This item is from a collection donated by descendants of John Francis Turner of Wodonga. Mr. Turner was born on 6 June 1885. He completed all of his schooling at Scotts Boarding School in Albury, New South Wales. On leaving school, he was employed at Dalgety’s, Albury as an auctioneer. In 1924 John was promoted to Manager of the Wodonga Branch of Dalgety’s. On 15/03/1900 he married Beatrice Neal (born 7/12/1887 and died 7/2/1953) from Collingwood, Victoria. They had 4 daughters – Francis (Nancy), Heather, Jessie and Mary. In 1920, the family moved From Albury to Wodonga, purchasing their family home “Locherbie” at 169 High Street, Wodonga. "Locherbie" still stands in Wodonga in 2022. The collection contains items used by the Turner family during their life in Wodonga. Westminster Fine China Australia started in the Melbourne suburb of Cheltenham at 7 Arnold Street, in 1954 by Stanley Rogers and Son Ltd. They initially used imported blanks from Japan, which were made to their specifications, and which were then decorated locally. They produced a standard range of shapes for souvenir ware, later expanding into a wide range of tea sets, dinnerware and many other styles of china ware. The Abbey mark, based on Westminster Abbey in London, was used from the start of production until about 1962.The Hume Weir was constructed in the late 1920s and was a critical state in the development of water management in the Murray Darling Basin. At the time of its construction it was the largest water reservoir in the British Empire. Small bowl with gold trim printed with an image of the Hume Weir, Albury. The trademark of Westminster Fine China Australia is on the under side of the plate.On front beneath image "Hume Weir, Albury" Underneath the plate, surrounding an image of Westminster Abbey "FINE CHINA/WESTMINSTER CHINA /AUSTRALIA" souvenirs, westminster china, hume weir australia, memorabilia albury

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. This recorder belonged to Alfred Haeusler (b.1922) and was played during his childhood in Wodonga in the 1920s-1930s. The recorder is one of several objects in the Haeusler Collection concerning early childhood that provides insight into family and home life in early twentieth century Wodonga. Recorders belong to the family of woodwind instruments and were first produced in the early eighteenth century. The instrument was popularly revived in 1919 by English instrument maker Arnold Dolmetsch. This item has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history, and women’s history. Plated iron alloy recorder with visible rust, roughly 20cm long. "MADE IN JAPAN"/"SK"music, musical instrument, recorder, wind instrument, school, child, childrens, haeusler collection, music lesson, woodwind instrument

Part of the 'Mann' collection, used for time keeping by employees in the J. Mann & Sons General Store in Wodonga High Street in the c 1960s. J. Mann and Sons was first established as a farm produce store in 1921. The range of products was extended in the 1930s and included groceries and hardware, as well as the first petrol bowser in Wodonga outside the store. After WWII, the premises were extended and the range of products continued to increase. In the 1960s the Mann Family opened a new supermarket in Wodonga, in addition to the hardware business, providing steel, plumbing and industrial supplies, and they employed over 100 people at one stage. With changes in the retail industry, the Mann Family sold the main hardware business to Bunnings and the produce business to the Kelly brothers in 2006. The Amano time clock has local significance due to its use in the J. Mann & Sons General Store in High St, Wodonga and the association with the prominent Mann family.Green metal electronic Amano time clock used by employees in the J. Mann & Sons General Store in Wodonga, with a brown clock face and light coloured numbers. Two labels on the lower part of the front surface with a horizontal lock between them, and a small metal plate on the proper left side with the model and serial numbers, plus "S 422" written in black marker below. Slot in the top surface of the time clock for the employees' time cards."AMANO" - on the clock face "TIMETEK SYSTEMS / Phone or Fax: / BU..NESS / BISCOM / COMMUNICATIONS" - on the lower front "Model 6733 Serial No 23229 / Volts /240 / Watts 5 / Hz 50 / AMANO CORPORATION / MADE IN JAPAN / S 422" - on the lower proper left sidemann, general store, wodonga, time clock, commerce, local business, high street, j. mann & sons

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. Microscope company Olympus was founded by Takeshi Yamashita in Japan in 1919. This item has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history. Two Olympus Microscope Bi P7X 7X eyepieces, and two Olympus Microscope Bi P15X eyepieces. Printed in gold on black plastic on two smaller eyepieces: "OLYMPUS/TOKYO/Bi/P15X/JAPAN". Printed in gold on black plastic on two larger eyepieces: "OLYMPUS/TOKYO/Bi/P7X/JAPAN".microscope, olympus, wodonga, haeusler, haeusler collection

This photo is from a collection donated by Elaine Mann. Elaine Mann was married to David Mann, a successful Wodonga businessman and community leader who passed away in Wodonga in June 2012. David was a member of the Mann family who began their business in Wodonga in 1920. Elaine was a teacher in Wodonga for many years and an active member of the community. Sanyo was one of the international companies that set up business in Wodonga in the 1970s as part of the decentralisation of industry. The Sanyo Australia Pty. Ltd. factory in Wodonga was officially opened on 25 October 1974 with 35 staff and production peaked in 1976-1977 when it employed 360 people. In the first ten years, 350,000 televisions were assembled from Japanese parts. The official plaque was uncovered by Victorian Premier Rupert Hamer. In October 1977 there were 79 workers retrenched, followed by 30 in November and 45 in February 1978. In 1978 workers staged a sit-in which lasted over a week, to protest multiple mass retrenchments of staff. The factory stayed open for almost another decade. In 1982 the General Manager of Sanyo was quoted as saying the productivity in the Wodonga factory was 10% higher than in Japan. However by 1984 the number of staff had reduced to 112 and the factory closed in 1987. The premises were taken over by Parker Hannifin. The administration building is now the home of 3D Lanes Bowling Alley. The street in which it is located is now called Sanyo Drive.This photo collection is of significance as it documents how the businesses and buildings in Wodonga have evolved and contributed to community throughout the late 20th century.Sanyo Factory construction. A $1 million factory built in Wodonga to assemble 300,000 colour-television sets in readiness for the introduction of colour TV in Australia on March 1, 1975. The building is now occupied by Parker Hannifin and also Wodonga Ten Pin Bowls.wodonga businesses, high st wodonga, sanyo

Patrick Toole was born in Corowa on 7 September 1913. In the early 1930s the family moved to Wodonga. Pat became an apprentice mechanic with Bill Dobbie and became a partner in 1936. Patrick Toole took over business in his own right on 23 August 1939. Toole’s Motors also ran a car and truck agency, a towing and crane depot, as well as a small disposal section. After breaking his leg in 1963, Pat extended the disposals business and by 1965 it was running as Wodonga Disposals and later, Toole’s Disposals. At their peak Toole’s employed 70 people across their various businesses including the garage, wreckers, towing businesses, a storage shed at Bandiana and the Disposal Store. Pat died in Wodonga on 10 November 1976 and the Disposals Store was taken over by his twin sons, Frank and Bill. His other sons, Pat and Jim ran the North Eastern Truck Wreckers. Tooles Disposals acquired most of their stock from Government auctions and also became licensed second hand dealers. They sold a wide range of military and non-military equipment from clothing to footwear and equipment for cooking and camping. They also shipped scrap metal to Japan and sourced uniforms and other items from Japan and East European countries. The business continued on the corner of High Street and Stanley Street for over 70 years, but the Toole family decided to sell the building in 2009. The building was eventually sold to a local business consortium in 2010. Toole’s continued to operate until May 2011. Thee building was demolished in 2013. Bill Toole continued Toole’s Disposals as an online business with numerous Australian and international clients.These images document an important and long standing business in Wodonga.A collection of images and a business card for the company of Tooles Garage and Disposals in Wodonga. Images depict the business at various stages in its development over more than 70 years.Photo 1 Beneath image - 1929 W. DOBBIE MOTOR & GENERAL ENGINEER / Con Lindsay, Alec Padgett, Bill Dobbie, Pat Toole Photo 2 Beneath image - 1940 A. L. TOOLE MOTOR & GENERAL ENGINEER / Fay Fulford, Gerry Nelder, Mick Presnell, Pat Toole Photo 3 On building - TOOLES MOTORS est. 1939/ TOOLES MOTORS PTY. LTD./ DISPOSALS/ DISPOSALS AT CITY PRICESt Photo 4 On sign - TOOLES DISPOSALS Photo 5 Business cardwodonga businesses, toole's disposals, businesses high street wodonga

This photograph shows Gladys Marriott, aged 15, in the potato fields of her father's property in Moorabbin. Her cousin Graeme (centre) and younger brother Alfred (right) are with her. Moorabbin is a suburb in the City of Kingston that was originally established as a rural market gardening communityThe Marriott property in Moorabbin was adjacent to a secret wartime wireless receiving station established in March 1942 in Chesterville Road, Moorabbin. The station was established on requisitioned market garden properties, and soon housed WRAN (Women's Royal Australian Navy) personnel and up to 35 US Navy servicemen. The Navy personnel intercepted Japanese coded communications and then despatched these by motorbike messenger to Queens Road, St Kilda where the Directorate of Naval Communications and the code-breaking unit called FRUMEL (Fleet Radio Unit - Melbourne) were housed. The information intercepted by the wireless receiving station helped shape the Allied response to Japan's advances in the Pacific. Declassified defence records show that this unprepossessing station handled some of World War II's most sensitive secrets, however the local community were unaware of its significance. Gladys Marriott, working on her father's property, would regularly take the family's cows to graze in the fields adjoining the station with no concept of what the Navy personnel were doing. Black and white photograph of a young woman and two small boys standing around a wooden crate filled with potatoes. They each have potatoes in their hands. They are standing in a field. Handwritten in red ink: A 601 / 72% Handwritten in black ink: CHAP 6. Handwritten in black ink: GLADYS STOTT (MARIOTT) / DURING WAR YEARS / With Spybase Storymarket garden, children, farming, local production, world war ii, wireless receiving station, moorabbin

Charles Robert Thatcher (1831-1878) trained in England as a flautist before travelling to the Bendigo goldfields in 1853. He was unsuited and unsuccessful as a miner so decided to rely on his music to make his fortune. He was considered a 'comic vocalist' who wrote many songs about the observations he made on the goldfields. These songs were often satirical and were published in newspapers as poems. He travelled extensively around the Victorian goldfields and also toured New Zealand. In 1861 he married widowed singer Anna Vitellie who performed with him, singing sentimental ballads. In 1870 the family returned to England where Charles became an importer of curios, following in his father's footsteps. He travelled to China, Japan and India sourcing stock for his business and on one such trip he contracted cholera and died in Shanghai. His wife returned to Australia and taught singing in Moonee Ponds.A talk written by Jim Evans for the Bendigo Historical Society in September 2002 regarding the gold field entertainer Charles Robert Thatcher and his many chaotic adventures and performances across Bendigo and Australia.

Charles Robert Thatcher (1831-1878) trained in England as a flautist before travelling to the Bendigo goldfields in 1853. He was unsuited and unsuccessful as a miner so decided to rely on his music to make his fortune. He was considered a 'comic vocalist' who wrote many songs about the observations he made on the goldfields. These songs were often satirical and were published in newspapers as poems. He travelled extensively around the Victorian goldfields and also toured New Zealand. In 1861 he married widowed singer Anna Vitellie who performed with him, singing sentimental ballads. In 1870 the family returned to England where Charles became an importer of curios, following in his father's footsteps. He travelled to China, Japan and India sourcing stock for his business and on one such trip he contracted cholera and died in Shanghai. His wife returned to Australia and taught singing in Moonee Ponds.Copy of song written by Charles Thatcher, 'Bryant's Ranges' 'New original song, written and sung by Mr Thatcher at the Bendigo Theatre, tune Bow-wow-wow. Song mentions Bendigo reefs and the gold seekers success or otherwise, then they were off to 'Bryant's Ranges'.bendigo, mining, song by charles thatcher

The items in this Archival folder relate to Arthur Edmund TRANTER V50166, VX52843 POW, his wife Pat and Daughter Brenda. There are two more Archival folders, Cat No's 7957.2 & 7958.2. Refer Cat No 7944 for A.E. Tranters service history..1) Black Archival folder container. .2) Black Archival folder, 3 ring binder with plastic inserts. This has the following: 1. Certificate of Service 2nd AIF 1941 - 45 2. Certificate of service CMF 1939 - 1941 3. Corporals certificate 38th BN 1939. 4. Certificate relating to a "mention in Despatches" 5 &6. Letters re the awards of the "Efficiency Medal" 7. Black and white photo with "Streader, Drake and Tranter" 1939. 8. Ships menu "TMS SIBAKAK" Sept 1941. 9. 2/29th BN reunion menu 50th Anniversary. 10. Document on "How to learn Morse Code". 11. Document, Grant of a War pension, Tranter 1951. 12. Document re War pension Payments. 13. Document re "Return to Civilian life for POW"s. 14. Exercise book from Singapore with names re 2/29th BN. 15. Cartoon copy, Medan Melbourne Frog Cup 1942. 16. Hand drawn sketch black pencil of "Tranter" by E.W. Porter 17th Dec 1942. 17. List of recommendations for an "MID" re POW's in captivity. 18. POW working party list and casualties 8.3.1944 at "Atjeh". 19. POW casualties on the "Harukiki Maru"26.6.1944. 20. Eight newspaper cuttings re casualty lists and War news. 21. List of Australian POW's in Sumatra. 22. Menu Sheraton Hotel 2/29th BN Reunion. 23. Five photos of the Tranter Family re wife Pat and Daughter Brenda. 24. 2/29th BN Xmas card 1942. Card, General Base AIF Malaya 1941 - 42. 25. Twenty four POW Post cards via Australian/Japanese Red Cross. 26. Nineteen telegrams re "Welcome home 1945" 27. Two photos re "Welcome home, Shire of McIvor. 28. Letter written at sea to Pat and Brenda. 29. Welcome home luncheon menu Shire of McIvor 8th April 1946. 30. Letter dated 15.9.1945 to Pat and Brenda. album pow, documents, tranter

Situated at the eastern end of York Street, Eltham, 'Shinrone', the former home of Professor William (Mac) MacMahon Ball was one of the first in the Shire of Eltham to incorporate mud-brick. Professor MacMahon Ball, a political scientist, writer, broadcaster and diplomat and family moved to York Street, Eltham in 1945 into a timber cottage built around the 1890s and in poor repair. Mac asked Alistair Knox to renovate the home and he expanded the living area and added verandahs. In 1948 Montsalvat artist and sculptor Sonia Skipper supervised the building of most of the mud-brick studio. Neighbour Gordon Ford made the mud-bricks. Mac also asked John Harcourt, who had worked with him as a journalist in shortwave broadcasting, to build a pise (rammed earth) and stone addition to the largely timber house. Harcourt built two bedrooms - including an attic bedroom - a balcony with a shower and toilet, a nd a fireplace and chimney of local stone. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p141 At the eastern tip of York Street, Eltham, stands Shinrone, the former home of one of Australia’s intellectual leaders. Professor William Macmahon Ball, was one of the first to bring Asia as a foreign policy issue to the Australian public.1 He was a political scientist, writer, broadcaster and diplomat. The house was one of the first in Eltham Shire to incorporate mud-brick,2 because of the acute shortage of building materials after World War Two. Its novice builders later become leaders in Eltham’s built and garden design. Mac (as he was usually called), who was the son of a Church of England minister, was born in Casterton, Victoria in 1901 and died in 1986. In 1945 he helped establish the United Nations, as political consultant to the Australian Delegation at the San Francisco Conference.3 Then in 1946 Mac was appointed British Commonwealth Representative on the Allied Council for Japan, which is recorded in detail in his diary.4 In 1948 Mac led an Australian Government Goodwill Mission to South East Asia. However, Mac was perhaps most successful as an academic and public speaker.5 He was a commentator on the Australian Broadcasting Commission, from the early 1930s to the early 1960s. He was also Controller of the Short-Wave Broadcasting Unit during World War Two, which later became Radio Australia. From 1923 he taught at The University of Melbourne, then became foundation Professor of Political Science in 1949 and was Chair until his retirement in 1968.6 In 1942, as the government expected a Japanese invasion, Mac’s wife Katrine and their only child Jenny, moved from Kew to Eltham as temporary evacuees. However Mac and Katrine lived in Eltham for almost the rest of their lives. After staying with friends, they rented a house in Reynolds Road, where, as it was wartime, they needed to keep horses for transport and a cow and poultry for milk and eggs. In 1945 the family moved to the house at York Street, which was then a timber cottage, built around the 1890s and in poor repair. The underground well, cellar and part of the garden are all that remain of what stood on the original 18 acre (7.3ha) allotment. Thanks largely to Katrine’s hard work, the house was gradually renovated and extended. The long rambling house was partially built by several young neighbours, who were inspired by the cheap mud-brick and stone building style of Montsalvat, the Eltham artists’ colony. Mac asked Alistair Knox to renovate Shinrone, named after an Irish village near Katrine’s family home. Knox later popularised the mud-brick style of house construction, for which Eltham became known. He expanded the living area and added verandas. In 1948 Montsalvat artist and sculptor Sonia Skipper supervised the building of most of the mud-brick studio. Another neighbour, Gordon Ford, who was to have a major influence on the Australian garden style, made the mud-bricks. Mac also asked John Harcourt, who had worked with him as a journalist in short-wave broadcasting, to build a pisé (rammed earth) and stone addition to the largely timber house. Harcourt built two bedrooms – including an attic bedroom – a balcony with a shower and toilet, and a fireplace and chimney of local sandstone. With pioneering work naturally came mistakes, including one particularly dramatic incident when Harcourt was building walls with unsupported sections. Jenny Ellis, Mac’s daughter, remembers being awakened from sleep by a thundering shudder. The wall of her room had fallen down – fortunately away from her! In 1950 artist Peter Glass – another neighbour and later landscape designer – built Katrine a mud-brick pottery. As a result, the house features at one end Harcourt’s characteristic steep gable roof, while at the other the flatter construction characteristic of Knox. Mac referred to the home as the Eltham ‘experimental building site’.7 Surprisingly, the combination works, perhaps partly because it has the warm inviting feel of timber, mud-brick and stone.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, alistair knox, gordon ford, john harcourt, mudbrick construction, pise construction, professor macmahon ball, shinrone, sonia skipper, york street

Art Gallery with mural painted by Clifton Pugh (1924-1990) at his Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge. Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p153 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p155 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

One of two sets of stereographs donated by the O'Beirne family along with a stereoscope for viewing (Stereoscope is Registration no. 2014-51).Stereograph of two black and white images of a Japanese temple. Mountain in background.6388. THE TEMPLE AT RAKANJI, NEAR AO, JAPAN. Picturesquely situated / is literally built into the side of the hill.stereographs