Use of the Watermarc pool for classes and casual users is discussed in this article.News clipping, black text.leisure activities, disabled access, water therapy, watermarc, hydro-therapy

During National Arthritis Week (NAW) 2002, a graded walk was held at Jells Park on the 11th of April as part of the 'Healthy Parks, Healthy People' campaign. In this photo, a group of people (one of whom is a wheelchair user) practice some gentle stretching exercises in the park.COL side-view photo of a group of people doing some stretching exercises in a park. One person is a wheelchair user and another person is sitting on the grass. Most people are holding their arms outstretched in front on them.arthritis foundation of victoria, afv, arthritis victoria, av, national arthritis week, naw, healthy parks healthy people, graded walks, jells park, wheelers hill, stretching exercises, gentle exercise, warm up exercises, cool down exercises, wheelchair user, accessibility, disabled access, 2002

During National Arthritis Week (NAW) 2002, a graded walk was held at Jells Park on the 11th of April as part of the 'Healthy Parks, Healthy People' campaign. In this photo, Arthritis Victoria's Tim Bryer leads a group of people in some gentle stretching exercises. One person is a wheelchair user, while another is using a walking frame. There are also a few young children amongst the group.COL wide frame photo of a group of people, led by an instructor, doing some stretching exercises in a park. They have their hands outstretched in front of them, at shoulder or chest height. One person is a wheelchair user, while another is sitting on a walking frame. There are a few young children amongst the group of adults.arthritis foundation of victoria, afv, arthritis victoria, av, national arthritis week, naw, healthy parks healthy people, graded walks, jells park, wheelers hill, tim bryar, exercise instructor, stretching exercises, gentle exercise, warm up exercises, cool down exercises, wheelchair user, walking frame, wheelie walker, accessibility, disabled access, 2002

During National Arthritis Week (NAW) 2002, a graded walk was held at Jells Park on the 11th of April as part of the 'Healthy Parks, Healthy People' campaign. In this photo, Arthritis Victoria's Tim Bryer leads a group of people in some gentle stretching exercises. One person is a wheelchair user.COL photo of a group of people, led by an instructor, doing some stretching exercises in a park. One of them is a wheelchair user. They have their arms outstretched wide in front of them. Most of those standing are leaning to one side with their weight on one leg. There is a young child in the foreground. To the left of the frame (partially obscured), there is a television camera operator with a camera on his shoulder.arthritis foundation of victoria, afv, arthritis victoria, av, national arthritis week, naw, healthy parks healthy people, graded walks, jells park, wheelers hill, tim bryar, exercise instructor, stretching exercises, gentle exercise, warm up exercises, cool down exercises, wheelchair user, walking frame, wheelie walker, accessibility, disabled access, television camera, camera operator, broadcast television, audiovisual, 2002

During National Arthritis Week (NAW) 2002, a graded walk was held at Jells Park on the 11th of April as part of the 'Healthy Parks, Healthy People' campaign. In this photo, a reporter interviews two 'graded walk' participants while a television camera operator captures the moment.COL photo of a small group of people in a park. One is a camera operator who has a television camera sitting on top of his shoulder. He is filming three women who are standing opposite him. One is a young woman. She is facing the camera while holding a microphone on a lead, which is attached to the camera. Two middle-aged women are standing next to her, facing her.arthritis foundation of victoria, afv, arthritis victoria, av, national arthritis week, naw, healthy parks healthy people, graded walks, jells park, wheelers hill, tim bryar, exercise instructor, stretching exercises, gentle exercise, warm up exercises, cool down exercises, wheelchair user, walking frame, wheelie walker, accessibility, disabled access, television camera, camera operator, broadcast television, reporter, interview, news report, audiovisual, 2002

During National Arthritis Week (NAW) 2002, a graded walk was held at Jells Park on the 11th of April as part of the 'Healthy Parks, Healthy People' campaign. In this photo, a woman (who is a wheelchair user) poses for a photo beneath a large shady tree by a pond or lake in the park. A cropped version of this photo appears on page 3 of the Vol 15 Issue 2, Winter 2002 edition of the Arthritis Foundation of Victoria's quarterly magazine, Update. It is captioned: "Healthy Parks Healthy People Walk at Jells Park".COL photo of a woman posing for a photo beneath a large shady tree by a pond or lake. She is a wheelchair user. There are some ducks at the edge of the lake.[Handwritten in black ink, in the top right corner] 4 [circled] [On a MOVE branded sticky note, archivist's note handwritten in black ink] HEALTHY PARKS, HEALTHY PEOPLE WALK at JELLS PARK UPDATE WINTER 2002 (pg 3)arthritis foundation of victoria, afv, arthritis victoria, av, national arthritis week, naw, healthy parks healthy people, graded walks, jells park, wheelers hill, wheelchair user, accessibility, disabled access, trees, pond, lake, 2002

During National Arthritis Week (NAW) 2002, a graded walk was held at Jells Park on the 11th of April as part of the 'Healthy Parks, Healthy People' campaign. Following the walk, a luncheon was held. This photo depicts a group of people sitting at a table during the luncheon.COL photo of a group of people sitting at a large round table. There is food and drinks on the table. Another group of people (partially obscured) are sitting at another table to the left of the frame. There is a view of the park through the windows.arthritis foundation of victoria, afv, arthritis victoria, av, national arthritis week, naw, healthy parks healthy people, graded walks, jells park, wheelers hill, accessibility, disabled access, luncheon, 2002

During National Arthritis Week (NAW) 2002, a graded walk was held at Jells Park on the 11th of April as part of the 'Healthy Parks, Healthy People' campaign. Following the walk, a luncheon was held. This photo depicts a group of people sitting at a table during the luncheon.COL photo of a group of people sitting at a large round table. There is food and drinks on the table. Another group of people (partially obscured) are sitting at another table to the left of the frame. In the background, there is a woman attending to a young child near the wall.arthritis foundation of victoria, afv, arthritis victoria, av, national arthritis week, naw, healthy parks healthy people, graded walks, jells park, wheelers hill, accessibility, disabled access, luncheon, 2002

During National Arthritis Week (NAW) 2002, a graded walk was held at Jells Park on the 11th of April as part of the 'Healthy Parks, Healthy People' campaign. Following the walk, a luncheon was held. This photo depicts a group of people sitting at a table during the luncheon.COL photo of a group of people sitting at a large round table. There is food and drinks on the table. In the background, there are some red table umbrellas with the "Coca-Cola" logo leaning against the wall in an adjoining room. There is a view of some trees through a large window.arthritis foundation of victoria, afv, arthritis victoria, av, national arthritis week, naw, healthy parks healthy people, graded walks, jells park, wheelers hill, accessibility, disabled access, luncheon, 2002

During National Arthritis Week (NAW) in 2003, a Joint Walk was held at Jells Park in Wheelers Hill. The walks had been graded in terms of their level of difficulty. In this photo, participants are taking part in 'the medium walk', ascertained to be at a medium level of difficulty. There is a double-page feature report on the event on pages 16-17 of the Vol 16 Issue 2, Winter 2003 edition of the Arthritis Foundation of Victoria's quarterly magazine, Update. However, this photo was not published.COL photo of a group of people walking along a concrete path at a park. They are walking directly towards the camera and smiling. One person at the centre front of the group is holding a sheet of paper in one hand and waving with her other hand.[On a yellow sticky note, handwritten in black ink] Jells Park NAW 2003 event "the medium walk"arthritis foundation of victoria, afv, arthritis victoria, av, national arthritis week, naw, graded walks, medium walk, jells park, wheelers hill, accessibility, disabled access, update, 2003

During National Arthritis Week (NAW) in 2003, a Joint Walk was held at Jells Park in Wheelers Hill. The walks had been graded in terms of their level of difficulty. In this photo, a group of people is walking along a concrete path and on the grass. There is a double-page feature report on the event on pages 16-17 of the Vol 16 Issue 2, Winter 2003 edition of the Arthritis Foundation of Victoria's quarterly magazine, Update. However, this photo was not published.COL photo of a group of people walking along a concrete path and on the grass at a park. One person is using a walking frame. Several people are looking down as they walk. The camera is facing the walkers, but is positioned slightly to the side of the path.arthritis foundation of victoria, afv, arthritis victoria, av, national arthritis week, naw, graded walks, jells park, wheelers hill, accessibility, disabled access, update, 2003

During National Arthritis Week (NAW) in 2003, a Joint Walk was held at Jells Park in Wheelers Hill. The walks had been graded in terms of their level of difficulty. In this photo, a group of people is walking along a concrete path and on the grass. There is a double-page feature reporting on the event on pages 16-17 of the Vol 16 Issue 2, Winter 2003 edition of the Arthritis Foundation of Victoria's quarterly magazine, Update. However, this photo was not published.COL photo of a group of people walking along a path at a park. One person has a dog on a leash. Another person is holding the hand of a small child. There are some hills in the distance, beyond the park. The photo has been taken from behind the walking group.arthritis foundation of victoria, afv, arthritis victoria, av, national arthritis week, naw, graded walks, jells park, wheelers hill, accessibility, disabled access, update, 2003

During National Arthritis Week (NAW) in 2003, a Joint Walk was held at Jells Park in Wheelers Hill. The walks had been graded in terms of their level of difficulty. In this photo, a group of people is walking along a concrete path and on the grass. There is a double-page feature reporting on the event on pages 16-17 of the Vol 16 Issue 2, Winter 2003 edition of the Arthritis Foundation of Victoria's quarterly magazine, Update. However, this photo was not published.COL wide frame photo of a group of people walking around the bend of a path at a park. There are some hills in the distance, beyond the park. The photo has been taken from a distance.arthritis foundation of victoria, afv, arthritis victoria, av, national arthritis week, naw, graded walks, jells park, wheelers hill, accessibility, disabled access, update, 2003

During National Arthritis Week (NAW) in 2003, a Joint Walk was held at Jells Park in Wheelers Hill. The walks had been graded in terms of their level of difficulty. This photo is a close up of a section of the walking group. This particular walk was graded as being a "short walk". There is a double-page feature reporting on the event on pages 16-17 of the Vol 16 Issue 2, Winter 2003 edition of the Arthritis Foundation of Victoria's quarterly magazine, Update. However, this photo was not published.COL close up photo, taken from the side, of a group of people walking along a path at a park. One person is using a walking frame.[On a green sticky note, handwritten in blue/black ink] Jells Park NAW 2003 event "the short walk"arthritis foundation of victoria, afv, arthritis victoria, av, national arthritis week, naw, graded walks, short walk, jells park, wheelers hill, accessibility, disabled access, update, 2003

During National Arthritis Week (NAW) in 2003, a Joint Walk was held at Jells Park in Wheelers Hill. The walks had been graded in terms of their level of difficulty. This photo depicts a group of walkers gathered on the grass near some shelters or the veranda of a building. There is a double-page feature reporting on the event on pages 16-17 of the Vol 16 Issue 2, Winter 2003 edition of the Arthritis Foundation of Victoria's quarterly magazine, Update. However, this photo was not published.COL photo of a group of people gathered on the grassy area near some shelters or the veranda of a building. Some people are walking, while others are standing. A few people are using walking sticks, and one person (partially obscured) is using a walking frame. In the background, there is a person with a dog on a leash.arthritis foundation of victoria, afv, arthritis victoria, av, national arthritis week, naw, graded walks, jells park, wheelers hill, accessibility, disabled access, update, 2003

During National Arthritis Week (NAW) in 2003, a Joint Walk was held at Jells Park in Wheelers Hill. The walks had been graded in terms of their level of difficulty. In this photo, a large group of people have gathered on a grassy area to take part in a Tai Chi session led by Arthritis Victoria's Belinda Brookes. There is a double-page feature reporting on the event on pages 16-17 of the Vol 16 Issue 2, Winter 2003 edition of the Arthritis Foundation of Victoria's quarterly magazine, Update. However, this photo was not published.COL photo of a group of people gathered on the grass at a park. Most people are standing, facing one person standing in front of the group. One person is sitting down on the grass, slightly further away, also facing the group. There are several large trees in the background. The photo has been taken from a slight angle, with most of the group in three-quarter profile.arthritis foundation of victoria, afv, arthritis victoria, av, national arthritis week, naw, graded walks, jells park, wheelers hill, accessibility, disabled access, update, 2003

During National Arthritis Week (NAW) in 2003, a Joint Walk was held at Jells Park in Wheelers Hill. The walks had been graded in terms of their level of difficulty. In this photo, a large group of people have gathered on a grassy area to take part in a Tai Chi session led by Arthritis Victoria's Belinda Brookes. There is a double-page feature reporting on the event on pages 16-17 of the Vol 16 Issue 2, Winter 2003 edition of the Arthritis Foundation of Victoria's quarterly magazine, Update. However, this photo was not published.COL wide frame photo of a group of people standing on the grass at a park. They are facing two people, who are also standing and, in turn, facing the group. The photo has been taken from behind the two people facing the group.arthritis foundation of victoria, afv, arthritis victoria, av, national arthritis week, naw, graded walks, jells park, wheelers hill, accessibility, disabled access, update, 2003

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

Tia and John Crowe of Bundoora call for lifts at railway stations to improve access for the disabled.News clippings, 2 pages, black text, colour image.crowe family, public transport, watsonia railway station

Paperback; 64 p. : ill. ; 30 cm.ISBN 0646349783buildings

In 1980 M.B.John was Council President. In 1980 the School of Arts moved into their new building, 1870 Founders Hall was financed - at a cost of $800,000 - from the proceeds of the SMB Centenary Appeal, and was completed late in 1980. Extensive work was carried out on the Student Residences and the former Education Department Hostel in Victorian Street. The amphitheatre adjacent to the eastern side of the Education Buildings was constructed, together with the nearby disabled ramp. Negotiations with the Shire of Buninyong were continued for access to the campus from the Green Hill Road. Following the creation by Act of Parliament in 1978 of the Victorian Post-Secondary Education Commission (VPSEC) amendments to the same Act early in 1980 made provision for the repeal of the VIC and SCV Acts. From mid-December 1980 these latter two bodies ceased to exist when the provisions for repeal of their Acts were proclaimed. The Victorian Institute of Colleges had been set up in 1965 to aid in the co-ordination and development of a number of non-university tertiary institutions that affiliated with it from 1965 on to become Colleges of Advanced Education. In taking up this role which had been spelt out in 1964 by the martin Committee, the VIC broke new ground in a whole range of operations. It became responsible for the physical development of new building programmes and new campuses from many of its colleges, for the procurement of operating funds from the Commonwealth, for the accreditation of new courses of study, for the first non-university degrees to be awarded in Australia and so on. The Former Ballarat Institute of Advanced Education (the tertiary division of the School of Mines) was affiliated with the VIC from the outset and its progress towards a new status, rapid growth and vastly improved physical resources was closely linked to and dependent upon the efforts of the VIC. The similar co-ordinating authority - The State College of Victoria - was established in 1973 to similarly foster the autonomous development of the former teachers colleges. its early work was highly influential in the transition of the Ballarat Teachers' College into the State College of Victoria at Ballarat. On the merging of the BIAE and the SCVB in 1976, the new college continued under the co-ordination of the Victorian Institute of Colleges. The major contribution made to the progress and stature of became the Ballarat College of advanced Education by both the VIC and SCV, and their Councils and officers, over the formative years of rapid change and evolution is acknowledged and recorded with appreciation. Such efforts by the two central authorities have markedly assisted in bringing the College to the present point where its accumulated experiences and traditions provide a sound basis on which it can confidently and responsibly exercise the greater autonomy gradually passing it. Purple soft covered book of 47 pages. Contents include: development of a Nurse education course, College organisational Structure, Role of Head of School, resignation of Norman Baggaley, appointment of R. Macgowan, opening of Business Resource Centre, Librarianship, resignation of M.J. Sandow-Quirk, E.A. Widdop, J. Leeuwenburg, Thelma Rungkat, Erica Myers, former Acting Head of School John Mildren elected to the Federal seat of Ballarat, Ray Watson, Resignation of A.C. Burrow, return of W.J. Vermeend, P.L. McCarthy, P.R. Calder, J.A. Fulcher, L.E. Taylor, L.J. McGrath, Teaching Resource Centreballarat college of advanced education, bcae, mt helen, mount helen, sandow-quirk, widdop, leeuwenburg, rungkat, myers, burrow, vermeend, mccarthy, calder, fulcher, taylor, victoria street

Wreath laying ceremony for Legacy widows at the Cenotaph at the Shrine of Remembrance. This is an annual event for Legacy widows at the start of Legacy Week, which is the first week in September. The photos shows the widows gathered for a service within the Shrine of Remembrance with wreaths ready to be laid. Legatee David Kelly appears to be speaking in one photo. From the film numbers it appears to be 2003 when David Ford was president (see also 00615). The service appears to be in The Visitor Centre which was completed in 2003. The Visitor Centre provides unimpeded access for the elderly and disabled to the Sanctuary, the Crypt and the Galleries of Remembrance as well as open space for exhibitions and events.A record of a ceremony at the Shrine in 2003.Colour photo x 2 of a service in the Shrine visitor centre.Printed on the back No.< > Clarendon Photos 0013 which is the frame numbers and place of processing. Negative numbers 16A and 17A.widows, widows' sunday, pilgrimage, wreath laying ceremony