association of Ballarat Inc retirement village at 3 Charles Anderson Grove, Ballarat.old colonists' association, ballarat, ballarat old colonists' club, charles anderson grove, f.j. william, retirement village, williams cottage, fred john williams, matilda anne williams, fred williams, matilda williams, 3 charles anderson grove

This home was the first cottage built by the Old Colonists' Association, and was the gift of Mr and Mrs F.J. Williams. It was completed in 1925. From the minute books: "Mr and Mrs F.J. Williams, both natives of Ballarat, offered to build a cottage on the Association's ground at Perry Park [now known as Charles Anderson Grove] something after a style of the Hassell Homes. That offer was immediately followed by another from Mr S.W.J. Clark, a member of the Council. Both offers were promptly and gratefully accepted." One of the first objectives of the Association was "to provide the shelter of a hose for those Pioneers of the Goldfields whom the reverses of fortune have deprived of the means of procuring the comforts of life in their declining years." The first home at Charles Anderson Grove was built in 1925. Before that time the Association provided relief for needy pioneers. Relief included monthly monetary payments, loads of firewood, medical assistance and distribution of Christmas bosed of groceries to deserving pensioners, and in some cases payment of burial costs. ::a) The dominant purpose of the Association is to give public benevolent relief as a charity, but providing independent living accommodation in our Retirement Village for person in need who are over 65. ::b) To raise funds by membership subscription, commercial and residential rents, donations, gifts and voluntary work, for the purpose of providing direct relief of poverty, distress, misfortune or helplessness. ::c) To maintain the important heritage and ongoing viability of the Old Colonists' Association. (Revised Rules of the Old Colonists' Association of Ballarat Inc., 2016) Mr and Mrs Fred John and Matilda Anne Williams of Melbourne made a generous donation to enable this cottage to be built. It was opened in their presence in 1925. Fred John Williams was the son of John Williams and Thomassina Whilley. Together with his brother Frank Williams, Fred Williams was the proprietor of J. Williams and Sons. The brothers took over the business when their father, John Williams, retired in January 1893. In 1918 Fred Williams left Ballarat for Melbourne, at which time he was described as someone who had ‘tried to benefit the whole of Ballarat’. He was highly involved with the Forward Ballarat Movement At the time of his death in February 1926 at Lorne F.J. Williams was a partner in the firm Williams Shoemen Pty. Ltd. By 2021 the cottage had numerous cracks and required work. These photographs are a record of the condition of the cottage at that time.Colour photograph of the interior views of Williams Cottage at The Old Colonists' Association of Ballarat Inc retirement village at 3 Charles Anderson Grove, Ballarat.old colonists' association, ballarat, ballarat old colonists' club, charles anderson grove, f.j. william, retirement village, williams cottage, fred john williams, matilda anne williams, fred williams, matilda williams, 3 charles anderson grove

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