Showing 421 items matching clifton
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The Dunmoochin Foundation
Oil Painting, Portrait of Pat Tozer, 1955
Portrait of a seated woman with short red hair, black turtle neck and blue skirt with multiple figures in background. Signed and dated lower right 'Clifton Feb 55'. Label on reverse: 'Lauraine Diggins/ Cat no. 29/ Portrait of Pat Tozer/ Oil on Particle board/ exhibited - The Antipodeans'.clifton pugh, painting, portrait, pat tozer -
Melbourne Tram Museum
Document - Memorandum, Melbourne & Metropolitan Tramways Board (MMTB), "Memo to Members of the Board - The Bourke Street - Nicholson Street and Clifton Hill and Northcote Conversion", 13/10/1938 12:00:00 AM
Memorandum, typed foolscap, 8 sheets, titled "Memo to Members of the Board - The Bourke Street - Nicholson Street and Clifton Hill and Northcote Conversion" dated 13/10/1938. The report looks at major English cities, excluding London, transport to developing housing areas outside existing transport links, costs of conversion compared to buses, success of diesel buses (referred to as crude oil buses), construction of new tram lines, use of trolley buses and tables looking at the cost and revenues for each routes, comparison of service levels, capital costs and other factors. Recommends that the Collingwood cable line be closed as soon as practicable. See also Reg Item 934 for a bound copy of his full overseas tour report.trams, tramways, mmtb, bourke st, conversion, double deck buses, tours, overseas tours, buses, trolley buses, uk, costs, housing -
Eltham District Historical Society Inc
Photograph, Fay Bridge, Clifton Pugh's Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge, c.1995
Visit to Dunmoochin prior to Clifton Pugh's home being destroyed by fire in 2002. 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.fay bridge collection, 1995, barreenong road, cottles bridge, dunmoochin -
The Dunmoochin Foundation
Oil Painting, Assassination (Clive Cameron), 1978
Painting depicting two male figures wearing glasses and a female in an abstract composition with shadow and cracked glass. Signed (L. r) 'Clifton' and dated L.l) 'Apr '78'. On reverse Label 'Artmet Ltd Rudy Komon Gallery Retrospective/ 26th April - 21 May 1988/ Assassination (Clive Cameron) 1978 No. 31'.clifton pugh, painting, assassination, clive cameron -
Eltham District Historical Society Inc
Photograph - Digital Photograph, Marguerite Marshall, Art Gallery at Clifton Pugh's Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge, 5 February 2008
Art Gallery with mural painted by Clifton Pugh (1924-1990) at his Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge. Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then / Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p153This 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 -
Glen Eira Historical Society
Document - CLIFTON STREET, 5, CARNEGIE, ‘NESFIELD’
This file contains two items: 1/Photocopied article from ‘Who’s Who in the World of Women’ circa 1930s of Doris Hedley. Gives family details and the charities and hobbies she was involved in. 2/Handwritten research by Claire Barton from Sands and McDougalls on the owners of 5 Clifton Street, Carnegie 1923-1948callander claude a, voluntary workers houses, caulfield east, hedley doris, hedley stanley, committees of management, barton claire, hedley kenneth john, carnegie and murrumbeena auxiliary for the blind, hedley ronald stanley, carnegie, caulfield technical school, clifton street, house names -
Creswick Museum
Clifton Billy, Prior to 1873
Crib Pail owned by John Tom Clifton. His mother Frances Clifton re-married after his death to Thomas Harvey and it was held by the Harvey family It was loaned by Leonard Harvey to the organisers of the Great Australasia Mining Disaster Centenary Committee 1982 but then presented by his family to the museum in his memory.It is the only known article from the New Australasian No.2 Gold Mining Disaster. It was reported that three were removed from the mine at the time of the disaster. The Bellingham Billy rusted when left in a shed. Manley's was believed to have been lostThe round crib pail is made of tin and is badly rusted. A crib pail was used by miners to carry their food down the mines. The lid is missing. This pail was taken down the mine by John Tom Clifton and he wrote a message on it before he died in the New Australasian No.2 Gold Mining Disaster 1882. It was known to have the following inscription "Goodbye dear mother, sisters and brothers: Philippa my dear girl. John Tom Clifton" but is not readable .clifton billy, miner's pail, crib pail, new australasian no.2, gold mining disaster, creswick -
Kew Historical Society Inc
Photograph - Clifton Hotel, Kew Junction, 1994
Of the eight hotels established in Kew since European settlement, The Hotel Kew, known for most of its existence, as the Clifton Hotel was the seventh to be built in 1868. Its location on the corner of Studley Park Road and High Street at Kew Junction makes it a prominent landmark. Its current name is confusing for local historians as its main rival for the first 52 years was O'Shaughnessy's Hotel (1855), later renamed the Kew Hotel, on the corner of High Street and Denmark Street. Looking at the façade of the Hotel Kew, it is hard to imagine its mid-nineteenth appearance. There have probably been at least four renovations or rebuilding(s) of the structure. The documented renovations have occurred in the 1930s when the late Victorian façade was given an Art Deco update. In about 1970 its façade was again 'improved'. The many publicans who have held the licenses of the Clifton Hotel have been identified in in the 'Tetlow Index' and on the 'Boroondara Local History Wiki'. The most significant of these are Henry Madden (1880-87); Michael O'Donnell (1902-1920); and the Cronin-Ryan family (1935–53ff).Fading colour positive photograph of the Clifton Hotel at Kew Junction on the corner of High Street South and Studley Park Road. The hotel had been modified extensively over time, disguising the original Italianate facade. This is the colour scheme of the fourth restoration, including huge advertising billboards on the roof.Reverse: "Clifton Hotel. Studley Park Road at Kew Junction. 1994clifton hotel -- kew (vic.), hotels -- kew (vic.), kew junction -
Surrey Hills Historical Society Collection
Photograph, Steele family members at 'Dalriada' (formerly 'Clifton'), 77 Union Road, Surrey Hills
At ‘Dalriada’, previously ‘Clifton’, 77 Union Road, corner Bona Vista Avenue (dem.) Home of Charles and Sarah Steele pictured with Bertrand Steele and wife Amy, daughter of John Woodhead of ‘Kirklands’. ‘Dalriada’ was built on Woodhead’s land. In 1892 Bertrand purchased the pharmacy on S.W. corner Canterbury/Union Road and moved it to the ‘new’ Surrey Hall. By 1894 he had returned it to its former site where he remained in business until 1900 when he married Amy and went overseas. In 1910 Bertrand Steele became Professor of Chemistry in Brisbane. As his son-in-law, Bertrand was executor of the estate of John Woodhead of ‘Kirklands’. Charles Henri Dillon Steele (1869-1935) - Parents: Samuel Madden Steele and Harriet Sarah Acock. He married Sarah Margaret Russell. They had 2 daughters Margaret Dillon Steele who married William Brayshay Woodhouse, dentist, and Harriet Vevers Steele. From Dentistry Museum site: “Charles Henry Dillon Steele was one of the pioneers of Dentistry in Victoria. He was born in England in 1869 and came to Melbourne in 1889. He was registered by the Dental Board in 1890 and practiced in Collins Street until his death in 1935. His daughter Margaret Dillon (Nancy) Steele graduated BDSc Melbourne in 1929 and obtained the degree of DDS in Toronto in 1931. She returned to Melbourne and rejoined her father in practice at 90 Collins Street and later at 147 Collins Street. In 1935 she married William Brayshaw Woodhouse (BDSc, DSc Melbourne) who bought the practice of Mr. Steele in that year and continued in practice there until 1980. Their son Anthony Dillon Woodhouse graduated BDSc (Melb) 1958 and DDS (Toronto) in1966 and continued in the old family practice established by Mr. Steele." (Dr. Tony Woodhouse, May 1984) Sarah Steele - Born Sarah Margaret Russell, after her marriage to Charles Henry Dillon Steele was very active in community work, notably as President of the local Patriotic League. It was she who persuaded John Kendrick Blogg to carve the Honour Roll for The Shrine in the Surrey Gardens. A black and white photograph of a family group seated on the grass. (mr) bertrand steele, (mr) john woodhead, house names, pharmacists, dentists, clothing and dress, union road, surrey hills, (mr) charles henri dillon steele, 'kirkland', 'clifton', 'dalriada', (miss) amy woodhead, (miss) sarah margaret russell, (mrs) sarah margaret steele -
Eltham District Historical Society Inc
Photograph, Fay Bridge, Clifton Pugh's Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge, 14 May 2016
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.fay bridge collection, 2016-05-14, art gallery, barreenong road, clifton pugh, cottles bridge, dunmoochin, maurice hurry -
Eltham District Historical Society Inc
Photograph - Digital Photograph, Marguerite Marshall, Doorway of Clifton Pugh's former house at Dunmoochin, Barreenong Road, Cottles Bridge, 5 February 2008
Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then / Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p155This 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 -
Darebin Parklands Association
Clifton Bridge, 1979-1980
The bridge was designed and constucted by Sidney Clifton, an engineer who lived in a house neighbouring the parklands.Colour photograph. Clifton Bridge. -
Darebin Parklands Association
Clifton Bridge, 1979-1980
The bridge was designed and constucted by Sidney Clifton, an engineer who lived in a house neighbouring the parklands.Colour photograph. Crossing Clifton Bridge. -
Nillumbik Shire Council
Ceramic: Clifton PUGH, technician: Geoffrey DAVIDSON, Leda and the Emu, c. 1975
Geoff Davidson arrived at Dunmoochin around 1968 and began living and working as an apprentice to the potter Robert Main, who was working in a studio rented to him by Clifton Pugh on the Dunmoochin property. When Robert left, Geoff moved into the studio and began collaborating with Clifton Pugh on many projects for a period of 25 years whereby Clifton would decorate pots made by Geoff. Geoff produce the ceramic panels for Leda and the Emu. He mixed and identified the glazes for Clifton, then fired the panels once he had finished painting. Three or four murals were produced in this way, one of which was purchased by Don Dunston (ex-Premier of South Australia) as a gift to his dying wife.Dunmoochin derives its cultural and artistic heritage from the collaborative efforts of a group of artists who purchased land in Cottles Bridge in the early 1950’s. These artists (Pugh) pioneered one of the first artistic communes in Australia and created a lasting vision of how a community can gain knowledge and inspiration from living in a close relationship with nature. Pugh had explored the ‘Leda and the Swan’ mythological themes previously during the sixties in etchings and paintings, although he was more interested in referencing the original myth as allusions to other truths. Pugh was drawn to the Greek myth ‘Leda and the Swan’ in which Zeus transforms into a swan to seduce Leda. Pugh Australianised the myth so that Zeus transformed into an Emu rather than a Swan, and makes a gentle satirical comment on the sexual behaviour of the Australian male, whereby he sees a parallel between this and the proud yet awkward movements and naivety of our national bird. This particular theme was prevalent in Pugh's work right through the 60s and 70s. Leda and the Emu is a work by two prominent local artists (Clifton Pugh and Geoff Davidson) with a national and international reputation.Flat red background, black foliage. Leda is naked and sleeping with head resting in hand. Emu is to the left watching Leda. Drawing style is typical of Pugh’s work: linear, flat and gestural.Signed 'II Clifton' -
Darebin Parklands Association
Clifton Brigde, 1979-1980
The bridge was designed and constucted by Sidney Clifton, an engineer who lived in a house neighbouring the parklands.Colour photograph. Child sitting on Clifton Bridge. -
Darebin Parklands Association
Clifton Bridge, 1979-1980
The bridge was designed and constucted by Sidney Clifton, an engineer who lived in a house neighbouring the parklands.Colour photograph. Three men inspecting Clifton Bridge. -
Darebin Parklands Association
Houses bordering Rockbeare Park 1970s, Rockbeare Park Conservation Group, 1973-1980
Sidney Clifton was a mechanical engineer and a lecturer at Melbourne University. He built the house, which is still in the family. He was a foundation member and treasurer of Darebin Parklands Association. He designed Clifton Bridge in Darebin Parklands and built the wooden formwork for it in his living room in this house. It was built with volunteers and funded by a grant from Heidelberg and Northcote Councils. He was a foundation member and treasurer of Darebin Parklands Association.B&W photograph. Sidney Clifton's house is on the right. -
Horsham Regional Art Gallery
Photograph, Mark STRIZIC, Clifton Pugh, 1967
Purchased through the Horsham Art Gallery Trust Fund with the assistance of the Caltex-Victorian Government Art Fund, 1980 -
Nillumbik Shire Council
Photograph: Sue FORD, Clifton, Marlene Pugh, Dunmoochin, 1964 (printed 2015)
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Gippsland Art Gallery
Print, Seidel, Brian, Clifton Hill, Saturday Morning, 1978
Donated from the estate of Patricia Marie White, 2013Etching on papergippsland, artwork, permanent collection -
Stawell Historical Society Inc
Archive, Clifton Rock Quartz Mining Co. Account Book, 1872
White Covered Bookstawell, mining -
Kew Historical Society Inc
Print - Subdivision Plan (copy), Plan of Section 79 Parish of Boroondara (Clifton Estate), Nineteenth Century
This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.A photographic reproduction of a plan in the Vale Collection of the State Library of Victoria. The numbered lots represent the first land sales in Kew in the area north of Studley Park Road.maps (kew), plan of section 79 parish of boroondara -
Eltham District Historical Society Inc
Photograph, Self Portrait - Clifton Pugh (1962), 1971
This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.4 x 5 inch colour reversal film (1) Condition: May not be true to colour of original work. Scanned from a 4 x 5 inch colour transparency which was taken c.1970 (approx. 50 years old) and which has undergone significant colour degradation towards the red spectrum. Allowances made for colour cast correction in scan with best guess for white balance. In some cases, significant light flare is reflected off glossy surface of original work at camera lens causing quality issues.sepp, shire of eltham pioneers photograph collection, clifton pugh -
Eltham District Historical Society Inc
Photograph, Painted by Clifton Pugh (1963), 1971
This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.4 x 5 inch colour reversal film (1) Condition: May not be true to colour of original work. Scanned from a 4 x 5 inch colour transparency which was taken c.1970 (approx. 50 years old) and which has undergone significant colour degradation towards the red spectrum. Allowances made for colour cast correction in scan with best guess for white balance. In some cases, significant light flare is reflected off glossy surface of original work at camera lens causing quality issues.sepp, shire of eltham pioneers photograph collection, clifton pugh -
Eltham District Historical Society Inc
Photograph, "Black Boys" - Clifton Pugh (1955), 1971
This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.4 x 5 inch colour reversal film (2) Condition: May not be true to colour of original work. Scanned from a 4 x 5 inch colour transparency which was taken c.1970 (approx. 50 years old) and which has undergone significant colour degradation towards the red spectrum. Allowances made for colour cast correction in scan with best guess for white balance. In some cases, significant light flare is reflected off glossy surface of original work at camera lens causing quality issues.sepp, shire of eltham pioneers photograph collection, clifton pugh -
Eltham District Historical Society Inc
Photograph, Clifton Pugh - Dunmoochin, Cottles Bridge
Reproduced Page 128 of "Pioneers and Painters" which shows Pugh working on his portrait of Dame Mabel Brook This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image Various prints and colour reversal films artists, clifton pugh, cottles bridge, dame mabel brook, dunmoochin, eltham local characters, painters, pioneers and painters, sepp, shire of eltham pioneers photograph collection -
Bass Coast Shire Council - Robert Smith Collection
Artwork, other - Flight of Birds, Clifton Pugh
Lithograph 156/300 -
City of Greater Geelong
Oil on Canvas, Hugh Guthrie, Clifton Springs Foreshore
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Moorabbin Air Museum
Manual (Item) - Sperry Synchros Overhaul Manual, Overhaul Manual Synchros (Clifton Precision Products) Size 11
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City of Greater Geelong
Work on paper - Pastel on Cartridge, David Nash, Sunset at Clifton Springs