David Miller (Dave) Mair (1879-1938) married Lily Vipond Deakin (1890-1945) in 1910. They had 5 children: Geoffrey David (1913-1970), Beryl (1916-1976), Gwynneth (1917-1997), Isabel Lillian (1921-1997) and Shirley Inez (1928-1968). Personal communication from Laurie Newton, Beryl's daughter: Dave and Beryl initially lived in East Melbourne after they married. Geoffrey, Beryl and Gwynneth were born in East Melbourne. They subsequently moved to Louise Avenue, Mont Albert and Isabel may have been born while they were there. Later they purchased 20 Barton Street, Mont Albert. Shirley was born after they moved to Barton Street. The children attended Mont Albert Central School. The photo was taken at the Kidd family property. The location of this has not been able to be traced. It may be in a rural area. This is part of a large donation related to the Deakin, Mair and Young families with connections to the Surrey Hills / Mont Albert area.A sepia copy photo with a cream border depicting 5 children in a back yard; the 3 girls and one boy are sitting on a rustic seat made from roughly-sawn timber; the other boy is standing behind them. All are looking away from the camera. The setting is a back yard with a high paling fence and rudimentary garden. A feature is a tree trunk turned into a seat. Behind the fence the rear of the house next door and the crown of a large eucalypt can be seen. REAR: In blue biro - "Gwen Beryl Isabel / Geoff (at back) / Bruce Kidd (2nd cousin / at his place" Handwriting is thought (at back)to that of Beryl Young (nee Mair). "39" in lead pencil on mid LH edge.children, back yards, beryl mair, geoff mair, isabel mair, gwynne mair, gwen mair, bruce kidd

Copied by Ken Hall from an early postcard. This is Surrey Hills Reservoir No 1 on the corner of Tower Street built in c1892 at a cost of £12,000 to supply higher sections of the area. The builders were Jack and Bob Laudehr, partners in a wood yard in St. Kilda (Vic). They began by delivering firewood but extended to contract work involving timber. Another of their projects was to lay cable tram tracks commencing in Acland Street St. Kilda and running along The Esplanade. The reservoir in Canterbury Road was a large concrete structure built before the introduction of reinforcements. The excavated material was banked against the sides and pine trees were planted in it to add strength to the embankment. They were paid £2,000 for their work. Construction of Surrey Hills Number 2 Reservoir was completed in 1913 and the accompanying tower was built in 1929. It is assumed that the Miss Hill as the source of the donation (via Bill Dempsey) was Ivy Annie Hill (1902-1984). She was the only female child of William Valentine Dempsey to not marry. Bill Dempsey's mother was Laura Constance 'Birdie' Hill (1900-1968) who married Albert Dempsey.A sepia photograph within a post card of a reservoir on Canterbury Road, Surrey Hills. In the background to the left you can see the top halves of two houses and the tops of some trees. The photo takes up only the central section of the postcard.Below the photo on the front of the postcard on blue biro "Reservor [sic] Canterbury Rd / Surrey Hills." On the rear in grey lead pencil in Jocelyn Hall's handwriting: "Donor W Dempsey ------------- Keep / (nephew) / [arrow pointing down] / From Miss Hill / 10 Pembroke St SH / This house can be / seen in front of / No 12 which has / tower"1890, water supply, mmbw, edward d dyer (mr), 10 pembroke street, 12 pembroke street, surrey hills, ivy annie hill (miss), william valentine hill (mr), canterbury road, tower street, water supply structures and establishments, dams and reservoirs, jack laudehr (mr), bob laudehr (mr)

Armitstead's woodyard was on the site later occupied by the Chandler Room of the Surrey Hills Neighbourhood Centre. Stephen Godfrey Armitstead started the woodyard in 1921, taking over from Long's woodyard. Taken over by Stephen's son, Leo Godfrey, it closed in the 1970s. After Leo's death it was managed by Hec Whitworth. The Armitstead family lived at 79 Croydon Road. 1931 electoral roll: Catherine Isobella, Ellen Florence, Leo Godfrey (woodworker), Stephen Godfrey (wood merchant) and William Ginchrist (joiner) at this address. Leo later lived at 75 Croydon Road. Stephen Godfrey Armitstead birth - Father's Name: Stephen Armitstead; Mother's Name: Emily Benbow; Birth Place: Hotham, Victoria; Registration Year: 1879; Registration Place: Victoria; Registration number: 23856. Spouse Name: Isabella Jane Cath Miller; Marriage Place: Victoria; Registration Place: Victoria; Registration Year: 1904; Registration number: 4534. Stephen Godfrey Armitstead death - Surrey Hills, Victoria; Age: 90; Father's Name: Stephen; Mother's Name: Emily Benbow; Registration Year: 1969; Registration Place: Victoria; Registration number: 27747. Geoffrey Armitstead, grandson of Stephen, visited the site in 2002 whilst in Melbourne from Brisbane. He recalled that during his summer school holidays that he delivered ice to household icechests. His cousin Marcia Davis, daughter of Ellen Armitstead, accompanied him and provided the family photos for copying and related her knowledge of the family history. The weighbridge and scales were moved in 2023 from their original position when the forecourt of the Neighbourhood Centre was upgraded by Council. The carved poles were also moved; they were repositioned as a group adjacent to 151 Union Road.Colour photo of Geoffrey Armitstead standing next to the scales in the Armitstead Courtyard of Surrey Hills Neighbourhood Centre. In the foreground is the weighbridge that was also part of the woodyard operated by his grandfather, Stephen Armitstead. In the background is part of the Chandler Room of the Centre and two of the carved poles which illustrate elements of the history of Surrey Hills.union road, armitsteads woodyard, surrey hills neighbourhood centre, businesses, timber merchants, timber yards, stephen armitstead, geoffrey armitstead, weighbridge, long's woodyard, leo armitstead, hec whitworth

Date is approximate. George James Jackson and family lived at 7-9 Russell Street from 1900-1950s. He and his wife were manufacturing jewellers and had a workshop adjacent to the house. Their son assisted in the business. George Jackson was very patriotic and hoisted the flag every day. His grandchildren, who lived nearby, were expected to attend on their way to school. On the occasion of the photo, the flag was being hoisted for the return of George's son - also George - from the 1914-1918 war.Black and white photo taken in the front yard of a brick house with another brick building to its right. There is a timber flag pole in the centre with a young boy climbing it. A man wearing a suit and cloth cap is holding a garden fork near a boy holding onto the ropes of the flag. On the left is a young girl. A sign on the wall of the brick building at the rear reads: " T. E. Scott / Plumber / & Gasfitter / Estimates given".handsworth, world war 1, jewellers, mr george jackson, miss eleanor jackson, miss lena jackson, mrs lena dawson

This is a photo of the backyard of the property adjacent to the Coop's home. At the time the neighbours were Mrs Daisy McKernan (a widow) and her son Alexander Colin McKernan. The clothes line prop was a forerunner of the clothes hoist. Clothes line props were standard purchase items at many local hardware stores and the donor poetically described them as holding "long lines of drying washing above the dusty democracy of many a rough back yard." Whilst the Coop home is still extant in 2019 and used as professional rooms for Dr Peter Chau, an eye surgeon, 686 Whitehorse Road has been replaced by units. This captures the utilitarian nature of the 'typical' back yard before the advent of rampant consumerism. Large areas of open lawn were a desirable central feature, often edged with neatly contained garden beds. Better lawnmowers, plus the promotion of new chemicals and fertilisers to help home gardeners grow the perfect lawn. Missing is the rotary hoist and the vegetable garden.A black & white photo on a sunny day of a backyard with the following features: a timber shed, an additional shed / hen house, a hand lawn mower leaning against a tree, several hens and a metal drum (perhaps used as bonfire container). A sloping pole/prop may be seen on the left. backyards, (mrs) daisy mckernan, alexander colin mckernan

Bakery Square was the location of Jongebloed shop, bakehouse and stables Bakehouse owned by Gottfried Jongebloed and Auguste Shebler. Auguste Shebler came to Melton in the early 1950’s and in 1857 built a store on the corner of High and Smith Streets. Mr Shebler was the Postmaster, and Paymaster for thee Government, who sent a batch of 400 to 500 immigrants to clear trees and fallen timber off the Ballarat Road; the wages being 5/- per day, and oversees 10/- per day. In 1865, Mr Shebler built the Golden Fleece Hotel on the present site and, although many alterations have taken place, most of the main walls still belong to the original building. He built a store some 100 yards west along High Street, and added to it a bakers’s business; then he built a butcher’s shop and leased it to the late Mr G McKenzie. Gorrfried Jongebloed was born in 1857 and came to Melton in 1887 as a Captain in the Mercantile Marine. In 1888 he married Marie Antionette, second daughter of Mr Shebler, and took over the bakery and green grocers business. Ten children were born to the family- Gerhard, Annette, Gorrfried (dec 1937), Emil, (dec 1947), Nicholas, Julius, Theckla, Augustus, Marie and Margarethe, - who settled in various parts of Victoria and are, in the bakery businesses. Mr and Mrs Jongebloed, sen., carried on the businesses in Melton until 1926, when one of their sons Emil, took over. Mr Jongebloed, sen., died in 1930 at the age of 73 years; and his wife living until 8th Oct., 1946, when she died at the age of 80 years. After the sudden death of Emil, in Jan., at the age if 49 years, the business had been conducted up to the present time by two sons “Pat” and Bryan. 1962 Express September local identities

House typical of four roomed fisherman's cottage of early 20th Century , was home of Harry Jemmeson, fisherman, wife Lulu and family. Daughter Edith was music teacher and amateur photographer. Later resident Reynold Redenbach. House demolished, site became yard of East End Hardware / Mitre 10.Colour photograph of a four roomed timber cottage with roof of corrugated iron. Part of front veranda enclosed as extra room. Brick external chimney. Situated at 9 Stock Street, Lakes Entrance, Victoria.houses, local history

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

A property illustration by Margaret Picken Commissioned by the real estate agency Woodards Malvan for the purpose of advertising 16 Kalista., Burwood in 1991 Made by using Rotring ‘Rapidigraph’ drafting pens with Rotring ink on Rapidigraph polyester drafting film, double matte. This property is listed as having had unit 10 sell for $145,500 in 1991 Trained as a cartographic draftsman within the mining industry, Margaret Picken is an artist who worked producing property illustrations for real estate agencies in eastern suburbs of Victoria from 1983-2005. Retiring from the industry as technological changes favored coloured photography over illustrations, and commissioning companies over sole contractors.This artwork is of Historical Significance as a record of local domestic architecture.A black ink line drawing on drafters film by Margaret Picken, of 16 Kalista Court., Burwood East. A driveway run right to left in the foreground, with a single story L shaped brick house in the background. On the right is a front yard with a gumtree, enclosed by low timber fence. There are two hole punch holes along the top edge.16 Kalista Court., Burwood E. Margaret Picken Woodards - Malvanwhitehorse historical society, schwerkolt cottage, housing, architecture, margaret picken, burwood, house, garden, burwood esat

Robson & Gray Monumental Yard, Lower Main Street Stawell. Photo shows monuments, cranes and nine employees behind wooden picket fence and gate. Timber weather board buildings either side of photograph. Note Grampian Freestone and Granite gutter at front. Notes: Francis Watkins started the business which was later, during 1897 sold to two employees, George Henry Robson and George Gray. Robson & Gray carried on the business until 1923 when their partnership was dissolved. Since then the business has traded as G.H. Robson (1923 - 46) G.H. Robson and Sons (1946 - 58) and G.H. Robson and Sons, Pty Ltd. since 1958. Later to trade as Waites. Robson.Black and white photograph of a monumental mason's yard. Nine employees behind a wooden picket fence and gate. Footpath and gutter in foreground.Robsonstawell industry

R J Russell operated a timber and hardware store in Koroit Street Warrnambool around the 1950’s. He succeeded from Newcombe Pty Ltd which had operated a timber and hardware store on the site (the present Target store) from the 1870’s. The business continued to trade under the Newcombe name after the death of Newcombe around 1900.A common well used item with links to a local business.Wooden yard ruler with markings in one eigthth inch measurements and numbered in inches. Text written in black on both sides.On front side: J Russell Pty Ltd. Timber and hardware merchants 148 Koroit Street Warrnambool. Phone 22. On reverse: Fencing materials, general hardware, paints, oils , Glass. Contractors or builders. Phone 22r j russell warrnambool, newcombe pty ltd warrnambool, timber yards warrnambool

Series of 8 black and white photographs of the trackwork used at H crossings (where two tracks cross another two tracks at right angles.) .1 - H crossing being renewed. .2 - New H crossing laide out in a yard .3 - H crossing being completed at Queensway / Chapel and Dandenong Road, early 1968 with the All Saints church in the background. .4 - being renewed .5 - ditto .6 - ditto with a tram crossing. .7 - as for .4 .8 - showing extensive fish plating on a wooden longitudinal sleepers, plates bolted to the wood or timbers.trams, tramways, trackwork, rails, track materials, track repairs, sleepers, equipment, queensway, chapel st, dandenong road

The family of William Symington arrived in Melbourne in 1855. By 1858 they had come to Bacchus Marsh and built a house at Hopetoun a few kilometres east of the town. A brewery next to the house was also built around this time. It was a licensed brewery between 1862 and 1886. The elder William Symington died in March 1867 and the brewery was then operated by his son the younger William Symington for a number of years. It ceased operations sometime before 1900. Small sepia unframed photograph on card with gold border framing photograph. Housed in the album, 'Photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll'. The image shows the brewery and house which belonged to the Symington family of Hopetoun, near Bacchus Marsh. The house is a timber structure with two chimneys and a front verandah. The front yard of the house is enclosed by a timber fence. At the front of the fence can be seen a dog kennel. Other tools, such as a wheelbarrow, lie in the yard. The brewery building is of timber and brick. On the hillside behind the buildings are paddocks fenced with post-and -rail fencing.On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, breweries, symington family bacchus marsh, william symington 1840-1929, william symington 1802-1867

A small timber church, containing an entrance area, congregation area, vestry and a small store room. The main part of the church is rectangular, but the smaller rooms give the building a 'T' shape. The roof is 'A' framed and is corrugated iron. There are three crosses on the roof; one on the entrance and two on the main building; one on the front and one at the rear. There is a bell in the yard. Built in 1895moe, church, old gippstown, west gippsland, gippsland, gippsland heritage park, goldfields, coal mine, victorian era, historical village, church of england, holy trinity anglican church, rev. c.j. chambers, latrobe valley, old gippsland heritage park, latrobe city council

Advertisement for Bamford Bros Box Hill Timber Merchants &c. Date Unknown. Source unknown but originally scanned from a Victorian Business handbook of some type. ...Station Street Box Hill "Next to Station". Ironmongers and Furnishing Undertakers

Andy Clapham owned and operated a boat yard on the Maribyrnong River in Footscray, Victoria. The river runs into Port Phillip Bay (sometimes known as Hobson’s bay) at Williamstown, an area with a history of trades associated with the shipping and construction industry. Andy Clapham’s photographs include those of the Reginald M and one of Polly Woodside, another vessel restored and used as a maritime exhibition. Andy Clapham’s letter of 1972 was posted in a and envelope with an early Australian decimal currency stamp showing the profile portrait of Queen Elizabeth II, and valued at 7 cent. Andy offered invaluable advice to the Flagstaff Hill Historic Park Planning Board regarding the purchase a vessel suitable for use as an exhibit once Flagstaff Hill was opened. The Planning Board was set up by the Warrnambool Chamber of Commerce and approved by the City Council and State Government. Flagstaff Hill was investigating vessels in Adelaide and Tasmania as well as Melbourne. Andy looked at several vessels in 1972-1973. He also serviced the Reginald M among other vessels belonging to Captain Julian Dyson of Yarra Ferries, who had casually offered the vessel to Flagstaff Hill as a price that was unattainable at the time. Flagstaff Hill later requested photographs of the hull to discern the dimensions and also the condition of the timbers as well as wanting advice on its seafaring capability. In 1972 the Flagstaff Hill Historic Park Planning Board – Chairman J. (John) S. Lindsay (1972-1980), Secretary J. (James) Mark – wrote a letter of appreciation to Mr A. (Andy) Clapham of 3 Charles Street Footscray ... “Dear Mr. Clapham, The Board has asked me to write to you to express our appreciation for the assistance you have offered us through our Chairman John Lindsay. The information you have already given us has been invaluable, in that is shows us that we have not been setting out to do something that is impossible. We look forward to receiving further information from you as it becomes available and we appreciate that you must be busy enough without our problems. Members of our Board hope to call and see you on a trip to Melbourne in the near future. The Board is optimistic about the future of Flagstaff Hill as a Maritime Museum and look forward to you visiting Warrnambool to examine what we believe will be an ideal site. Yours faithfully, James Mark.” ABOUT the vessel “Reginald M” The vessel “Reginald M” was a two-masted, timber coastal vessel built by John Henry Murch in Birkenhead, Port of Adelaide, South Australia. It was named after Reginald Murch. (It was occasionally referred to as the Reginald “Emm”). Its construction took approximately 6 months using many materials and fittings from salvage yards. It is believed that the keep was hewn from two telegraph poles! Reginald M was launched at Largs Bay in 1922. Reginald M was approximately 30 metres long and was fore-to-aft ketch rigged with an ‘auxiliary’ motor to support any loss of sail power. The Reginald M was built to service the coastal ports of South Australia to Port Victoria on the York Peninsular, Spencer Gulf. It freighted cargo from port to port cheaply and efficiently. It had a very shallow draft and a flat bottom, enabling it to come close to shore and sit high and dry at low tide, or to be beached on the sand. It could easily skim over reefs due to its flat bottom. Wagons could be loaded and unloaded directly from the side of the vessel. Over the years her cargo included guano, barley, wool, horses, cattle, timber, explosives, potatoes, shell grit and gypsum. The Murch brothers from Port Adelaide were owners of the Reginald M and Richard Murch as the Captain. On April 9, 1931, Reginald M weathered a large storm in St. Vincents Gulf, SA, suffering much damage; the mast snapped and the crew laboured for four hours to free it up by severing the mast and rigging. The crew patched it up and slowly returned to Port Adelaide with only a portion of the insured cargo being damaged. The crew members at that time were owner Mr John Henry Murch of Wells Street Largs Bay, Skipper Mr R Murch – John’s brother, Murray – son of Captain Murch and Seaman John Smith. At some stage it seems that the Reginald M was used as a Customs vessel “H.M.C. No. 3, Pt Adelaide” as shown in a photograph in Flagstaff Hill’s collection. In 1969 Reginald M’s last freight trip left Marion Bay, carrying grain, wool and explosives. In late 1970 it was sold to the Mount Lyall Mining and Railway Clompany and used as a barge to carry explosives. In 1972 The Navy League of Strahan, Tasmania, purchased the vessel for use by the Strahan Sea Cadet Unit at Macquarie Harbour; it was renamed “T.S. Macquarie”. (This plan did not come to pass.) In 1974 Mr Andrew Rennie of East Brighton, Melbourne, brought Reginald M for shipping purposes, He sailed it from Strahan to Melbourne, planning to use it for pleasure sailing. The Reginald M was later sold at auction to Captain Julian Dyson, owner of Yarra Passenger Ferries in Melbourne. Later in 1975 funds became available to Flagstaff Hill Maritime Village to purchase the Reginald M. It was then restored and used as an exhibit here for many hears. Flagstaff Hill’s collection also includes various objects related to the Reginald M: - Photographs of Reginald M over the years in various aspects of its use - a life buoy with the inscription of “Pt. Adelaide” - helm section that was removed and replaced during restoration - a bullet found in pieces of timber during the 1979 restoration ABOUT THE POLLY WOODSIDE On the bow in the Polly Woodside's photograph is the word "RONA". the Polly Woodside was built at Belfast in 1885. In 1904 the vessel was sold to A.H. Turnbull of New Zealand and renamed "RONA". The letter and photographs are significant for their association with the Reginald M, an Australian built coastal trader now on the Australian Register of Historic Vessels (number HV000562). The letter and photographs are also significant as part of both the history of Flagstaff Hill and the history of the vessel “Reginald M” that has been on display in the lake for many years. Objects retained from this boat are included in Flagstaff Hill’s collection of maritime history.Packet with photographs and negatives in a KODAK envelope. The photographs are of two sail and steam vessels; twelve (12) black and white photographs of the 'Reginald M', and one (1) colour photograph of the Polly Woodside, plus six (6) negative strips. Included int he packet is a letter in stamped and postmarked envelope addressed to Mr A Clapham of Footscray. The envelope postmarked 9 Dec 1972, with the Warrnambool postcode 3280, A 7c Australian postage stamp in attached to the envelope. They are associated with Flagstaff Hill’s acquisition of the vessel “Reginald M”. Envelope "9 DEC 1972 / 3280" Postage stamp "7c" "Australia" Inscriptions on one Reginald M;; "REGINALD M" and "Pt ADELAIDE H.M.C. No. 3" Inscriptions of the Polly Woodside; "RONA / MSC" "MHI / NO. 1" Ball point ink, reverse of photograph "POLLY WOODSIDE"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, vessel reginald m, reginald emm, t. s. macquarie, h.m.c. no. 3, pt adelaide, australian register of historic vessels (number hv000562), boat building trade, jack murch, john henry murch, birkenhead, port adelaide sa, largs bay sa, coastal trader south australia, 1920 ketch reginald m, marion bay produce, mount lyall mining and railway company, navy league of strahan, tasmania, melbourne ferry company, flagstaff hill historic park planning board, john lindsay, james mark, andy clapham of footscray, andy clapham boat builder, kodak photograph packet envelope, kodak super-size prints, kodak australia pty ltd, australian postage stamp 1972 - 7c

Wooragee Landcare Group took a bus trip Sunday 5th September to Samaria, Tatong area (near Benalla) to look at land use on small farms. Around this time, Wooragee Landcare were looking into how small land holders could run some enterprises. This photo was taken at Tatong Tavern where the group had lunch. The Tatong Tavern is an old English style pub situated in the foothills of the Great Dividing Range the small community of Tatong 23km south-east of Benalla. The original weatherboard hotel was originally built in the 1880s by William Worrall who was listed as Hotel Keeper from 1886 to 1910. It was destroyed by fire in 1923 and replaced by the current building, which has undergone many changes over the past 100 years. The name has also changed from the Tatong Hotel or ‘Pub’ to the current name of Tatong Tavern.Tatong is a rural village in north-east Victoria, set in undulating country that rises southwards to the Tolmie ranges. The name is thought to derive from an Aboriginal expression, possibly referring to something unseen. The Tatong pastoral run was taken up in 1847 and farm selections began in the 1870s. A school opened in 1890 (closed in 2006). Dairy herds were grazed on the Tatong flats and a cooperative creamery operated from 1892 until 1918. In 1914 a branch railway line was opened from Benalla to Tatong that carried farm produce and timber to Tatong, which had two sawmills in the 1920s. There was also a general store, a police station, and a livestock trucking yard. St Albans Church of England was built in 1921. Most of those buildings have now disappeared. The Tatong Tavern along with the Hall built in 1904 are the only remaining buildings. The Tatong Tavern is a significant tangible and visual representation of the area’s cultural and social history over the past 100 years. Coloured rectangular photograph printed on paperReverse: WAN NA E0NA2N2. NNN- 14240/ (No. 20) 373/ tatong, tatong pub, tatong tavern, tolmie ranges, tatong flats, benalla, wooragee landcare, wooragee landcare group, bus trip, samaria, land use, william worrall, 1800s, 2004, mount samaria

Black and white photograph print of Venga Guest House which was run for over thirty years by Miss Bertha Hansen. It shows timber and cement sheet building, gable roof, bay window, picket fence at front. Four people in front yard. Side view of Broomes Federal Hotel, double storey frontage in background. Lakes Entrance Victoriaguesthouses, architecture, fences