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

Warrandyte artist, Clara Southern, features on the Artists Trail. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p189 Since early in the 20th century this district has attracted artists and other creative people. So much so, that Eltham has been compared to the Left Bank in Paris, New York’s Greenwich Village and London’s Bloomsbury.1 That is until the 1970s when Eltham rapidly expanded into a suburb. However many artists still flourish not only in Montsalvat, Dunmoochin and the Bend of Islands but elsewhere in Nillumbik. Some artists who have worked or lived in Nillumbik are well-known nationally and internationally. Artists are attracted to the hilly district’s subtle colours, unique light and the Yarra River and Diamond Creek. The railway’s extension to Eltham in 1902 brought artists to paint for the day or to camp. Then many settled in Eltham, perhaps also because the poor quality land, far from the city, was cheap. Following World War Two they found they could build houses and studios cheaply by making their own mud-bricks. The flexible material, with its warm tones blending into the bush, also satisfied their aesthetic sensibilities. As early as 1900, Will Longstaff, known for his painting The Ghosts of Menin Gate at the National War Memorial in Canberra, lived at Stanhope in Peter Street, Eltham, later to become the home of intellectuals Clem and Nina Christensen. Members of Australia’s first significant art movement, the Heidelberg School of Artists, painted in Eltham, Warrandyte and Diamond Creek.2 Walter Withers lived at the corner of Bolton and Brougham Street, Eltham and taught Sir Hans Heysen, who for a short while stayed with the Withers family. In Warrandyte were Clara Southern, whom Frederick McCubbin taught at the National Gallery School and Penleigh Boyd, who is represented in all Australian state galleries and the National Collection in Canberra. May Vale, daughter of politician William, lived in Diamond Creek.3 With Jane Price they feature on the Heidelberg School Artists Trail, part of which runs through Nillumbik. The trail includes signs each displaying a reproduction of a painting by an artist and located near where the artist lived or painted. In Nillumbik the trail includes parts of Warrandyte, Eltham in the Alistair Knox Park, Main Road shopping precinct and Wingrove Park, the Research walking track on Main Road and the Diamond Creek Reserve. In 1916 artist William ‘Jock’ Frater lived at the corner of Arthur and Bible Streets, Eltham. Before then, Frater, with other artists including Percy Leason (who moved to Eltham in the mid 1920s) painted in Eltham on weekends. They camped near Bible and Pitt Streets and along the Diamond Creek where the Eltham Retirement Centre now stands.4 In 1921, painter Peter Newbury (father to painter David Newbury, who was born in Eltham) moved to Cromwell Street, Eltham. Max Meldrum, the first Australian painter to formulate a consistent theory of art largely based on tone,5 taught local artists Alan Martin, Clarice Beckett, Peter Glass and Justus Jörgensen. Meldrum visited Eltham then rented a house there for 18 months opposite Wingrove Park. In 1934, artist and architect Justus Jörgensen and his doctor wife Lil and friends built Montsalvat, the artists’ colony. Montsalvat has played an important part in attracting artists to Eltham and its mud-brick, pisé, stone and recycled building materials has had a major influence on Eltham’s built environment. Jörgensen’s students who also helped him build Monstalvat included Arthur Munday, Lesley Sinclair, Helen Lempriere, Joe Hannan, Helen, Sonia and jeweller/sculptor, Matcham Skipper. Among artists who visited Montsalvat were Clifton Pugh and Angry Penguins’ artists Albert Tucker and Arthur Boyd. Some who painted after World War Two were Alan Martin of Eltham and Warrandyte artists Frank Crozier and Harry De Hartog6, one of Melbourne’s first painters influenced by Cubism.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, clara southern, heidelberg artists' trail, main road, research (vic)

On the crest of Stanhope Hill at Peter Street, Eltham, stands the former home of a couple, Clem and Nina Christensen who had a major influence on the literary development of post World War 2 Australia. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p109 On the crest of Stanhope Hill at Peter Street, Eltham, stands the former home of a couple, who had a major influence on the literary development of post World War Two Australia. In 1946, Clem and Nina Christensen bought the house, which had been designed by Harold Desbrowe Annear, considered to be one of Australia’s most innovative architects in the first quarter of the 20th century.1 That year the stucco building with a metal roof, built in 1910, was extended to the north and south. The main residence was built of jarrah, with stucco walls, floors of Tasmanian hardwood and rooms panelled with Californian redwood (sequoia). The property included a cottage, former stables, a dairy and meat-house. From its beginnings the property has attracted artists and intellectuals. Official World War One artist, Will Longstaff, bought the property – then 15½ acres (6ha) around 1900. Famous for his painting The Ghosts of Menin Gate, now in the Australian War Memorial Canberra, Longstaff was the cousin of another well-known painter, Sir John Longstaff. Several leading artists visited Longstaff at Stanhope including Walter Withers of the Heidelberg School, who lived in Brougham Street, Eltham. In 1919, Theo Handfield, father of author and journalist John Handfield, bought the property from Mrs Longstaff. Then in 1924 the land was subdivided and most of the estate (80 blocks) was auctioned. The next owner was related to novelist Virginia Woolf. Bishop Reginald Stephen, Warden of Trinity College, bought the house and five acres (2 ha) in 1928. He was related to Sir Leslie Stephen, the first editor of the Dictionary of National Biography and Woolf’s father. Novelist and music critic John Harcourt, was the next tenant, while he and his wife Fay, built their mud-brick house Clay Nuneham, at the foot of Stanhope Hill. Dr Clem and Mrs Nina Christensen, lived in the house until their deaths. Clem Christensen – who died aged 91 in 2003 – was a poet, short story writer and painter. However, he is most noted for founding Australia’s foremost literary journal2 Meanjin (originally Meanjin Papers), which he described as ‘democratic left of centre’, in Brisbane in 1940. Clem brought Meanjin to Melbourne in 1945 and remained editor until 1975. Enormously influential, Meanjin spawned and encouraged many of Australia’s best literary talents and it had an international reputation. Meanjin was the first to publish such writers as Judith Wright and David Malouf and it encouraged writers like Patrick White and Peter Carey. Nina Christensen – who died aged 89 in 2001 – was founding Editor of the Melbourne Slavonic Studies Journal and pioneered the study of Russian in Australia. In 1946 she established the Department of Russian Language and Literature at The University of Melbourne, which she led until 1977. Nina’s graduates largely staffed subsequent departments, in other Australian universities.3 However Nina’s Russian heritage and Clem’s outspoken views caused problems. They were forced to defend themselves in the Petrov inspired Royal Commission on Espionage in the 1950s, but were exonerated. The Christensens attracted and hosted many distinguished Australian and foreign writers, artists and academics, including Nobel prize-winning novelist, Patrick White and the world’s then leading cellist, Mstislav Rostropovich.4 Other writers and intellectuals who visited Stanhope were: Vance Palmer, Alan Marshall, A D Hope, Xavier Herbert, Nevil Shute, Geoffrey Dutton, Martin Boyd, Judah Waten, Bruce Grant, Dorothy Hewett and Sir Herbert Read. Painters included: Danila Vassilieff, Arthur Boyd, Albert Tucker, Justus Jörgensen, Robert Hughes and Clifton Pugh. Academics included: Manning Clark, Geoffrey Blainey, W Macmahon Ball, Richard Downing, Geoffrey Serle and scientist Tim Marshall. Politicians included: Jim Cairns, Pauline Toner, Lance Barnard, Sir Paul Hasluck, Sheryl Garbutt and performance artists included: film star Olivia Newton-John, members of the Bolshoi ballet and the Russian State Ballet of Siberia.5 Nina Christensen was honoured in 2006 at the Eltham Living and Learning Centre with the building of an amphitheatre designed by V Sverdlin.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, clem christesen, eltham, nina christesen, peter street, stanhope

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

The Orford family, a pioneer family remained continuously living and working in Eltham for 170 years from 1854 to 2024. James and Sarah Orford arrived in Sydney in 1839 aboard the ship “Orestes”; they had several children there before settling in Eltham in 1854. Three children, James Mathias, Sarah Amelia and Thomas Henry initially remained in the Eltham area. James eventually moved to Brunswick. Sarah married Arthur Butler Young and finally lived in Bunyip. Thomas who was six years old when the family arrived in 1854 remained in Eltham, married Helen Logan who died, leaving a large family. They lived in a slab hut by the Yarra at Laughing Waters and Thomas managed the Panton Park Estate, a selection owned by Magistrate Thomas Panton. Thomas’s son, Ernest Orford was born 1892 at Pitt Street, Eltham and also lived his entire life in Eltham working as a labourer, orchardist and later as a gardener and grounds keeper for Sir William Irvine, a former Chief Justice and Premier of Victoria. Ernest married Kate Thomas; their two sons Ron and Doug stayed in the area. Another of Thomas' sons, Arthur, also lived in Eltham. Four Orford generations attended Eltham schools. Doug Orford was born on the kitchen table (reference, son Ted Orford) of the family home at the corner of Reynolds Road and Mount Pleasant Road. Doug married Gwen and they established a family however Gwen died at a young age from cancer. Doug eventually remarried another Gwen and they lived for several decades in Napoleon Street, Eltham. Doug was actively involved in EDHS over many years, including serving as a committee member and vice president. Contributions by Doug and Gwen, his wife, assisted EDHS to continue to develop as a not-for-profit group intent on promoting and preserving our local history. Both Doug and Gwen were made Life Members of EDHS. His significant work with assisting to establish our valued Local History Centre helped develop our home base and supported the continued growth of our society. Doug’s local knowledge, suggestions and family connections were highly valued, Until recent times, he continued to regularly attend our Collections Team workshops providing his insights and historical information about photographs and society records. Doug died peacefully July 8, 2024, and represents the last link in the Orford Eltham chain which spanned 170 years. His funeral was held Thursday, July 18, 2024, at Le Pine Funerals, 848 Main Road, Eltham. Contents: Typed notes, no date: Memories of Ernest Orford [taped 1979] about his school days. Handwritten notes, no date: History of Ernie Orford Typed notes, no date: History of Thomas Henry Orford and family. Photocopy: Shire of Eltham General Rate Receipts. Received from D Orford 7 June 1923 and Received from E F Orford, 4 August 1924. Letter, no date: Nillumbik Shire to Russell Yeoman, Gwen Orford to receive Volunteer Recognition Award. Newsletter article: "The Orford Family, Eltham", Shire of Eltham Historical Society, No.80 September 1991. History of Orford family. Handwritten notes: 21 March 2011, genealogy of George Orford. On reverse Melways map makred with Orford and other land ownerships. Newspaper advertisement, 21 March 2011: "264 Reynolds Road, South Eltham", property for sale [land in ownership of Orford family]. Letter: St Margaret's Anglican Church Eltham to Doug Orford, 17 November 2011, Extracts from church records relative to Orford family. Newspaper article: "Timely facelift at war memorials', Diamond Valley Leader, 30 April 2024, Nillumbik war memorial will have some work and a bronze plaque will be installed at the Eltham Avenue of Honour, Wingrove Park; photograph of Doug Orford Newsletter item: "Welcome home medal", Eltham District Historical Society newsletter no.216 May 2014, World War I two 'Welcome Home Medals' in ownership of local men, being Harry Gilham and Doug Orford. Order of Service, Le Pine Funerals (Eltham), In Loving Memory of Douglas Frederick Orford 22nd August 1929 - 8th July 2024Newspaper clippings, A4 photocopies, etcdoug orford, harry gilham, welcome home medal, eltham avenue of honour, nillumbik war memorial, wingrove park, henry dendy, alfred armstrong, james orford, 264 reynolds road south eltham, george orford, george joseph orford, maryanne george joseph, thomas henry orford, ernest orford, e f orford, eltham cemetery, helen orford, joseph panton, panton park, gordon lyon, banyule estate heidelberg, james matthias orford, wurundjeri, constable peter lawlor, george hill, franklin street eltham, ronald orford, eltham primary school, john brown, robert gamble school inspector, sarah orford, mary ann orford, james mathias orford, sarah amelia orford, james peet, arthur butler young, watsons creek victoria, kangaroo ground victoria, helen logan, william orford, jane orford, arthur orford, frederick orford, florrie orford, victor orford, chem orford, sunnymede eltham, panton hill estate, sir william irvine, gordon lyons, kate thomas, north eltham gospel church, harold clapp, eltham cricket club, research primary school, dalton street school eltham, keith banks, betty banks, benjamine boyd, laughing waters road eltham, freddie gilsinen, douglas frederick orford, eltham district historical society, funeral service, le pine funeral home, life member, order of service

“Kinloch Gardens at Eltham, Victoria is planned as a comprehensively designed and cohesive residential environment.” “Only twelve innovatively designed houses ,will be situated within the established gardens and grounds of this historic Eltham estate. Building design and development will be under the control of the Kinloch Gardens design and construction team.” “Kinloch Gardens is situated on one of the highest points in Eltham and enjoys panoramic views in all directions.” “Kinloch Gardens lies hidden from the outside world behind high stone retaining walls, terraced embankments and extensive landscaping. The existing buildings, amongst the most significant of the Eltham / Montsalvat domestic building tradition are set in park like surrounds and enjoy panoramic views of the ranges to the north east and the city sky line to the west. New houses combined with sensitive landscaping will blend immediately into the established garden environment and will share the amenity and ambience of a very private and unique estate. The central theme of the landscape master plan is a garden reserve and a planted avenue terminating in a -small square.” “Houses vary in size from 120m2 (12.9 squares) to 210m2 (22.6 squares) (or larger) and include an extensive range of planning options. House types include: The Studio House The Tower House The Pergola House The Gallery House 'The Barn' is one of the existing buildings of Kinloch Gardens and is situated on the premium Lot 11.” Developer: Kinloch Pty Ltd. Project Managers: Creative Block Design Pty Ltd. Architects: Graeme Gunn and Ian Jelbart. Landscape Architect: Suzy Boyd. Builder: Vizarje Homes Pty Ltd. Surveyors and Engineers: Miller Merrigan.Digital file only; created from scan undertaken by EDHSarthur street, creative block design pty ltd., eltham, graeme gunn, houses, ian jelbart, kinloch gardens, kinloch pty ltd, miller merrigan, real estate, suzy boyd, vizarje homes pty ltd.

“Kinloch Gardens at Eltham, Victoria is planned as a comprehensively designed and cohesive residential environment.” “Only twelve innovatively designed houses ,will be situated within the established gardens and grounds of this historic Eltham estate. Building design and development will be under the control of the Kinloch Gardens design and construction team.” “Kinloch Gardens is situated on one of the highest points in Eltham and enjoys panoramic views in all directions.” “Kinloch Gardens lies hidden from the outside world behind high stone retaining walls, terraced embankments and extensive landscaping. The existing buildings, amongst the most significant of the Eltham / Montsalvat domestic building tradition are set in park like surrounds and enjoy panoramic views of the ranges to the north east and the city sky line to the west. New houses combined with sensitive landscaping will blend immediately into the established garden environment and will share the amenity and ambience of a very private and unique estate. The central theme of the landscape master plan is a garden reserve and a planted avenue terminating in a -small square.” “Houses vary in size from 120m2 (12.9 squares) to 210m2 (22.6 squares) (or larger) and include an extensive range of planning options. House types include: The Studio House The Tower House The Pergola House The Gallery House 'The Barn' is one of the existing buildings of Kinloch Gardens and is situated on the premium Lot 11.” Developer: Kinloch Pty Ltd. Project Managers: Creative Block Design Pty Ltd. Architects: Graeme Gunn and Ian Jelbart. Landscape Architect: Suzy Boyd. Builder: Vizarje Homes Pty Ltd. Surveyors and Engineers: Miller Merrigan.Digital file only; created from scan undertaken by EDHSarthur street, elders real estate, eltham, kinloch gardens, real estate agent, the barn

Constructed in 1955-56, the house was designed by Robin Boyd for Dr Arthur G R Uglow and his wife Enid, one of the buildings that formed a surge in residential occupation of the semi-rural Montmorency area in the 1950s. Citation 21 of the Banyule Heritage Study 2020.13 p. typescript and colour photographs, stapledbuena vista drive montmorency, uglow family, robin boyd, banyule heritage study 2020, montmorency - places

Gathering of seafarers and MTS clergy and LHLG members, at Glenfern 1906. Mrs Mary Danne daughter of Reverend Kerr Johnston was a widow at the time and was renting Glenfern, the property once owned by the Boyd family, and started a private primary school she called Newington College. A member of the Mission's committee from 1905 to 1926 when she passed away, a bras plaque was made in her memory and placed in the chapel of the Flinders Street Mission. (see item 0690) In the Standard published on Saturday 17 November 1906, page 4 we could read: "In connection with the Victoria Missions to Seamen a successful and pleasant outing, was given to the sailors in port on King's Birth day. Mrs. Danne, of "Glenfern," St. Kilda, threw her house and grounds open tor sports and tea. Cricket, football and sports were enthusiastically pursued, and ample justice was done to the substantial tea provided by Mrs. Danne and her friends. The Misses Danne, Miss Godfrey and other ladies were untiring in their attentions. Mr. Axell, first officer of brig Fairy Rock, in a few appropriate words thanked Mrs. Danne and the ladies, on behalf of the sailors, for their kind hospitality. Snapshots of the party were taken by Mrs. Goldsmith. Mr. C A. Holmes and Mr. Cedric Campbell acted as stewards and starters for the races. On the invitation of the chaplain (Rev. A G. Goldsmith*) ringing cheers were given for Mrs. Danne and the ladies. Before the party broke up Mrs Danne addressed a few kind words to the men and gave them all a shake of the band at the gate. The rest of the evening was spent at the Institute, Beach street, where games and competitions were carried on to the accompaniment of vocal and instrumental music. The prizes won at the sports etc., were distributed, and after singing the National Anthem the party broke up."Thanks to the article in the Standard, Saturday 17 November 1906, page 4, we learn that some of the early sepia photographs were taken by Mrs Gurney Goldsmith herself.Small monochrome photograph depicting a group of seamen and ladies with the Mission's Flagstaff.1906, glenfern, st kilda east, picnic, lhlg, king's birthday, edward vii, mary alice isabelle danne nee johnston, 1851-1926, reverend kerr johnston, 1812-1887, boyd family, sailors, seamen, seafarers, bowler hat, cap, boater hat, snapshots, camera, photographer, sports, cricket, football, ethel augusta godfrey 1861-1935, mr axell, fairy rock, charles arthur holmes (-1947), mrs gurney goldsmith, anne treverton goldsmith (nee lobb), cedric campbell

Print of a picture of the S.S. Casino, This print is from an original painting by the Australian marine artist A V Gregory (1867-1957), also known as Arthur Victor Gregory. Gregory lived and worked in South Melbourne. He took over the Gregory Studio owned by his father, George Frederick Gregory, painting actively between 1899 and 1932. He usually signed his works as ‘A V Gregory’. Some of his original works have been sold for thousands of dollars. The S.S. Casino was a passenger and freight steamer built in Dundee, Scotland, in 1882 for the Newcastle and Hunter River Steam Navigation Company of N.S.W. She weighed 425 tons gross with a length of 160.4 feet, beam of 24.1 feet and a depth of 10.2 feet. She had saloon accommodation for 35 people, a fore cabin for 25 more people, and she carried 300 tons of cargo. While on her delivery journey on May 30th 1882 the S.S. Casino called in at the Port of Warrnambool for coal ., narrowly escaping going ashore in gale force winds due to the quick action of the pilot. At that time, still at anchor, she impressed the directors of the Belfast and Koroit Steam Navigation Company so much that they bought her immediately; she was ideal for trade along the West Coast of Victoria. (The Belfast and Koroit Steam Navigation Company was first managed by Messers. Saltau and Osburne and after the passing of Mr. Osburne, by produce merchants Messers H. Sautau and Sons, who had a hay and corn store and shipping agency on the corner of Liebig and Koroit Streets in Warrnambool. ) The S.S. Casino became “the most famous steamer to operate in Victorian waters along the West Coast” by author Jack Loney. Captain Boyd was her first Master, followed by Captain Chapman, who stayed with her from 1890 until 1924. Captain W. Robertson followed for a short term, and then Captain Middleton then took command from 1925 - 1932. The S.S. Casino had several mishaps during her life. One was on 3rd January 1898 when she collided with the S.S. Flinders in Apollo Bay with minor damage. Another was on 24th October 1924 when she grounded on a reef at Point Hawdon near Grey River and most of her cargo (of Christmas goods) had to be dumped into the sea. Then in February 1929 she was ‘holed’ when she struck a submerged object as she entered Lady Bay, Warrnambool. On the morning of 10th July 1932, after attempting to berth at Apollo Bay jetty in heavy seas, Captain Middleton decided to take her out into the bay and wait until the seas abated. It was not realised that the anchor used to steady her as she manoeuvred to her berth had pierced her hull. She put about and headed for the beach but sank. Captain Middleton and nine others lost their lives; nine people were rescued including the two female passengers. Captain Middleton had been in charge of the S.S. Casino for seven years. He was the first ship’s Master to lose his life in a shipwreck in the West Coast trade. In the years following the turn of the century, the S.S. Casino remained the only regular trader with normal passenger accommodation along the West Coast. From 1882 she had made at least 2,500 voyages on the one run. Flagstaff Hill’s collection has a photograph of a portrait of Captain Chapman, , a ship model of the S.S. Casino that shows both forms of power under which she sailed, steam and sail. The ship is painted green and flies three flags. The inscription across the case of the ship model, incorrectly dated, tells the sad story of the wreck of the ship and the loss of lives on July 10th 1932 at Apollo Bay. A print in the Collection shows S.S. Casino underway in the heavy sea off Point Lonsdale, another two photographs show her at the Port of Warrnambool, leaving from the Breakwater in Lady Bay and another identifies the S.S. Casino as a ship from the Belfast and Koroit Steam Navigation Company. (Belfast is the original name for the township of Port Fairy).This print of the S.S. Casino is of significance for its association with the coastal trader S.S. Casino. The wreck of the S.S. Casino is considered an important part of Victorian and Australian cultural heritage and as such has been declared and protected as an Historic Shipwreck under State and Commonwealth Law in the Commonwealth Historic Shipwrecks Act (1976). The detailed image of the vessel depicted in this print shows one of the many sail and steam vessels painted by the renowned Victorian marine artist A V Gregory, whose original works are highly valued today by marine collectors.Print with hand-painted watercolour highlights depicting the port side steamship SS Casinounderway in a heavy sea, merchant flag flying at the stern. Mounted in a decorative wooden frame behind glass. The original painting was by A V Gregory. The title of the picture is repeated in handwritten words on the matte below the artist's signature on the print.Signed "A V Gregory" Hand painted title "SS Casino off Point Lonsdale"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, newcastle and hunter river steam navigation company, belfast and koroit steam navigation company, h. sautau and sons, s.s. casino, west coast trader s.s. casino, victorian coastal trader, captain boyd, captain w. robertson, captain chapman, captain middleton, apollo bay shipwreck, s.s. casino at lady bay warrnambool, saltau and osburne, a v gregory, arthur victor gregory, melbourne artist

This certificate stub book contains the subject certificates of the graduates of the School of Mines and Indutsries, Ballarat, a predecessor of Federation University Australia.This item highlights the subjects studied and graduates of the School of Mines between 1938 to 1964. It also records the change of cursive over that time.This book includes stubs of subject certificates from the School of Mines and Industries, Ballarat. This also contains a number of uncollected certificates. It is a brown hardback book with black binding. Its contents covers certificates between 1938 to 1964. Names of recipients include: Charles Holt, Henry Elford, Irvin Singleton, J. H. Hughes, John Morcom, Alfred Amor, John Wastell, John Rudwick, Jared Hines, Harry Allan, L. F. J. Hillman, Arthur Davies, Letitia Stanley, Victor Wright,Raymond Ball, Mary O'Callaghan, Ethna Burke, Alec Foyster, James Duggan, Leonard Auchettl, Reeves Collins, James Patterson, Stanley Douglas Webb, Oswald Lyle, Marvis Orr, Eric Roberts, Jack Clennell, A. R. Millar, Heith Smyth, Walter Hines, Harold Leslie, Joseph Fisher, Geoffry Burns, Alick Dait, George Hill, Raymond Wines, Robert Manson, Albert O'Neill, Thomas Green, William Stargatt, William Harrison, Reginald Allen, Albert Wilson, Allan Curtis, Arthur Donald, John Wynn, Sydney Robinson, John Blackic, Percy Elsdon, Hubert Jenkins, Kingsley Callister, Douglas Hall, Norman Lawson, Winfield Tonkin, Artuhur Williams, Allan Curtis, Ernest, Billinge, John Daelon, Harold Bunting, Stanley Wilton, Robert Sugden, Heith Foster, Winsome Stevens, Herbert Stanbridge, Robert Pittard, Henry Brew, Ernest Berriman, Carlyle West-Onley, William Blackic, Lorna Dunstan, Cedric Pike, Stanley Jephson, Hugh Hendrick, Joseph Fisher, Ernest Grove, Ronald Fisher, Heith Halsall, Henry Harris, Maxwell Silvey, Stanley Trengove, Donald Trescowthick, Harold Tolliday, Russell Lucas, John Boyd, John Keys, Stanley Betteridge, Ernest Betteridge, Michael Ross, Robert Stewart, Joseph Beasley, William Beasley, Ray Deveson, George Hennessy, Charles Matthews, Maxwell Silvey, Ian Creek, Geoffrey Moorhouse, Hector Tonks, John Donald, Hugh Hendrick, Stanley Jephson, Ian McIntosh, Robert Nice, Ralph Scott, Walter Martin, Grant Coutts, Lindsay Hannah, John Tainsh, Hubert Robinson, John Donald, George Beaton, Heather Harris, Brian McCarthy, Samuel Perry, Valentine Pascoe, Philip McLean, Geoffrey Hewish, Hubert Robinson, John Borch, Frederick Gale, Ian Grundell, Albert Perry, Frank Hutchinson, Horace Shuttleworth, Kenneth Mason, David Hatt, Malcom Foster, George Jones, Graham McKinnon, Ronald Newton, John Betts, Leonard Wade, Robert McClure, David Beaumont, Leslie Powell, Samuel Perry, Donald Treweek, Edgar McArthur, Russell Fraser, Edgar McArthur Bartrop, Clive Carmichael, Leslie Fuhrmeister, Lindsay Coon, Zigurds Plavina, Victor Gingell, Rupert McKenna, Graham McKinnon, David Fairley, Johannes Meennen, Ronald Murphy, Johannes Naus, John McConville, Graham Melonie, William Cutter, Thomas Chalkley, Kenneth Morton, Stanley Shears, Robert Auld, Donald Campbell, John Cofield, Brian Whykes, William Milford, Noel Richards, Stewart Jacobs, James Robertson, Clement Rose, Eric Brown, Allan Raworth, Ernest Salter, Neville Cartledge, Peter Stacey, Robert McClure, Antonius Goossens, Rodney Cartledge, Rodney Hayes, Bevan Grigsby, James Robertson, Neil Stephens, John Riddle, Andreas Aaus, Bruce Fletcher, Keith Pedler, Allen Flavell, Robert Cartledge, Ronald Shaw, Kenneth Hibberd, William Lockland, Percival Bilney and Petrus Damen. Uncollected certificates for James Patterson, Robert Sugden, Ernest Berriman, Stanley Jephson, Henry Harris, Maxwell Silvey, Joseph Beasley, Charles Matthews, Maxwell Silvey, Ian Creek, Geoffrey Hewish, Robert McClure, Kingsley Callister, Winfield Tonkin, Raymond Wines, Oswald Wilde and Kenneth Mason are included within. The subjects covered include: Printing, mining, geology, metallurgy, mining geology, mine surveying, mechanics applied to mining, electric welding, machine shop practice, algebra, trigonometry, mechanics and heat, applied mechanics, heat treatment, graphics, oxywelding, engineering drawing, blacksmithing, shorthand theory advanced, shorthand speed, commercial English, intermediate English, plain dressmaking, dressmaking advanced, electric wiring, physics, electric technology, carpentry, machine shop, plumbing, trade science, carpentry and joinery, building construction, heat treatment, wiring, oxyacetylene welding, foremanship, turning and fitting, electric wiring, arithmetic, social studies, commercial correspondence, office routine, bookkeeping, typewriting, shorthand, electric refrigerator servicing, refrigeration, radio mechanics, trade maths, sheetmetal, wool sorting, motor mechanics, human relations in management and industrial supervision. Many of the stubbs are signed by principal Dick Richards. Each certificate is signed by the current principal of the School of Mines and Industries, Ballarat, and a number have also been signed by the students.school of mines, school of mines andindustries, certificate, richard w. richards, horace william shuttleworth, dick richards, charles holt, henry elford, irvin singleton, j. h. hughes, john morcom, alfred amor, john wastell, john rudwick, jared hines, harry allan, l. f. j. hillman, arthur davies, letitia stanley, victor wright, raymond ball, mary o'callaghan, ethna burke, alec foyster, james duggan, leonard auchettl, reeves collins, james patterson, stanley douglas webb, oswald lyle, marvis orr, eric roberts, jack clennell, a. r. millar, heith smyth, walter hines, harold leslie, joseph fisher, geoffry burns, alick dait, george hill, raymond wines, robert manson, albert o'neill, thomas green, william stargatt, william harrison, reginald allen, albert wilson, allan curtis, arthur donald, john wynn, sydney robinson, john blackic, percy elsdon, hubert jenkins, kingsley callister, douglas hall, norman lawson, winfield tonkin, artuhur williams, allan curtis, ernest billinge, john daelon, harold bunting, stanley wilton, robert sugden, winsome stevens, herbert stanbridge, robert pittard, henry bre, ernest berriman, carlyle west-onley, william blackic, lorna dunstan, cedric pike, stanley jephson, hugh hendrick, joseph fisher, ernest grove, ronald fisher, heith halsall, henry harris, maxwell silvey, stanley trengove, donald trescowthick, harold tolliday, russell lucas, john boyd, john keys, stanley betteridge, ernest betteridge, michael ross, robert stewart, joseph beasley, william beasley, ray deveson, george hennessy, charles matthews, maxwell silvey, ian creek, geoffrey moorhouse, hector tonks, john donald, hugh hendrick, stanley jephson, ian mcintosh, robert nice, ralph scott, walter martin, grant coutts, lindsay hannah, john tainsh, hubert robinson, john donald, george beaton, heather harris, brian mccarthy, samuel perry, valentine pascoe, philip mclean, geoffrey hewish, hubert robinson, john borch, frederick gale, ian grundell, albert perry, frank hutchinson, horace shuttleworth, kenneth mason, david hatt, malcom foster, george jones, graham mckinnon, ronald newton, john betts, leonard wade, robert mcclure, david beaumont, leslie powell, samuel perry, donald treweek, edgar mcarthur, russell fraser, edgar mcarthur bartrop, clive carmichael, leslie fuhrmeister, lindsay coon, zigurds plavina, zig plavina, victor gingell, rupert mckenna, graham mckinnon, david fairley, johannes meennen, ronald murphy, johannes naus, john mcconville, graham melonie, william cutter, thomas chalkley, kenneth morton, stanley shears, robert auld, donald campbell, john cofield, brian whykes, william milford, noel richards, stewart jacobs, james robertson, clement rose, eric brown, allan raworth, ernest salter, neville cartledge, peter stacey, robert mcclure, antonius goossens, rodney cartledge, rodney hayes, bevan grigsby, james robertson, neil stephens, john riddle, andreas aaus, bruce fletcher, keith pedler, allen flavell, robert cartledge, ronald shaw, kenneth hibberd, william lockland, percival bilney, petrus damen, james patterson, robert sugden, ernest berriman, stanley jephson, henry harris, maxwell silvey, joseph beasley, charles matthews, maxwell silvey, ian creek, geoffrey hewish, robert mcclure, kingsley callister, winfield tonkin, raymond wines, oswald wilde, kenneth mason, trades

Ballarat Teachers' College was opened on may 4th, 1926, at S.S. 33, Dana Street, with an enrollment of sixty-one students, its original staff consisted of the Principal, Mr W. H. Ellwood, M.A., m.Ed. (Chairman of the Teachers' tribunal from its inception in 1946 until 1954), Miss A. Bouchier, B.A., and Mr A.B. Jones, B.A. (Lecturers). In 1927 Miss P.A. Hamano joined the staff. Teaching practice and special rural school work were carried on in schools in or near Ballarat - drawing, crafts and singing were taught by local teachers. In 1927 the college moved to the old Ballarat East Town Hall (remodelled for their use) in Barkly Street. During 1927 the numbers in the College were augmented by twenty-six Manual arts students who had formerly received their training at Ballarat High School. Manual Arts students continued till 1930, when, on grounds of economy, their training was concentrated at Melbourne Teachers' College.\During the four succeeding years approximately sixty students annually entered the primary course. Inclusive of Manual Arts students, and private fee-paying students, exactly 400 trainees passed through the college in its brief span of life (1926-1931) Fourteen years were to pass before they were again opened to students on February 2nd, 1946. The college was re-commenced at S.S. Dana Street under the guidance of Mr W.F. Lord, M.C., M.M., B.A., Dip.Ed., (Acting Principal 1946-1950), and a staff consisting of Miss E.B. Hughes, B.A., Dip. Ed., Mr C.B. Bryan, B.A., V.Com., Dip.Ed., Miss M.H. Miller, L.Mus.A., and Miss G. Kentish, Dip.Phys.Ed. The opening ceremony was performed by the Minister for education at that time, the Hon. F. Field, M.L.A., accompanied by the Hon. T.T. Hollway, M.L.A., and the then Director of Education, Mr J.A. Seitz. It was originally intended to cater for women students only (for whom 130 Victoria Street was purchased as a hostel) but, at the last moment, men were also accepted. A co-educational college was thus set up instead, and has continued as such. The original Staff has been considerable augmented, and the number of Students has been more than trebled. 1951 saw the introduction of the two-year course, successful students being presented with the Trained Primary Teachers' Certificate at the final College assembly each year. In December, 1855, College held its first Graduation Ceremony, with its own Graduation hymn, the words of which were written by Miss C.M. Canty of the staff. Mr Ellwood, former Principal,delivered the occasional address and presented the Ellwood Prize to the outstading student of the year (Mr C.P. Handreck). Students who had successfully completed the course received their certificates from Mr E.B. Pederick, Chief Inspector of Primary Schools. College accomodation having been strained for several years, it was pleasant news when tenders were called in July, 1956, for the building of the first section of the new Ballarat Teachers' College in Gillies Street, near the Botanical Gardens. At the beginning of 1958 the new College was occupied, and staff and students have appreciated greatly the appointments and cacilities of the new buildign. In 1968 the three-year Diploma Course began, co-existent with the other courses which will continue during the transitional period. Successful students in the course receive the Diploma of Teaching (Primary).Black and white photograph of students and staff of the Ballarat Teachers' College. The people are in four rows, and they stand in front of the Dana Street Primary School. Back Row: Jim Howlett; Milton Rice; Keith McLean; Jim Williams; George Nield, David Cooper, Ray Terrill, William Gleeson; Tom Pascoe; Lindsay Harley; Ron Carless; Robert Giddings; Colin Connelly; Alex Magill; Eddie Blake; William Punshon; Athol Aisbett; Kevin Collins; John O'Shannessy. Second Row: Beth Leslie; Faye Dreher; Gwen Pamphilon; Arthur Lelean; Howard Pattenden; Jack Tyers; Hugh Fraser; William Henderson; Jack Mallett; Alan Martin; Keith Boyd; John Ellifson; John Collins; Tom Hill; Wal Henning; Burns Roddis; Fred Marshman; Dawn Doney; Pat Watts; Ann McKinnon. Third Row: Ethel Esmore; Joy Love; Pat Luxford; Jean Elliott; Josie Bunny; Phyllis Borley; Joyce Matheson; Val Witney; Ruth Tozer; Nancy Kerr; K.ath Tobin; Muriel Morrish; Jean Clode; Peg Purdue; Joyce Kennedy; Margaret Palmer; Marie Faulds; Thelma Ritchie. Fourth Row: Pat Lewin; Mavis Poland; Lorna Welsh; Lynette Lynch; Nancy Alexander; Betty Williams, Val Gorrie; Alan Sonsee; Trudy Kentish; Carl Bryan; Monica Miller; W.F. Lord; Beth Hughes; Mephan McMcEwin; Mattie Hayes; Neila Vallance; Pat Robinson; Elva Surman; Joan Gunning; Norma Dally; Beatrice Freeman; Kath Crossett.ballarat teachers' college, education, dana street primary school, 1947

The School of Mines Ballaarat Annual Report 24 January 1882, Additional Examination Statute, Certificates Granted by Council, Copy of letter received from the Honble. Francis Ormond MLC, Extracts from Visitors' Book, Fees, Form of Bequest, Life Governors, Museum open to Visitors, Office Bearers, Paper of Particulars, Report of the Curator of the Museum and Library (with plans), Report of the Superintendent of Laboratories, Report of the Lecturer in Telegraphy, Report of the Lecturer in Mechanical Engineering, Statement of Receipts and Expenditure for the year 1881, Subjects and Lecturers, Subjects and Examiners, Subscriptions and Donations from 1 January to 31 December 1881, The Lignite Deposit at Skipton (with Section and Plan)Ballarat School of Mines Annual Report. Pale brown booklet of 64 pages. A plan of the Ballarat School of Mines shows the position of the Botanical Gardens, and the Ballarat School of Mines Museum. Geological Sketch Map of Country in the Neighbourhood of Skipton and Plan showing site of Coal Discovery. Skipton Coal Discovery - Section of Windlass Shaft. .2) is a leatherbound copyballarat school of mines, coal, plan, ballarat school of mines botanical gardens, ballarat school of mines museum, museum, annual report, james oddie, w. p. bechervaise, s. e. friggis, f. j. martell, w. h. nicholls,, e. i. rosenblum, h. r. caselli, thomas mann, theos. williams, f. m. krause, alf. mica smith, walter d. campbell, w. h. shaw, charles kent, andw. berry, robert adam, wm. lant carpenter, henry parkinson, h. b. de la poer wall, w. h. brockenshire, arthur parker, c. davies, simon richards, c. r. blackett, david jones, wilberforce dyke, kr. r. krauel, duncan love, william ralph heaton, edward dowling, octavius vaughan morgan, william denton, e. h. grimwade, james hunter, the honble. francis ormond, ferdinand krause, a.a. buley, j. cosmo newberry, w.c. kernot, john lewis, j.m. bickett, james bickett, fees, annie barnett, annette budden, isabel clinton, john dimsey, agnes pobjoy, charlotte shaw, bernard o'dowd, bernard patrick o'dowd, josiah wasley, ferdinand von mueller, william kernot, john lynch, william henderson, henry richards caselli, w.p. berchervaise, e.i. rosenblum, w.h. nicholls, lignate, samuel figgis, mary drury, w. longley, botanical reserve, botanical gardens, francis ormond, george russell, william foster stawell, w.j. clarke, rivett henry bland, john warrington rogers, j. lonie, s.e. figgis, r.f. hudson, w. robertson, e.l. rosenblum, theophilus williams, andrew berry, henry sutton, h. rosales, state school classes, calcutta international exhibition, examinations, h.b.m ship bounty, certicates, walter charles kernot, william tunbridge, mary skelton, cartherine moran, mary rose usher, margaret ellen brophy, william burbridge, andrea tuxen, elizabeth curnow, francis campigi, james s. morrison, arthur hogue

School Council, Members of Staff, Magazine Committee, List of Full Course Students 1938, Full Course Commercial Students, Editorial, Personal Column, Obituary - Roy S. Hall - F. J. Martell, S.M.B Old Boys' Association, The Literary Society, Centenary Jottings, Fumes from the Lab, Broken Hill, News from Papua, Sidelights on the B.H.P. Cadet Training Scheme, Arts & Crafts Gossip, Sport, Commercial Notes, The Junior Techs, Junior Technical SportingBlack soft covered magazine with yellow font, green and white images. 64 pages including advertisements. Artworks * Lino cut - By Maureen McRae * Lino Cut - By B. Delima * Lino Cut - By Bessie Martin * The dog you's like to kick - By Gordon Yorke * Harry - By Ernest Gribble * Digger - By Ernest Gribble * Lino cut - By Gordon Yorke * Our little girl - By Dorothy Woolcock * Miss W - By Ernest Gribble * Joan - By Ernest Gribble * Roma - By Gladys Bilney * Doing art for t'arts sake - By Gilda Gude * Una - By Dorothy Woolcock * My Bill - By Dorothy Woolcock * The Sec. - By Ernest Gribble * Hassell - By Dorothy Woolcock * Chief Engineer - By Dorothy Woolcock * Rusty - By Ernest Gribble * Lino Cut - By Jeff Wilkinson * Dick - By Dorothy Woolcock * Goosey - By Ernest Gribble * Pen Drawing - By Dorothy Woolcock * Parking 1 - By Max Coward * Miss King - By Dorothy Woolcock * Goal Umpire - By Ernest Gribble * To Prep Girls - Joe - By Ernest Gribble * Dreamy Dolan - By Ernest Gribble * Lino Cut - By Max Coward * Norma - By Dorothy Woolcock * Lino Cut - By A. Janetski * Dorothy - By Patsy Walsh * Jean - By Dorothy Woolcock * Lino Cut - By Joy Martin * Lino Cut - By Max Coward and A.2., * Ben - By Bob McHutchison * Polly - By Ernest Gribble * Dobber - By Ernest Gribble * Francies - By Ernest Gribble * Ad a line not a bite - By Dorothy Woolcock * Dulcie - By Dorothy Woolcock * Joan - By Ernest Gribble * Kitty - By Bob McHutchison * Stumpy - By Elva Brimacombe * Pegleg - By Dorothy Woolcock * Fat - By Gladys Bilney * Dawn - By Dorothy Woolcock * Joy - By Ernest Gribble * Nipper - By Ernest Gribble * Mac - By Ernest Gribble * Puss - By Bob McHutchison * Tinted Lino Cut - By W. Edward * Lino Cut by G.Day ballarat school of mines, magazine, maureen mcrae, b. delima, j. woolcock, herbert j. trevenan, n. palmer, olwyn williams, gordon yorke, bob mchutchinson, w. edward, keith heriot, sylvia wyres, jeff wilkinson, peter richards, d. gordon, f. morris, mr proctor, ernest gribble, dr. j. r. pound, muriel boyd, george downing, roy s. hall, f. j. martell, d. v. shore, ken wilkie, eoin macdonald, g. berriman, dorothy woolcock, russell h. s. ewins, v. e. greenhalgh, max coward, shelia moss, frank t. jelbart, neil crouch, graham white, mr cornell, francis hollioke, k. vaughan, david j. jelbart, arthur g. veale, bill walters, richard menhennett, james redford, w. monteith, mr hillman, john t. graham, james w. thomas, keith. walter, james m. martin, lyle s. dimsey, jean birch, margaret turner, lesley stapleton, marjorie day, una kersey, jean lonie, coral robertson, norma rowe, jean bridges, jean cox, a. janetski, d. ditchfield, j. harrison, gladys james, j. brimacombe, sheila moss, r. mathews, joy martin, joan ellsworth, e. salter, a. spence, m. may, f. coulson, i. clow, h. tonkin, l. taylor, s. harris, k. gingell, g. jones, william t. paterson, f. harland, w. harrison, j. pike, a. mcmillan, m. lee, e. mccann, j. harris, a. clack, f. osborne, e. stephens, s. nicol, d. eltringham, j. hosie, v. burt, w. rowe, wm. c. edward, j. donald, m. cox, n. dalton, gladys bilney, gilda gude, patsy walsh, elva brimacombe, g. day, francis hollyoake, centenary, betty brown, alan nye, victor greenhalgh, alan gilpin, george edward, e.h. schache, john dulfer, max bayley, eric rumpff, henry kum yuen, fred j. martell, old boys' association, literary society, j.a. wilkie, cyril callister, g. yorke, broken hill, papua, e. macdonald, j. wilkinson, bhp cadet training scheme, g.r. crouch, salt lake city, utah, photography, photographic class, r.h.e. ewins, f. jelbart, n. crouch, g. white, f. hollioake, p. richards, d. jelbart, a. veale, w. walters, e. gribble, r. mchutchison, r. menhennett, i. redford, k. heriot, j. graham, j. thomas, r. ewins, k. waller, j. martin, j. king, bena lamb, j. birch, m. turner, l. stapleton, m. day, u. kersey, j. lonie, c. robertson, n. rowe, j. bridges, m. mcrae, o. williams, j. cox, g. james, s. moss, b. martin, junior technical school old boys' association, des marks, cornell's little liver pills, ballarat wattle tea rooms, the modern dairy

Victorian Institute of Occupational Safety and Health (VIOSH) Australia is the Asia-Pacific centre for teaching and research in occupational health and safety (OHS) and is known as one of Australia's leaders on the field. VIOSH has a global reputation for its innovative approach within the field of OHS management. VIOSH had its first intake of students in 1979. At that time the Institution was known as the Ballarat College of Advanced Education. In 1990 it became known as Ballarat University College, then in 1994 as University of Ballarat. It was 2014 that it became Federation University. VIOSH Australia students are safety managers, senior advisors and experienced OHS professionals. They come from all over Australia and industry. Students are taught active research and enquiry; rather than textbook learning and a one-size fits all approach. VIOSH accepts people into the Graduate Diploma of Occupational Hazard Management who have no undergraduate degree - on the basis of extensive work experience and knowledge. Students would have attended Ballarat College of Advanced Education. Names to correspond with photograph 19975 1. Roger Smith 2. Ronald Barnes 3. Max Brooke (Instructor) 4. Raymond Epthorpe 5. Geoff Chappel 6. Athol Wilson 7. Mike Boyd 8. Geoff Knight 9. Brian Vasey 10. Glen Williams 11. Mark Sonter 12. Vic (?) 13. Barbara Palmer 14. Leo Arthur 15. Jeffrey Smillie A timber framed black and white photograph taken at Sovereign Hill of a group of thirteen people dressed in period costume with a name plate at the bottom. Sepia photograph mounted on cardboard. Photographer's information.Typed name plate with names Card printed with - Red Hill Photographic Rooms, Sovereign Hill, Victoria.viosh, viosh australia, graduate diploma in occupational hazard management, leo arthur, ronald barnes, michael boyd, andrew chappell, ray epthorp, jeffrey knight, barbara palmer, jeffrey smillie, roger smith, mark sonter, brian vasey, owen glyn williams, athol wilson

Vol.2976 fol.515029 Transfer 594577 application. James Dunlop Boyd died on the 9th day of January 1918, probate has been granted to Annie Sophia Boyd of McKenzie Street Bendigo widow dated the 4th of October 1918. Annie Sophia Boyd died 15th February 1950. the property then passed to George Victor Lansell in 1951. In 1960 the property passed to Arthur Victor Palmer, Daniel Aloysius Hogan and John William Watson. Proprietor The Legacy Club Bendigo Incorporated 11 McKenzie Street, Bendigo 3550 U865210F 9/7/97.buildings, commercial, mckenzie street

Sepia photograph mounted on cardboard of pupils at the Tourello schoolOn Reverse; (written in blue biro) Tourello School Back Row: Chrissie Turnbull, Chris McRae, Colin Robertson, Arthur Roberts, Les Martin, Nicholas Grenfell, Miss Christie, unknown Middle Row: Bill Boyd, Bessie Scarffe, Ethel Turnbull, Lillian Roberts, Alec McRae, Bert Turnbull, Evelyn Grenfell Sitting: Cyril Boyd, Rene Trewin, Alex Trewin, Lyn Turnbull, Bill Grenfell, Norman Martin, unknown Stamped: W.H. Poiner Albert Street Clunes poiner, tourello, school

Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka and travelled to Osaka several times in 1969-1970. Boyd designed the innovative Space Tube, which had over 25 exhibition boxes, projecting from it. Amongst the topics covered were Australian scientific innovation (including brain research, immunology, Antarctic research, Snowy Mountains Hydro-Electric Power Scheme, rainmaking, and the night sky), Australian sport, house interiors, car manufacturing, Australian music and art, and Japanese-Australian relations.Colour slide in a mount. Canadian Pavilion, Expo '70, Osaka, Japan. (Architect: Arthur Erickson, with Geoffrey Massey)Made in Australia / 10 / MAY 70M3 / 6 (Handwritten)expo 70, osaka, robin boyd, slide

Robin Boyd developed a close friendship with the founder of the Bauhaus in Weimar Germany, Walter Gropius, who had moved to the USA in the 1930s. Through this connection, Boyd was invited to be the Massachusetts Institute of Technology (MIT) Bemis Professor at the School in the North American academic year 1956-7. Robin and Patricia Boyd, with their youngest daughter Suzy, were based in Cambridge, Massachusetts for the year. Boyd gave some lectures at MIT and he was also invited to give lectures at many other universities, allowing him to travel widely within the USA, especially on the East Coast. This gave him the opportunity to meet architects like Frank Lloyd Wright, Eero Saarinen, Paul Rudolph and many others, and visit the offices of Skidmore, Owings and Merrill, and places like Taliesin and the General Motors Technical Center Detroit. On the way home, the Boyds visited London, Berlin, Paris and Le Corbusier’s Ronchamp Chapel in France.Colour slide in a mount. Arthur Huertley House, Oak Park, Illinois, USA, 1902. (Architect: Frank Lloyd Wright.)Made in USA / 04819 / FLLW:CHC: '08 House OAK PK. (Handwritten) / C (Handwritten) / 46 (Handwritten) / Encircled 15 (Handwritten)mit bemis professorship, mit, robin boyd, slide

Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka and travelled to Osaka several times in 1969-1970. Boyd designed the innovative Space Tube, which had over 25 exhibition boxes, projecting from it. Amongst the topics covered were Australian scientific innovation (including brain research, immunology, Antarctic research, Snowy Mountains Hydro-Electric Power Scheme, rainmaking, and the night sky), Australian sport, house interiors, car manufacturing, Australian music and art, and Japanese-Australian relations.Colour slide in a mount. Canadian Pavilion (foreground, Architect: Arthur Erickson, with Geoffrey Massey), Australian Pavilion (background, Architect: James MacCormick ), Expo '70, Osaka, JapanMade in Australia / 6 / MAY 70M3expo 70, osaka, robin boyd, slide

Boyd argues that modern architecture has triggered a necessity for greater harmony between architects and engineers. Boyd describes the architectural qualities of tension structures through an analysis of several case studies including projects by Frei Otto and Boyd's own house at Walsh St. Being a relatively new concept, Boyd criticises the neglect towards smaller buildings in this structural system, and also highlights some of its shortcomings. A 2-page letter from 'Arthur' (surname unknown) at the University of Melbourne's Department of Civil Engineering provides feedback to Boyd on his analyses of the chosen case studies.Original manuscript of article published in The Architectural Review Vol.134, No.801, November 1963, pp. 324 - 334. This draft was returned with covering letter from: ‘Arthur’ (AJF) Melbourne Uni. Dept Civil Engineering. Typewritten (c copy), foolscap, 14 (+2 quarto letter) pagesMinor handwritten editsengineering, tensile structure, master-designer, bernard lafaille, zagreb french pavilion, matthew nowicki, livestock pavilion, frei otto, paul rudolph, florida house, bill irwin, kevin borland, peter mcintyre, john and phyllis murphy, yuncken freeman, sidney myer music bowl, eero saarinen, yale hockey rink, edward d. stone, brussels u.s. fair pavilion, boston arts centre, walsh street, robin boyd, manuscript

Boyd asks "What sort of cities do we want?" Various alternatives were discussed at the 14th Royal Institute of Architects convention 1965. The theme of the convention was Civic Development, accompanied by a public exhibition "Man in the Street". A fairly clear definition of the ideal shape for our urban character emerged. It was accepted that congestion, dullness and ugliness would become even more of a problem. Boyd offers a bird's eye view of the nature of our cities as we move progressively outwards.Original manuscript of an article published as ‘New life for Cities. The choice – metropolitan excitement or Canberra order?' in The Australian, 10.4.1965.Typewritten (c copy), quarto, 6 pagesroyal institute of architects convention 1965, australian cities, arthur odell, john overall, robin boyd, manuscript

Hardcover w/ Dust Jacketwalsh st library

Announcement that Sir Arthur Stephenson has been elected an honorary Fellow of the American Institute of Architects. He is the second Australian to be so honoured - Robin Boyd being the first in 1960.walsh st library

Softcoverwalsh st library