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Eltham District Historical Society Inc
Work on paper (item) - Photograph, 2 Metery Road, Eltham South
Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. Concrete footings are poured. The house had a concrete floor. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February and April 2020. ".. the block was big.. Building the house was slow going. The plans had to be discussed, then drawn up, finance found, council permits obtained and labourers engaged. " This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, eltham south, 2 metery road, alistair knox, bow and arrow, footings, concrete, concrete mixer -
Eltham District Historical Society Inc
Work on paper (item) - Photograph, 2 Metery Road, Eltham South
Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. This series of photographs show the bush block before construction, concrete footings and base being poured and the timber frame takes shape. The house had a concrete floor. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February and April 2020. ".. the block was big.. Building the house was slow going. The plans had to be discussed, then drawn up, finance found, council permits obtained and labourers engaged. "This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, eltham south, 2 metery road, alistair knox, footings, concrete, concrete mixer, frame, bush block, fj holden standard sedan -
Eltham District Historical Society Inc
Work on paper (item) - Photograph, 2 Metery Road, Eltham South
Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. This series of photographs shows the newly built house and pagoda, building rubble and wet conditions at the time. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February and April 2020. ".. Outside was a mess of wet, sticky clay that made access to the house difficult... " This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, eltham south, 2 metery road, alistair knox, construction, mud -
Eltham District Historical Society Inc
Work on paper (item) - Photograph, 2 Metery Road, Eltham South
Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. This series of photographs shows the one story house with its roof in place. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February and April 2020. "..The block was big.. Building the house was slow going...the house had a concrete floor and a roof, but no windows..."This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, eltham south, 2 metery road, alistair knox, bush block, construction, vw beetle -
Eltham District Historical Society Inc
Work on paper (item) - Photograph, 2 Metery Road, Eltham South
Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. This series of photographs shows the one story house towards the end of its construction. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February and April 2020. "..The block was big.. Building the house was slow going...the house had a concrete floor and a roof, but no windows..."This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, eltham south, 2 metery road, alistair knox, bush block, construction, vw beetle -
Eltham District Historical Society Inc
Work on paper (item) - Photograph, 2 Metery Road, Eltham South
Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February and April 2020. "..My father bought second hand bricks and began to pave them over the quagmire outside..."This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, eltham south, 2 metery road, alistair knox, bush block, construction, vw beetle -
Eltham District Historical Society Inc
Work on paper (item) - Photograph, 2 Metery Road, Eltham South
Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February, April, June, August 2020. This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, eltham south, 2 metery road, alistair knox, bush block -
Eltham District Historical Society Inc
Work on paper (item) - Photograph, 2 Metery Road, Eltham South
Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February, April, June, August 2020. This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, eltham south, 2 metery road, alistair knox, bush block -
Eltham District Historical Society Inc
Work on paper (item) - Photograph, 2 Metery Road, Eltham South
Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February, April, June, August 2020. This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, eltham south, 2 metery road, alistair knox, bush block -
Eltham District Historical Society Inc
Work on paper (item) - Photograph, 2 Metery Road, Eltham South
Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February, April, June, August 2020. This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, eltham south, 2 metery road, alistair knox, bush block -
Eltham District Historical Society Inc
Work on paper (item) - Photograph, 2 Metery Road, Eltham South
Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February, April, June, August 2020. This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, eltham south, 2 metery road, alistair knox, bush block -
Eltham District Historical Society Inc
Work on paper (item) - Photograph, 2 Metery Road, Eltham South
Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February, April, June, August 2020. This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, eltham south, 2 metery road, alistair knox, bush block -
Eltham District Historical Society Inc
Work on paper (item) - Photograph, 2 Metery Road, Eltham South
Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. This series of photographs shows the one story house towards the end of its construction. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February and April 2020. "..The block was big.. Building the house was slow going...the house had a concrete floor and a roof, but no windows..."This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, eltham south, 2 metery road, alistair knox, bush block, construction, vw beetle -
Eltham District Historical Society Inc
Book, Robert Marshall, Panton Hill Diary, 2021
Arranged in chronological order 1910 -1949. Featuring historical photographs and newspaper reports. Includes the World War One period focusing on local enlistments and local efforts to support the war. The coming of the motor car and expansion of the State School, community work to improve the township and its social and sporting life. The Orchard industry and personal reminscences with references to local bushfires and the founding of the fire brigade, World War two and the peace that followed. The book also includes a timeline and some detailed family trees. The book is by former Shire of Eltham and Shire of Nillumbik councilor and long time resident of Panton Hill Robert Marshall.Paperback; 592 pages; illustrated. Poor binding with loose pages re-affixednon-fictionArranged in chronological order 1910 -1949. Featuring historical photographs and newspaper reports. Includes the World War One period focusing on local enlistments and local efforts to support the war. The coming of the motor car and expansion of the State School, community work to improve the township and its social and sporting life. The Orchard industry and personal reminscences with references to local bushfires and the founding of the fire brigade, World War two and the peace that followed. The book also includes a timeline and some detailed family trees. The book is by former Shire of Eltham and Shire of Nillumbik councilor and long time resident of Panton Hill Robert Marshall.panton hill, timeline -
Eltham District Historical Society Inc
Work on paper (Sub-Item) - Photograph, The Union Mine, Diamond Creek circa 1900
The Union Mine operated until 1916.diamond creek, gold mine, miners, nillumbik historical society -
Eltham District Historical Society Inc
Work on paper (Sub-Item) - Photograph, View along Chute Street, Diamond Creek township, about 1901
diamond creek, chute street, view, nillumbik historical society -
Nillumbik Shire Council
Photograph: Dena ASHBOLT (b.UK, arrived 1982 AUS), Dena Ashbolt, Waking Time, 2012
'Waking Time' is part of the series ' So when do you throw the flowers out?', which exhibited at Melbourne's Alcaston Gallery from 8 May - 1 June 2012.In this series Dena Ashbolt used photographic pigment prints, video and Raku Nu ceramic funery urn drawings, to explore time as evidenced by movement and references the beauty of aging. Ashbolt has a continuing interest engaging with the concepts of time, its flow and passing - as evident in this series. Ashbolt has been a regular finalist at the Nillumbik Prize Contemporary Art and in 2009 was awarded the Prize for the video drawing 'Wet Feet Under the Pier'. Ashbolt is a inter-disciplinary artist whose practice ranges from photography and printmaking through to filmmaking and collaborative performance projects.Pigment Print on Hahnemuhle Paper Edition of 7AK18136 PNT817dena ashbolt, photographic print -
Nillumbik Shire Council
Photograph: Dena ASHBOLT (b.UK, arrived 1982 AUS), Dena Ashbolt, Countless Daughters, 2012
'Countless Daughters' is part of the series ' So when do you throw the flowers out?', which exhibited at Melbourne's Alcaston Gallery from 8 May - 1 June 2012In this series Dena Ashbolt used photographic pigment prints, video and Raku Nu ceramic funery urn drawings, to explore time as evidenced by movement and references the beauty of aging. Ashbolt has a continuing interest engaging with the concepts of time, its flow and passing - as evident in this series. Ashbolt has been a regular finalist at the Nillumbik Prize Contemporary Art and in 2009 was awarded the Prize for the video drawing 'Wet Feet Under the Pier'. Ashbolt is a inter-disciplinary artist whose practice ranges from photography and printmaking through to filmmaking and collaborative performance projects. Pigment Print on Hahnemuhle Paper Edition of 7AK18137 PNT809photographic pigment prints, dena ashbolt -
Nillumbik Shire Council
Print (lithograph): Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Gate 1, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her Mother took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin.Lithographic print in black and white depicting Gate # 1 at Dunmoochin. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gate 1, lithograph -
Nillumbik Shire Council
Print (Lithograph): Alice Blanch Chehovski, Alice B. (Blanch) Chehovski, Dunmoochin, My Cottage, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (very dark image) depicting Chehovskis' cottage at Dunmoochin. Small cottage, bushland and shrubs.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, cottage, lithograph -
Nillumbik Shire Council
Painting, Clifton PUGH, White Choughs in the Landscape, 1958
Pugh was one of many artists who brought an Australian experience to attention. His landscapes reveal the colour and textures of the natural bush, often with a dramatic emphasis. His reference to the harshness of the bush consistently arises, with angular forms dominating the composition. White Choughs in the Landscape is typical of his representations of the bush as a dynamic environment. White Choughs in the Landscape, 1958, created by Clifton Pugh - a celebrated Australian artist known for his landscapes and portraiture as well as (three-time) winner of Australia’s Archibald Prize. This piece plays a significant role within the Nillumbik Shire Collection due to Pugh’s strong connection to the local land where he settled in Cottle’s Bridge in 1951, purchasing 15 acres and named it Dunmoochin. Artists, potters and others settled at Dunmoochin and formed the Dunmoochin Artists Co-operative in order to collectively protect the land. Numerous renowned artists worked or resided at Dunmoochin including: Rick Amor, Fred Williams, Albert Tucker, Frank Hodgkinson, Mirka Mora, John Olsen, John Percival and John Howley amongst others. Upon his death in 1990 he left an art collection and extensive properties at Dunmoochin to be appreciated and utilised by artists for years to come White Choughs in the Landscape is typical of Pughs' representations of the bush as a dynamic environment. The brittleness and fragility of the landscape is recorded in the surface of the work, where paint is applied in thin layers.Signed 'Clifton Sept. 1958'clifton pugh, dunmoochin, white choughs -
Nillumbik Shire Council
Painting: David ARMFIELD (b.1923 Melb AUS - d. 2010 Melb AUS), David Armfield, Panton Hill, c.1980
David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He has won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1903s on painting trips and used to camp on the banks of the Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires.Oil on canvas painting depicting a Panton Hill bush scape.Signed: D. Armfield in lower right hand corner. Not dated.david armfield, eltham art prize, panton hill -
Nillumbik Shire Council
Painting: David ARMFIELD (b.1923 Melb AUS - d. 2010 Melb AUS), David Armfield, Untitled (Beach), c. 1975
David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He has won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1903s on painting trips and used to camp on the banks of the Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires.'Untitled' by David Armfield an oil on canvas painting depicts sand, sea, distant mountains and various figures scattered about in a typical Armfield landscape. The figures tend to be annonymous, sometimes included more to establish the scale than for a narrative purpose. The figures are well clothed and it could be assumed that it is not a hot summer's day. Depth is established by changing of colours and diminishing the size of the figures.david armfield, beach, eltham, nillumbik shire council -
Nillumbik Shire Council
Work on paper - Print (Serigraph): Ray Thomas, Brolga, c2000
This work is a serigraph (screenprint) on cartridge paper using blue oil based inks of the 'Brolga' (Australian Crane); a common, gregarious wetland bird species of tropical and south-eastern Australia and New Guinea / It is a tall, upright bird with a small head, long beak, slender neck and long legs / The pose of the bird represents their stance when calling out to their mate, which sounds like a loud trumpet / The decorative markings on the bird's plumage is from the traditional carved/etched Gunnai shields from Gippsland Eastern Victoria, which is where Thomas' people are from. Underneath 'Brolga', on slant, lower right in greylead pencil (?) handwritten artist signature and language group "Ray Thomas - GUNNAI" -
Nillumbik Shire Council
Public Art: Wayne ALFRED (b.1958 Alert Bay, British Columbia), Wayne Alfred C/- High Commision of Canada, Commonwealth Games Totem Pole, Location: Eltham Library Foyer, Panther Place, Eltham, 2006
Wayne Alfred is a member of the Namgis Tribe of the Kwakwaka'wakw people. As a master carver he has an extremely high level of carving skill and knowledge about his peoples cultural objects, customs, tribal stories and legends. The Totem Poles of the North Pacific Coast in British Columbia and Alaska are traditionally carved out of red or yellow cedar, which has a spiritual and practical purpose. The wood was known for its durability, its resistance to rotting and the inner bark was utilised in ropemaking, clothing, hats, baskets and so forth. The Kwakitul People consider the cedar tree to be among the most sacred of all things provided by the Creator. They believed the Cedar tree to be the axis of the world and a pathway to the upper world. The wood is shaped using implements such as adzes, axes, chisels, carving knives, and chainsaws. Misinterpreted as Gods and idols to be worshipped, totems usually serve six purposes, such as a house pillar for support, a memorial or mortuary pole to commemorate (and house) the deceased, a potlatch pole (used for important traditional indigenous celebrations), a ridicule pole used to shame and a heraldic or family crest pole. Characters and symbols on these totem poles usually display family crests, history, wealth, social rank, inheritance, and privilege, as well as animalistic imagery derived from native animals and mythological creatures. Their sequence are indicative of past family events, ancestors, myths, and heraldic crests, with the bottom figure usually being the most prominent. In this work the 'thunderbird' is symbolic of power, strength and of ancestory. The Commonwealth Games Totem Pole was presented to the people of Nillumbik on behalf of the Canadian Government in recognition of Melbourne as the hosts of the Melbourne Commonwealth Games Team in 2006. Carved in cedar wood, this totem pole incorporates bold cuts and colours (such as red and green) offset by strong black. A relative degree of realism is used to depict the alligator located on the bottom of the pole, a man and a 'thunderbird'/eagle located on the top. With protuding element. No inscriptions. Bold cuts used to outline the characters and symbols as well as decorative and stylised features all over the pole. public art, kwakwaka'wakw, namgis, alfred, north pacific coast, british columbia, canada, totem pole, carved, commonwealth games, melbourne festival, cedar -
Nillumbik Shire Council
Work on paper - Print (etching), Graham FRANSELLA, Beach I (figure), 1985
A finalist in the Shire of Eltham Art Awards in 1985. Born in Harrow, England, Graham Fransella studied at the Bradford School of Art, Yorkshire. He came to Australia in 1975. Graham Fransella lives and works in Melbourne and is represented by galleries across Australia.Fransella is an artist (printmaker) of national significance. “A feature of Fransella’s art is that it has an immediate visual simplicity, sometimes possessing the lucidity of graffiti-like directness, but this is attained through the most complex and intricate means. The surface on which he works is the arena in which he performs with an endless layering of marks, surfaces and signs. It seems that he surrenders to an intuitive process, one in which chance serves as an active collaborator. Ultimately his practice engages with the theory of the artist’s subconscious being allowed unbridled freedom of expression.” Sasha Grishin AM FAHA, in 'Gorgeous simplicity in signature themes: Graham Fransella', Sydney Morning Herald, April 5, 2014This etching depicts a busy and carefree day at the beach in bright colours of red and blue. The figures are drawn with spontaneity and simplicity, which is characteristic of Fransella's style. Figures are positioned in states of relaxation or bounce around beach scenes in joyful exuberance. eltham art award, etching, print, beach, figures -
Nillumbik Shire Council
Painting: Guan WEI (b.1957 CHINA), Anonymous Invader No. 1, c.1999
acrylic on canvasek prac 2015 -
Nillumbik Shire Council
Ceramic: Clifton PUGH, technician: Geoffrey DAVIDSON, Leda and the Emu, c. 1975
Geoff Davidson arrived at Dunmoochin around 1968 and began living and working as an apprentice to the potter Robert Main, who was working in a studio rented to him by Clifton Pugh on the Dunmoochin property. When Robert left, Geoff moved into the studio and began collaborating with Clifton Pugh on many projects for a period of 25 years whereby Clifton would decorate pots made by Geoff. Geoff produce the ceramic panels for Leda and the Emu. He mixed and identified the glazes for Clifton, then fired the panels once he had finished painting. Three or four murals were produced in this way, one of which was purchased by Don Dunston (ex-Premier of South Australia) as a gift to his dying wife.Dunmoochin derives its cultural and artistic heritage from the collaborative efforts of a group of artists who purchased land in Cottles Bridge in the early 1950’s. These artists (Pugh) pioneered one of the first artistic communes in Australia and created a lasting vision of how a community can gain knowledge and inspiration from living in a close relationship with nature. Pugh had explored the ‘Leda and the Swan’ mythological themes previously during the sixties in etchings and paintings, although he was more interested in referencing the original myth as allusions to other truths. Pugh was drawn to the Greek myth ‘Leda and the Swan’ in which Zeus transforms into a swan to seduce Leda. Pugh Australianised the myth so that Zeus transformed into an Emu rather than a Swan, and makes a gentle satirical comment on the sexual behaviour of the Australian male, whereby he sees a parallel between this and the proud yet awkward movements and naivety of our national bird. This particular theme was prevalent in Pugh's work right through the 60s and 70s. Leda and the Emu is a work by two prominent local artists (Clifton Pugh and Geoff Davidson) with a national and international reputation.Flat red background, black foliage. Leda is naked and sleeping with head resting in hand. Emu is to the left watching Leda. Drawing style is typical of Pugh’s work: linear, flat and gestural.Signed 'II Clifton' -
Nillumbik Shire Council
Collage (textile): Barbara MUNRO, Outback
collage; fabric on board. A flock of birds (galahs?) in colours of pink, purple and white fly above the dry barren (red) landscape. Low horizon line and vast open purple, blue sky. Signed lower right corner "Munro", not dated.fabric, collage, munro, textiles, outback -
Nillumbik Shire Council
Painting: David MOORE, The Aqua Bowl