Illuminated Address given to John McIntyre Esquire for his time in the Bendigo City Council in the years 1859 - 1860 - 1862 and Mayor of the Borough of Sandhurst: 1863, 1864, 1865, 1866, 1867, 1868. Signed by Councillors, John Holmes, Robert Burrowes, George Aspinall, James Boyd. M.D., J. Holdsworth, D. Macdougal, Ed. Garsed, John Latham, Town Clerk, George Avery Fletcher. Coloured hand drawn artwork on outline of address.Crest Per Ardua. Crest 2 red phoenix on gold background, hand with dagger, ship with red flags on black background. On top of crest hand with dagger blue and white with gold and black ribbon underneath. Blue corporate seal. *Currently on Loan in the National Museum. Loan extended till 31 May 2018. Loan Number IL 2010/0074, File No. 09/1062. Updated April 2016 Returned from National Museum 29.6.2018 * on the certificate John McIntyre's name appears to be John McIntyrr Esqirrartwork, illuminated address, 364/1

Historically significant and rare photograph of Kew Councillors playing in a Cricket Team in the early 1920s.Kew Council Cricket Team. The City of Kew at times had its own cricket team. Identified players of the 1922-23 team include: Back row, left to right: Cr. Coleman, Cr. Edwards, Staff, Staff, Cr. Barnard, Mr Birrell, Cr. Wishart. Front row, left to right: Cr. Ramsey, Cr. Woolcock (Mayor), C. Cole, and Cr. Carnegie. Of the eight councillors in the team, each either had been or would be Mayors of Kew: William Wishart (1906-07), Jabez Carnegie (1908-09, 1924-25, 1934-35), Francis Barnard (1920-21), Henry Coleman (1921-22, 1929-30), James Woolcock (1922-23, 1923-24), George Ramsey (1925-26), George Cole (1926-27), and Percy Edwards (1928-29). W. D. Birrell became Town Clerk of Kew in 1938. The photographic studio's name at front is identified as C.S. Tompkins Ainar Studios, Auburn. Annotation on reverse include the names of the players, an original accession number "KH-22" and information about donor "Presented by Joy Stewart, given to her by the Edward[s] family, Mr Edward[s] once Mayor of Kew (1928-29)city of kew, kew councillors and staff, sports -- cricket -- kew (vic.)

CONTENTS: 4351/01 Ringwood Joint Services Committee; Meals-on-wheels Project; Submission to Ringwood City Council on 7the August 1972. 4351/02 Association of Apex Clubs, Zone 13 - 8th Annual Convention, Wangaratta, 10-12 October 1986 Hosted by Rowville Apex Club 4351/03 Ringwood Apex Club Banner – 21st Anniversary Year 1987 (30cm x 22cm) 4351/04 Apex National Jubilee Convention, 1981 - Geelong 4351/05 Association of Apex Clubs, Zone 13 – M.A.N. Metropolitan Apex Newsletters, Miscellaneous copies 1982-1985 4351/06 Apex Clubs of Australia Manual 4351/07 List of Ringwood Apex Club members up to July 1986 4351/08 Apex – Jemma. Zone 13 – Melbourne. 6 issues. (19cm x 24cm) 4351/09 The Apexian Magazine – Miscellaneous copies. (A4 size) 4351/10 Miscellaneous newspaper clippings. 4351/11 Miscellaneous general information items.

Mawul Rom Project: Openness, obligation and reconciliation Morgan Brigg (Universtiy of Queensland) and Anke Tonnaer (University of Aarhus, Denmark) Aboriginal Australian initiatives to restore balanced relationships with White Australians have recently become part of reconciliation efforts. This paper provides a contextualised report on one such initiative, the Mawul Rom crosscultural mediation project. Viewing Mawul Rom as a diplomatic venture in the lineage of adjustment and earlier Rom rituals raises questions about receptiveness, individual responsibility and the role of Indigenous ceremony in reconciliation efforts. Yolngu ceremonial leaders successfully draw participants into relationship and personally commit them to the tasks of cross-cultural advocacy and reconciliation. But Mawul Rom must also negotiate a paradox because emphasis on the cultural difference of ceremony risks increasing the very social distance that the ritual attempts to confront. Managing this tension will be a key challenge if Mawul Rom is to become an effective diplomatic mechanism for cross-cultural conflict resolution and reconciliation. Living in two camps: the strategies Goldfields Aboriginal people use to manage in the customary economy and the mainstream economy at the same time Howard Sercombe (Strathclyde University, Glasgow) The economic sustainability of Aboriginal households has been a matter of public concern across a range of contexts. This research, conducted in the Eastern Goldfields of Western Australia, shows how economically successful Aboriginal persons manage ?dual economic engagement?, or involvement in the customary economy and the mainstream economy at the same time. The two economies sometimes reinforce each other but are more often in conflict, and management of conflicting obligations requires high degrees of skill and innovation. As well as creating financially sustainable households, the participants contributed significantly to the health of their extended families and communities. The research also shows that many Aboriginal people, no matter what their material and personal resources, are conscious of how fragile and unpredictable their economic lives can be, and that involvement in the customary economy is a kind of mutual insurance to guarantee survival if times get tough. Indigenous population data for evaluation and performance measurement: A cautionary note Gaminiratne Wijesekere (Dept. of Families, Housing, Community Services and Indigenous Affairs, Canberra) I outline the status of population census counts for Indigenous peoples, identifying information on Indigenous births and deaths, and internal migration estimates. I comment on the ?experimental? Indigenous population projections and question the rationale for having two sets of projections. Program managers and evaluators need to be mindful of limitations of the data when using these projections for monitoring, evaluating and measuring Indigenous programs. Reaching out to a younger generation using a 3D computer game for storytelling: Vincent Serico?s legacy Theodor G Wyeld (Flinders University, Adeliade) and Brett Leavy (CyberDreaming Australia) Sadly, Vincent Serico (1949?2008), artist, activist and humanist, recently passed away. Born in southern Queensland in Wakka Wakka/Kabi Kabi Country (Carnarvon Gorge region) in 1949, Vincent was a member of the Stolen Generations. He was separated from his family by White administration at four years of age. He grew up on the Cherbourg Aboriginal Reserve in the 1950s, when the policies of segregation and assimilation were at their peak. Only returning to his Country in his early forties, Vincent started painting his stories and the stories that had been passed on to him about the region. These paintings manifest Vincent?s sanctity for tradition, storytelling, language, spirit and beliefs. A team of researchers was honoured and fortunate to have worked closely with Vincent to develop a 3D simulation of his Country using a 3D computer game toolkit. Embedded in this simulation of his Country, in the locations that their stories speak to, are some of Vincent?s important contemporary art works. They are accompanied by a narration of Vincent?s oral history about the places, people and events depicted. Vincent was deeply concerned about members of the younger generation around him ?losing their way? in modern times. In a similar vein, Brett Leavy (Kooma) sees the 3D game engine as an opportunity to engage the younger generation in its own cultural heritage in an activity that capitalises on a common pastime. Vincent was an enthusiastic advocate of this approach. Working in consultation with Vincent and the research team, CyberDreaming developed a simulation of Vincent?s Country for young Aboriginal and non-Aboriginal persons from the Carnarvon Gorge region to explore Vincent?s life stories of the region. The use of Vincent?s contemporary paintings as storyboards provides a traditional medium for the local people to interactively re-engage with traditional values. Called Serico?s World, it represents a legacy to his life?s works, joys and regrets. Here we discuss the background to this project and Vincent?s contribution. A singular beeswax representation of Namarrkon, the Lightning Man, from western Arnhem Land RG Gunn (La Trobe University) and RL Whear (Jawoyn Association) Samples from a beeswax representation of Namarrkon, the Lightning Man, from western Arnhem Land were analysed for radiocarbon and dated to be about 150 years old. An underlying beeswax figure was found to be approximately 1100 years old. The Dreaming Being Namarrkon is well known throughout Arnhem Land, although his sphere of activity is concentrated around the northern half of the Arnhem Land plateau. Namarrkon is well represented in rock-paintings in this area and continues to be well represented in contemporary canvas-paintings by artists from the broader plateau region. We conclude that representations of Namarrkon in both painted and beeswax forms appear to be parallel manifestations of the late Holocene regionalisation of Arnhem Land. ?Missing the point? or ?what to believe ? the theory or the data?: Rationales for the production of Kimberley points Kim Akerman (Moonah) In a recent article, Rodney Harrison presented an interesting view on the role glass Kimberley points played in the lives of the Aborigines who made and used them. Harrison employed ethnographic and historical data to argue that glass Kimberley points were not part of the normal suite of post-contact artefacts used primarily for hunting and fighting or Indigenous exchange purposes, but primarily were created to service a non-Indigenous market for aesthetically pleasing artefacts. Harrison asserted that this market determined the form that these points took. A critical analysis of the data does not substantiate either of these claims. Here I do not deal with Harrison?s theoretical material or arguments; I focus on the ethnographic and historical material that he has either omitted or failed to appreciate in developing his thesis and which, in turn, renders it invalid. The intensity of raw material utilisation as an indication of occupational history in surface stone artefact assemblages from the Strathbogie Ranges, central Victoria Justin Ian Shiner (La Trobe University, Bundoora) Stone artefact assemblages are a major source of information on past human?landscape relationships throughout much of Australia. These relationships are not well understood in the Strathbogie Ranges of central Victoria, where few detailed analyses of stone artefact assemblages have been undertaken. The purpose of this paper is to redress this situation through the analysis of two surface stone artefact assemblages recorded in early 2000 during a wider investigation of the region?s potential for postgraduate archaeological fieldwork. Analysis of raw material utilisation is used to assess the characteristics of the occupational histories of two locations with similar landscape settings. The analysis indicates variability in the intensity of raw material use between the assemblages, which suggests subtle differences in the occupational history of each location. The results of this work provide a direction for future stone artefact studies within this poorly understood region.document reproductions, maps, b&w photographs, colour photographskimberley, mawul rom project, 3d computer game, storytelling, vincent serico, beeswax, namarrkon, artefact assemblages, strathbogie ranges, groote eylandt, budd billy ii

Newspaper advertisement: Diamond Valley News, 27 May 1980, Exhibition, Peter Accadia, pottery, and Helen Webber, tapestries. Newspaper article: Five for the price of one, Diamond Valley News, Tuesday, July 8, 1986, p27; exhibition of five artists at Eltham Gallery. On reverse, numerous advertisements for food and entertainment Newspaper advertisement: The Age ,17 June 1989, Exhibition, Donald Ramsay "Watching the river flow". Newspaper article: Landmark gallery says goodbye, Diamond Valley Leader, 24 November 2004, Gallery site sold to Sentinel Equities, present tenant Julie Skate, quotes from former part-owner Val Murray. Newspaper article: Rift over gallery plans, Diamond Valley Leader, 21 February 2007, purchasers Jethro Tull and Suzanne Still plan to build offices, gallery and cafe; Eltham Gateway Action Group objected while supporting need for a gallery elsewhere. Newspaper article: New try for gallery-cafe ready soon, Diamond Valley Leader, 18 April 2007, purchaser Jethro Tull to have a new plan ready in two weeks for gallery and cafe. Newspaper article: Gateway for artists, Diamond Valley Leader, 25 May 2007, Jenni Mitchell opened a new gallery pending decision by Nillumbik Council. Newspaper article: Art gallery proposal rejected, Diamond Valley Leader, 30 May 2007, Nillumbik Council against planned new building. Newspaper article: Artful win for gallery, Diamond Valley Leader, 30 January 2008, VCAT approved mudbrick art gallery. Newspaper article: Rocky road to create a landmark, Diamond Valley Leader, 13 February 2008, VCAT approved Robert Marshall's design, artists's impression, Eltham Gateway Action Group opposed.main road, property, businesses, eltham gallery, wiregrass gallery, eltham gateway action group, robert marshall, mud brick building, eltham (vic), 559 main road eltham, artists, bernhard rust, bob smith, jan neil, john adams, marian sussex, michael wilson, tony dopheide, 47-55 main street diamond creek, 50 were street montmorency, 55 rattray road montmorency, 410 main road lower plenty, abbey of diamond creek, adams north riding restaurant, advertising, eltham barrel, montmorency, mustard seed restaurant, peking house restaurant, st andrews, tamara's

No 4 Squadron, Australian Flying Corps, formed at Point Cook, Victoria, in October 1916. After embarking for England to complete its training, the squadron deployed to France in December 1917. From the outset, No 4 Squadron aircraft regularly engaged the Red Baron's elite 'Flying Circus' and, in spite of their lack of experience, quickly gained the ascendancy over the German squadron. During its brief war service, No 4 Squadron destroyed some 128 enemy aircraft and spawned a total of eleven aces. The squadron's highest scoring airman was Captain Cobby who, in addition to shooting down 29 aircraft, also destroyed 13 observation balloons. World War II saw No 4 Squadron Wirraways deployed to Port Moresby in support of Australian troops fighting in the New Guinea jungles. In their slow and vulnerable aircraft, losses from anti-aircraft fire were high, however, this never deterred the Wirraway crews from completing their assigned tasks. This aggressive spirit was exemplified by Pilot Officer Archer and his crewman, Sergeant Coulston, who, while on a reconnaissance mission, found themselves above a Japanese Zero fighter. Despite operating a vastly inferior aircraft, Pilot Officer Archer dived to the attack and shot down the enemy aircraft. In June 1943, No 4 Squadron received its first Boomerang fighters and continued to support Allied troops during the Cape Gloucester landings before moving to Morotai. No 4 Squadron ended the war in Borneo and returned to Australia in November 1945, where it was renamed No 3 Squadron - thus closing the chapter on a very distinguished and proud unit. Summary of Unit Name(s) Start Date End Date No. 4 RAAF Hospital, Butterworth 06/06/1966 06/06/1966 No. 4 RAAF Hospital, Butterworth 03/07/1966 No. 4 RAAF Hospital, Butterworth 01/08/1966 01/08/1966 No. 4 RAAF Hospital, Butterworth 05/09/1966 No. 4 RAAF Hospital, Butterworth 29/09/1966 No. 4 RAAF Hospital, Butterworth 29/10/1966 29/10/1966 http://www.airforce.gov.au/raafmuseum/research/units/4sqn.htmWooden Plaque 15cm x 13cm with insignia of 4 Sqn.R.A.A.F. Hospital 4 Sqn R.A.A.F. Hospital r.a.a.f. 4 squadron, butterworth, r.a.a.f. hospital

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

This plate has been produced by the English firm of W.H.Grindley for use at the Criterion Hotel in Warrnambool. The Criterion Hotel was on the western side of Kepler street near Lava Street and was established in 1872 with the first licensee being John Tate. The hotel closed in 2008, was partially destroyed by fire in 2010 and was demolished in 2013. The Humm family had a long association with the Criterion Hotel, with George Humm of Woodford taking over as the licensee in 1882 and buying the hotel in 1887 and remaining there until his death in 1894. George Humm’s widow, Elizabeth, was the licensee from 1894 to 1907, her son, John was the licensee from 1907 to 1916 and his widow, Bridget, was the licensee from 1916 to 1919. The plate could have been in use for all or part of these years but is most likely to have been bought early in the 20th century. This plate is of considerable interest because it came from the Criterion Hotel, a prominent hotel in Warrnambool for over 130 years.This is a white china plate which has a red embedded stamp in the shape of a belt (the maker’s trademark) on the front and on the back it has the blue markings of the maker with an image of a crown. The bowl has a shallow base and was perhaps a soup plate. The edges of the plate are somewhat worn and scuffed. ‘Humms Criterion Hotel Warrnambool’ ‘Grindley Hotel Ware England Vitrified’ criterion hotel, humm family of woodford, history of warrnambool

This plate has been produced by the English firm of W.H.Grindley for use at the Criterion Hotel in Warrnambool. The Criterion Hotel was on the western side of Kepler Street near Lava Street and was established in 1872 with the first licensee being John Tate. The hotel closed in 2008, was partially destroyed by fire in 2010 and was demolished in 2013. The Humm family had a long association with the Criterion Hotel with George Humm of Woodford taking over as licensee in 1882, buying the hotel in 1887 and remaining there until his death in 1894. George Humm’s widow, Elizabeth, was the licensee from 1894 to 1907, her son, John, was the licensee from 1907 to 1916 and his widow, Bridget, was the licensee from 1916 to 1919. The plate could have been in use for all or part of these years but is most likely to have been bought early in the 20th century. This plate is of considerable interest because it came from the Criterion Hotel, a prominent hotel in Warrnambool for over 130 years. This is a white china plate which has been broken into three pieces and inexpertly mended. The plate is much stained. It has a red embedded stamp in the shape of a belt (the maker’s trademark) on the front and on the back it has the blue markings of the maker with an image of a crown. The bowl has a shallow curved base and was perhaps used for soup. ‘Humms Criterion Hotel Warrnambool’ ‘Grindley Hotel Ware England Vitrified’ criterion hotel, humm family of woodford, history of warrnambool

Kangaroo Ground's first school began in 1851 with 22 pupils from the district's ten families. It was a single room school located further south on the site, which also served as a Presbyterian church. The first teacher was Andrew Ross. The school building was used as a Post Office between 1854 and 1858 and during 1857 also served as a Court of Petty Sessions. With a growing farming community, a new building was warranted and the original Sate School No. 352 was closed and a new building, State School No. 2105 was oipened October 1, 1878. A residence for Head Teacher Henry Wallace School was erected in 1879 attached to the left of the school building. That residence is now home to the Andrew Ross Museum, which opened in 1993. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p35This 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, kangaroo ground, eltham-yarra glen road, kangaroo ground primary school no. 2105, kangaroo ground state school, state school no. 2105

Newspaper article: Goodwill gifts, Diamond Valley Leader, 15 December 2004, Melbourne City Mission seeking donations for residents of Eltham Retirement Village, manager Colleen Tenni. Newspaper advertisement: Diamond Valley Leader, 25 June 2005, Eltham Villa Aged Care. Newspaper advertisement: Diamond Valley Leader 15 October 2008, Eltham Villa Aged Care, manager Joanne Tomada. Newspaper advertisement: Diamond Valley Leader, 11 November 2009, Eltham Villa. Newspaper article: A home away from home, Diamond Valley Leader, 14 March 2007, Details of Eltham Villa, manager Mary Maleki. Newspaper article: A home away from home, Diamond Valley Leader, 21 July 2010, Eltham Villa Aged Care, manager Joanne Tomada, co-ordinator Tania Fox.main road, eltham, melbourne citymission, eltham retirement village, colleen tenni, eltham villa aged care, joanne tomada., mary maleki, tania fox, judge book retirement village

The bluestone blocks were originally part of the bluestone lockup located behind the Police Residence and Courthouse. The stones at one stage formed an edging to a grass island at the intersection of Wattletree Road and Main Road and were painted white. When that intersection was reconstructed the stones were brought back to the former residence, occupied by the Shire Department of Parks and Environement where again they were used as edging for a newly constructed driveway put through from Main Road through where the original Police Station was sited. The stones now form part of the garden bed edging at the rear of the building. At some stage in 1989 a reproduction Police Station was built beside the residence as originally located, for the purpose of providing a lunch room for shire staff. The residence has been the home of the Eltham District Historical Society and Local History Centre since 2008. 35mm colour positive transparency (1 of 8) Mount - Agfa CS System grey 8 dots728 main road, eltham, eltham courthouse, local history centre, police residence, parks and environment, shire of eltham

Professor Helen Bartlett was Vic-Chancellor of Federation University Ballarat from 2017 to 2020. Prior to this she was Pro Vice Chancellor and Chief Executive of Monash University Malaysia from 2013 to 2017, and Pro Vice-Chancellor and President of Monash University’s Gippsland Campus from 2008 to 2012. She is the current Chair of the Regional Universities Network and Vice-Chancellor of the University of Sunshine Coast. Professor Helen Bartlett is an experienced leader and passionate advocate for regional education. Professor Bartlett led a period of transformation at Federation University Australia, enhancing its profile as a multi-campus institution, its innovative approach to regional higher education and focus on responding to the needs of its communities. Professor Bartlett was also Chair of the Victorian Vice-Chancellors’ Committee in the year prior to her move to Queensland and worked closely with the Victorian Government as universities shaped their response to the COVID-19 pandemic.women of note, professor helen bartlett, federation university, vice-chancellor, monash university malaysia, pro vice-chancellor, chief executive, president, monash university gippsland, regional universities network, university of the sunshine coast, victorian vice-chancellors' committee

The former Kew Lunatic Asylum, was commenced in 1856 and opened in 1872. At various stages of the institution's history it was named the Kew Lunatic Asylum (1872-1956), Kew Mental Hospital (1956-1960s), Willsmere Mental Hospital (c.1960s-1982), and the Willsmere Unit (1982-1989). The Kew Idiot Ward/Asylum (1887-1929) was initially part of the Asylum. Later it was called Kew Children’s Cottages (1929-62), Kew Training Centre (1962-c.97), and Kew Residential Services (c.1997-2008). Most of the records relating to these former institutions are held by the relevant Government Department or by the Public Record Office Victoria. Due to the location of these two institutions in Kew, the Kew Historical Society also holds an extensive photographic archive as well as significant collections of personal papers collected by staff who worked at these institutions.This photograph is one of a series donated to the Society by the photographer, taken following the closure of the Willsmere Unit, and before its redevelopment as a private residential complex. The series is historically significant in that it depicts interior and exterior views of the former institution that were subsequently altered or demolished during redevelopment. A number of the 'views' are socially significant as they allow us to examine the ways in which public institutional architecture in the 19th and 20th centuries responded to the needs of those with perceived mental health issues. Colour snapshot of a part or section of the former Willsmere (Kew) Mental Hospital, taken following its decommissioning and before its sale and redevelopment.kew lunatic asylum, kew mental hospital, willsmere mental hospital, willsmere unit, health & human services, mental health, institutional architecture

Trudi HARLEY Born Korumburra, Victoria Born in country Victoria Trudi Harley graduated with a Bachelor of Education (Art and Craft) at Victoria College, Burwood. After teaching for 10 years in both Government and Independent schools in Melbourne she worked as a Sales Executive and Art Educator for Cavalier Art Supplies for 16 years. Recently Trudi Harley completed a Bachelor of Arts (Visual Arts) (Honours) with Distinction between 2008 – 2009, and a Master of Arts (Research), Visual Art between 2010 – 2012 at the University of Ballarat (now Federation University). Maintaining an artistic practice while in a business partnership Trudi Harley owns and runs Atelier Art Supplies in Williamstown, Victoria, which is a major supporter of the arts in the western suburbs of Melbourne/ This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Artist's Statement: As an artist am continually drawn to ‘what makes us who we are’ and as a result the work, whatever it may be, is a reflection on what makes me who I am. In this I refer to perception, experience and memory as aspects that contribute to our sense of reality. By using these references I intend to engage the audience and develop a sense of connection and community through the visual image. ‘Fallen’ was not necessarily a reflection on my own life but of life in general as I recall at the time I had a family member who was struggling to cope with their own reality. I can also recall at the time reflecting on the adage ‘walk a mile in my shoes’ and the pressures we all face in life. Added to this were my own influences of upbringing, I have always been particularly drawn to fabrics and patterns as my mother was/is (getting a little old now) a seamstress and my father was a bit of a ‘perfectionist’. During my honours study I came across the term ‘Esperpento’ which included such visual elements as exaggeration and unusual viewpoints. Fallen was a comment on the psychology associated with expectations in life, or more importantly those expectations placed on offspring by their parents. This painting reflected the consequences of not living up to those expectations. It is unfortunate that in life, by the time you get to the point of realising that you have the opportunity to set your own standards, that you’ve probably embodied a great many set of values by osmosis and that you’ve now claimed them as your own. The view is from above to dramatize the subject, the figure placed compositionally in the top right hand corner to open up the picture plane and allow for the narrative to continue outside the visual area of the canvas. It was also in this painting that I rubbed back some of the darker oil paint to allow the lighter underpainting to show through.art, artwork, trudi harley, harley, carpet, portrait, self-portrait, alumni

Two articles about the origin of the Last Post collected by Bill Rogers. One's source is possibly Sydney Legacy. It says the last post is derived from the old custom of beating Tattoo. This word comes from the Dutch phrase - doe den tap toe, meaning turn the taps of the taverns off. Then when bugle calls were introduced two posts were written. "First Post symbolises the inspection of the last inn in the town. It was then a simple step for the Last Post to become associated with Military Funerals. Played at funerals the Last Post is followed by the call Rouser, a later version of Reveille, which symbolises the awakening of a new life." The other has the words to the Last Post and a similar story but not as detailed. Document was from a folder of documents donated to the archive by Legatee Bill Rogers that related to his time as President (March 2006 - March 2008) or as a legatee.A record that the traditions of the military was significant to the Legatees.Two A4 pages of the origin of the Last Post, one from Sydney Legacy.tradition, last post

Cameron Stewart Baird, VC, MG was a soldier in the Australian Army who was posthumously awarded the Victoria Cross for Australia, the highest award in the Australian honours system. Cameron enlisted on 4/1/2000 and was posted to the 4th Battalion (Commando) RAR now known as the 2nd Commando Regiment. He was deployed on 7 operations including Operation TANAGER - Timor Leste in 2001 Operation BASTILLE and FALCONER - Iraq in 2003. Cameron resigned from the ADF in 2004 re enlisting in 2006 and again posted to 2nd Commando Regiment. In 2007 he was promoted to Lance Corporal and deployed on Operation SLIPPER - Afghanistan. He was awarded the Medal for Gallantry. In 2008 he was promoted to Corporal and deployed again on Operation SLIPPER in 2009 2011 and 2013. He was killed in action on 22 June 2013 and was posthumously awarded the VC for his actions in the Khod Valley Uruzgan province AfghanistanCorporal Baird is the 100th Australian to receive a VC since the award was first created by Queen Victoria in 1856. Brown timber frame and dark green mount containing photograph of soldier alongside poem with image of Victoria Cross medal in backgroundCAMS Cause - Commando for Lifecameron baird, victoria cross, medal for gallantry

Cameron Stewart Baird, VC, MG was a soldier in the Australian Army who was posthumously awarded the Victoria Cross for his actions in Afghanistan. Cameron enlisted on 4/1/2000 and was posted to the 4th Battalion (Commando) RAR now known as the 2nd Commando Regiment. He was deployed on 7 operations including Operation TANAGER - Timor Leste in 2001 Operation BASTILLE and FALCONER - Iraq in 2003. Cameron resigned from the ADF in 2004 re enlisting in 2006 and again posted to 2nd Commando Regiment. In 2007 he was promoted to Lance Corporal and deployed on Operation SLIPPER - Afghanistan. He was awarded the Medal for Gallantry. In 2008 he was promoted to Corporal and deployed again on Operation SLIPPER in 2009 2011 and 2013. He was killed in action on 22 June 2013 and was posthumously awarded the VC for his actions in the Khod Valley Uruzgan province AfghanistanBrown timber look plastic frame containing watercolour painting of commando soldier wearing camouflage uniform with fill vest. plaque - Corporal Cameron Baird, VC ,MG signature left bottom corner Henk Artcameron baird, victoria cross