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

Image 11A Clifton Pugh Studio and House commenced 1950 Designed and built by Clifton Pugh and others A view from the courtyard The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcclifton pugh, clifton pugh studio and house, dunmoochin, houses, mud brick construction, alistair knox collection

Image 11B Clifton Pugh Studio and House commenced 1950 Designed and built by Clifton Pugh and others A view of the interior The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcclifton pugh, clifton pugh studio and house, dunmoochin, houses, mud brick construction, alistair knox collection

Blue account/receipt from G. Frederick Walter, dated 28 May 1864 for 15 White Berlin ?? For 12/-. Rec paynebt G. F. Walter.societies, aof, correspondence, ancient order of foresters no 3770 collection - account/receipt, g frederick walter, clifton house, g f walter

Early house reflecting a degree of wealth, built for Buninyong Chemist around 1859historical and architectural elementsB/W photo of Clifton Villa, family dwelling built c 1859 cnr Eyre and Winter Streets Buninyong, lacework on barge boards and veranda, special feature chimneys. House built for Mr Newman,, chemist in Buninyong.clifton villa, house, garden, streetscape

Sidney Clifton was a mechanical engineer and a lecturer at Melbourne University. He built the house, which is still in the family. He was a foundation member and treasurer of Darebin Parklands Association. He designed Clifton Bridge in Darebin Parklands and built the wooden formwork for it in his living room in this house. It was built with volunteers and funded by a grant from Heidelberg and Northcote Councils. He was a foundation member and treasurer of Darebin Parklands Association.B&W photograph. Sidney Clifton's house is on the right. This item and all other Darebin Parklands Association archival material is now held by State Library Victoria (Accession No: YMS 13746). Please contact State Library Victoria if access is required.

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (dark image) detailing the interior of Clifton Pugh's house at Dunmoochin. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, interior, house, lithograph

The chapter on Tara Hall formed the introduction to 'Lovely Old Homes of Kew' by Dorothy Rogers.This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.A photographic reproduction of a plate published by H. de C. Kellett in 1891. The original photographer was J.F.C. Farquaher. The photograph shows Tara Hall (the Byram) in Studley Park Road. The house was demolished in 1960.Tara Hall. Built 1888 (see story). Taken from old faded photo. Not printed. Tara Hall now demolished - taken from old faded photo of Clifton House. [sic]byram, goathland, tara hall, dorothy rogers, studley park road (kew)

Use to identify a tramway employee - Clifton Hill car house or depot. Would have allowed free travel when in uniform to and from work. Used possibly from mid 1910's when the Tramway Board was formed until it was replaced by the MMTB in 1921 or when a different identification system was implemented. Most likely made by Stokes and Sons - possible imprint covered by the leather part.Demonstrates the method of identifying cable tram employees. Round pressed brass badge with the words "Gripman" pressed into the centre of the badge around the top portion of the badge, the letters "C13H. Has a nickel-plated finish with the Tramways Board logo on the lower part of the badge. On the rear of the badge, two metal lugs have been soldered onto the badge and a two-piece leather strap with a buttonhole cut into it to enable it to be worn on a uniform. See item 7339 for a Conductor badge. badges, tramways, trams, employee pass, tramway board, clifton hill depot, gripmen

After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c.1983 and c.2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Built by Merchant Builders to a design by Gunn Hayball, Terry Dorrough, Merchant Design Pty Ltd. The design used was Modern Merchant Builders Long House LG3 clifton grey brick. This pen and ink drawing on drafting film of 164 Brougham Street was made by by Margaret Picken in 1995.164 BROUGHAM ST., KEW / MARGARET PICKEN '95 / WOODARDS ~ HAWTHORNartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 164 brougham street -- kew (vic.)

Pru Sanderson, in her groundbreaking ‘City of Kew Urban Conservation Study : Volume 2 - Development History’ (1988), summarised the periods of urban development and subdivisions of land in Kew. The periods that she identified included 1845-1880, 1880-1893, 1893-1921, 1921-1933, 1933-1943, and Post-War Development. These periods were selected as they represented periods of rapid growth or decline in urban development. An obvious starting point for Sanderson’s groupings involved population growth and the associated economic cycles. These cycles also highlighted urban expansion onto land that was predominantly rural, although in other cases it represented the decline and breakup of large estates. A number of the plans in the Kew Historical Society’s collection can also be found in other collections, such as those of the State Library of Victoria and the Boroondara Library Service. A number are however unique to the collection.The Kew Historical Society collection includes almost 100 subdivision plans pertaining to suburbs of the City of Melbourne. Most of these are of Kew, Kew East or Studley Park, although a smaller number are plans of Camberwell, Deepdene, Balwyn and Hawthorn. It is believed that the majority of the plans were gifted to the Society by persons connected with the real estate firm - J. R. Mathers and McMillan, 136 Cotham Road, Kew. The Plans in the collection are rarely in pristine form, being working plans on which the agent would write notes and record lots sold and the prices of these. The subdivision plans are historically significant examples of the growth of urban Melbourne from the beginning of the 20th Century up until the 1980s. A number of the plans are double-sided and often include a photograph on the reverse. A number of the latter are by noted photographers such as J.E. Barnes.The Clifton Estate was an ambitious subdivision. It included 61 allotments bordering Cotham and Park Hill Roads, and Florence and Adeney Avenues. It is difficult to ascertain the exact year when the ‘Clifton Estate’ was surveyed, subdivided and first auctioned. The uncertainty may be due to allotments being released during the First World War. The subdivision took its name from the house ‘Clifton’ (lot 5) on the corner of Adeney Avenue and Cotham Road. The outline of Clifton (since demolished) and the extent of its land following the subdivision are represented on the plan. The auctioneers have also shown ‘Maryfield’ and ‘Wimba’, the neighbouring properties in Cotham Road, on the plan."B"subdivision plans - kew, clifton estate, cotham road, adeney avenue, florence avenue, park hill road

PART 1 – NILLUMBIK (00:00-07:17) Opening features various scenes around Nillumbik Shire. For 40,000 years Nillumbik was the home of the Wurundjeri people. Robert Hoddle gave the district its name. Jock Ryan, then president of Nillumbik Historical Society discusses the names Nillumbik and Diamond Creek. In the late 1830s white occupation began with gold found in Warrandyte in 1851 and 12 years later at Diamond Creek -the Diamond Reef which led to the Caledonian gold rush. Jock Ryan discusses the Diamond Creek mine, which was thriving until it burnt out in 1915. Large numbers of workmen moved into area in late 1870s to construct the Maroondah Aqueduct. With growing population of Melbourne, the nearby Yan Yean system had severely disrupted the flow of the Plenty River, forcing the closure of three flour mills there. The aqueduct came to the rescue carrying water 66km from Healesville to Preston. When the Diamond Creek gold mine burnt down the local economy suffered but fruit growing industry had already been established and Diamond Creek became a thriving fruit growing centre. Interview with Jack Powell, a long-time fruiterer at St Andrews market, his family had lived in the area for a hundred years, 3 to 4 generations, “a lot of hard work”. By the time the railway arrived fruit growing was no longer competitive. The railway brought the city closer and day trippers. The Green Wedge separates the shire from the more densely developed neighbours such as Whittlesea, Doncaster, Templestowe, Bulleen and Greensborough. Population at the time (1996) was 19,000 but links to the past remain strong. Mudbrick houses along the Heritage Trail The saving of Shillinglaw Cottage from demolition in 1963 and relocation brick by brick. PART 2 – ENVIRONMENT (07:18-14:44) Peter Brock (with Bev Brock in background) at St Andrews market discusses his childhood growing up in the district and the environment and the values it instilled upon him and his own family. The Brocks have been in the district since the 1860s. Nillumbik Shire responsible for managing three catchment areas; Diamond Creek, Arthurs Creek and Watsons Creek. Follows the course of the Diamond Creek commencing in Kinglake through the district to its confluence with the Yarra River at Eltham at Eltham Lower Park. Highlights Eltham Lower Park community revegetation program and the newly constructed (1996) viewing platform built of new and recycled timbers at the confluence of the Diamond Creek and Yarra River. Also featured are outdoor recreation on the river and at Eltham Lower Park including the Diamond Valley miniature railway. Sugarloaf reservoir and recreational activities and fishing. Aerial view of Memorial Park and Shire of Eltham War Memorial tower at Garden Hill, Kangaroo Ground. Significant tourism opportunities for the shire with 3 million potential day-trippers in metropolitan Melbourne. Council and community working together to find a way to promote the shires natural and artistic assets. At Arthurs Creek, the Brock family and neighbours working together to take care of their waterway. Peter Brock’s uncle, Sandy Brock talks about environmental management and the Arthurs Creek Landcare group and actions to eradicate blackberry problem. Having previously planted Cypress rows they are replacing them with indigenous species to improve the water supply, keeping cattle out of the creek bed to improve the quality downstream flowing into the Yarra. Eltham East Primary School Band playing “All things bright and beautiful” merges into scenes of the bushland sanctuary set aside by the school in 1980 with unidentified teacher discusses the sanctuary and their education program and school children’s comments. Plight of a family of Wedgetail eagles nesting in the path of a developer’s bulldozer at North Warrandyte and actions to save their nesting areas. PART 3 – ARTS (14:45-22:00) Arts and Jazz festival at Montsalvat featuring interviews with Sigmund Jorgensen discussing Montsalvat and its principles. Also Matcham Skipper. Clifton Pugh’s funeral at Montsalvat and his legacy at Dunmoochin near Cottlesbridge with artists in residence, at the time, Chicago artist Charles Reddington who discusses the benefits of the experience. An unidentified female artist also talks about the program and why people are drawn to the area. Unidentified man on street talking about the amount of talent in the area, artists, poets, musicians, authors. Artist Ming Mackay (1918-2009) interviewed talking about the people she mixes with on “the Hill”. Works of local artists are displayed Eltham Library Community Gallery and Wiregrass gallery with a new coffee shop at the Wiregrass making it an even more popular destination. Music at St Andrews Hotel (may be a little bit country) and the Saturday market where likely to hear anything. Sellers and patrons at the market asked about what attracts them to the market and where they came from. Scenes of poets/authors giving readings. CREDITS Music by John Greenfield from the CD Sweet Rain “The Snow Tree”, Uncle Music UNC 2001 Cameras - David Mirabella and Peter Farragher Editor – Olwyn Jones Written and Produced by Jason Cameron A Jason Cameron Proction for Nillumbik ShireProvides a record of the relatively newly created Shire of Nillumbik at the time and the features and attactions of the shire in its people arts, culture and environmentVHS Cassette (two copies) Converted to MP4 file format 0:22:00, 1.60GBvideo recording, arthurs creek, arthurs creek landcare group, artists, artists in residence, arts, arts festival, authors, blackberry, brock family, bulldozer, bulleen, bushland sanctuary, caledonian gold rush, charles reddington, clifton pugh, cottlesbridge, cypress rows, developer, diamond creek, diamond creek mine, diamond reef, diamond valley miniature railway, doncaster, dunmoochin, education program, eeps, eltham, eltham east primary school, eltham east primary school band, eltham library community gallery, eltham lower park, environment, fishing, flour mill, fruit growing, fruiterer, garden hill, gold mining, green wedge, greensborough, heritage trail, hurstbridge railway line, jazz festival, jock ryan, kangaroo ground, kangaroo ground tower, kinglake, maroondah aqueduct, matcham skipper, memorial park, ming mackay (1918-2009), montsalvat, mudbrick houses, music, musicians, nesting area, nillumbik historical society, nillumbik shire, north warrandyte, old timer, orchards, peter brock, plenty river, poets, population, recreation, recreational activities, revegetation, robert hoddle, sandy brock, shillinglaw cottage, shire of eltham war memorial, sigmund jorgensen, st andrews hotel, st andrews market, sugarloaf reservoir, templestowe, the hill, tourism, viewing platform, warrandyte, water catchment area, watsons creek, wedgetail eagle, whittlesea, wiregrass gallery, wurundjeri, yarra river, jack powell

Gordon Ford was a conservationist and a pioneer of natural-style landscaping. He came to Eltham in 1948 and bought a block of land in John Street extending through to Pitt Street. Artist Peter Glass lived opposite in John Street. Early on, Gordon worked for Alistair Knox on construction of the mudbrick Busst house amongst others. At the same time, with the help of friends including artist Clifton Pugh, he progressively built his own house ‘Fülling’, which "grew like Topsy" utilising a variety of second-hand materials. His main focus, which became his life-long occupation, was garden landscaping. Inspired by Edna Walling and Ellis Stones, he sought to reflect the bush settings of rural Victoria where he had grown up. Commissions included Monash University and countless industrial sites but designing for the archetypal quarter-acre block gave him the most satisfaction. He had a huge impact on the look of gardens in Australia from the 1950s, creating seemingly natural bush environments by carefully integrating indigenous and exotic plantings. Gordon died in 1999 and is buried in Eltham Cemetery; the gravesite in a natural landscape setting is marked by a plaque. Another plaque (away from his grave) notes his landscaping design work within the cemetery grounds and at Alistair Knox Park. Gordon Craig Ford 30-8-1918 - 16-6-1999 Landscape designer Loved and respected Husband of Gwen, father Of Angela, Emma, Ben, Cassie, Dailan, Caitlin. A good life lived well Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p55This 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, graves, eltham cemetery, gordon craig ford, gravestones, gwen ford, memorials

Gordon Ford was a conservationist and a pioneer of natural-style landscaping. He came to Eltham in 1948 and bought a block of land in John Street extending through to Pitt Street. Artist Peter Glass lived opposite in John Street. Early on, Gordon worked for Alistair Knox on construction of the mudbrick Busst house amongst others. At the same time, with the help of friends including artist Clifton Pugh, he progressively built his own house ‘Fülling’, which "grew like Topsy" utilising a variety of second-hand materials. His main focus, which became his life-long occupation, was garden landscaping. Inspired by Edna Walling and Ellis Stones, he sought to reflect the bush settings of rural Victoria where he had grown up. Commissions included Monash University and countless industrial sites but designing for the archetypal quarter-acre block gave him the most satisfaction. He had a huge impact on the look of gardens in Australia from the 1950s, creating seemingly natural bush environments by carefully integrating indigenous and exotic plantings. Gordon died in 1999 and is buried in Eltham Cemetery; the gravesite is marked by a plaque. Another plaque (away from his grave) notes his landscaping design work within the cemetery grounds and at Alistair Knox Park. Gordon Craig Ford Landscape Designer 30. 8 .1918 - 16. 6. 1999 Eltham Cemetery Trustee fom 1987 - 1999 Gordon settled in Eltham in 1948 He was a conservationist and a pioneer of natural style landscaping, continuing design and construction until his death. His local work and influence can be seen in many private gardens, the Eltham Cemetery and the Alistair Knox Park.Born Digitaleltham cemetery, gravestones, gordon craig ford

Visit to Dunmoochin prior to Clifton Pugh's home being destroyed by fire in 2002. 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.fay bridge collection, 1995, barreenong road, cottles bridge, dunmoochin

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.fay bridge collection, 2016-05-14, art gallery, barreenong road, clifton pugh, cottles bridge, dunmoochin, maurice hurry

This magazine has been collected for the article on page 2, "Pioneers and Painters" about the book published by the Shire of Eltham in celebration of its centenary, edited by Alan Marshall with a photo of Alan Marshall with the book. The article provides some background to Marshall's association with Eltham and Kangaroo Ground and includes notable mentions of Peter Glass, Cecile Glass, Clifton Pugh, Jon Olsen, Justus Jorgensen, Matcham Skipper, Montsalvat and Mudbrick houses. "The Australian Women's Weekly" has been digitised and is accessible via the National Library of Australia's Trove website. Digitised editions cover the period from its first issue in 1933 to 1982 only. The magazine published by Australian Consolidated Press out of Sydney, NSW was a national magazine and at times different issues were published for specific states. This particular issue is one such an example in that the August 4, 1971 edition available via Trove (https://trove.nla.gov.au/newspaper/page/4888729) has a different front cover and the Alan Marshall article on page 2 does not exist. The cover on this edition was originally published in NSW on the July 28 issue (https://trove.nla.gov.au/newspaper/page/4887489)alan marshall, cecile glass, clifton pugh, jon olsen, justus jorgensen, matcham skipper, montsalvat, mudbrick houses, peter glass, pioneers and painters

Contained in Volume 1 of a set of two spiral magnetic photo albums, each containing 10 leaves, 20 pages; Vol. 1 labelled "Houses - Eltham South" and Vol. 2 labelled "Eltham Houses". Leaflet advertising house auctioneltham, eltham south, real estate advertisement, houses, alistair knox, clifton pugh, downing, john howley

A4 sheet containing 3 sepia photos of De La Haye Family, Rurric(jnr), Harry and FINDLAY Street house. Taken from typed De La Haye booklet Regis. No. 432-01Rurric (jnr) 2nd World War Veteran Darwin & PNG. (P.63) Harry in front yard of “Clifton” ( p.65)de la haye family, photographs, rurric de la haye, harry de la haye

Baker and Grocer store, cnr. Main Road and York Street, Eltham, early 1900s. Sign on side of building "Baker, Grocer & Summer Drinks" This image appears to be of the baker/grocery store after it was purchased in 1902 by Mrs Sarah Burgoyne and her husband, John James Thomas Burgoyne. It is possible that Mrs Sarah Burgoyne is the lady in front of the store with her eldest daughter, Charlotte and youngest son, James. Another daughter (Frances) and the family dog are watching from the doorway. In 1902 Mrs Sarah Burgoyne purchased from Wilfred Henry Johnston, the property on the southern corner of Main Road and York Street, Eltham, which consisted of a store and bakery establishment occupied by Mr. Luther Haley whose lease had expired around the same time. Mr. Haley had not been prepared to leave as he was unable to secure at Eltham a suitable house in which to carry on his business. Wilfred Johnston applied for an eviction of Hayley, which was heard at Eltham Courthouse in August 1902. Hayley advised he was building a place near the railway station which he expected to be done in about three weeks’ time. The court gave him the three weeks to vacate. Hayley’s new premises near the station became the present shopping district’s first shop and he ran it successfully till 1917 when the family moved to Clifton Hill, and he became a publisher. Their eldest child Leslie drowned in the Diamond Creek in early 1904, aged 12.Sepia photograph mounted on cardeltham, eltham bakery, grocer, john james thomas burgoyne, main road, sarah jane burgoyne (nee benson), summer drinks, york street

[from EDHS Newsletter No. 78, May 1991:] DUNMOOCHIN TRIP "Dunmoochin" was the home of the famous artist Clifton Pugh who died last year. The house also gives an informal name to the surrounding area at Cottles Bridge where artists, conservationists and like minded people have made their homes. This is an area of unconventional houses blending in with the surrounding bushland. The Pugh house is a rambling complex including studios and a large pottery kiln. It contains many of Clifton Pugh's works. For this excursion we have arranged a guided visit of the Pugh house and hope to be able to visit another house in the area. We will also be able to wander through bushland which Clifton had purchased for conservation purposes. This will be an afternoon excursion on Sunday 26th May starting with lunch (bring your own) at 12:30 pm at the Panton Hill Memorial Park. Transport will be by private car but transport can be arranged for those not wishing to drive. There is no cost but we need to be advised of members attending. Advise Russell Yeoman at the May Meeting or by 10th May if you intend to go. We will not be able to add extra people after that date.Three colour photographsactivities, clifton pugh, dunmoochin

[from EDHS Newsletter No. 78, May 1991:] DUNMOOCHIN TRIP "Dunmoochin" was the home of the famous artist Clifton Pugh who died last year. The house also gives an informal name to the surrounding area at Cottles Bridge where artists, conservationists and like minded people have made their homes. This is an area of unconventional houses blending in with the surrounding bushland. The Pugh house is a rambling complex including studios and a large pottery kiln. It contains many of Clifton Pugh's works. For this excursion we have arranged a guided visit of the Pugh house and hope to be able to visit another house in the area. We will also be able to wander through bushland which Clifton had purchased for conservation purposes. This will be an afternoon excursion on Sunday 26th May starting with lunch (bring your own) at 12:30 pm at the Panton Hill Memorial Park. Transport will be by private car but transport can be arranged for those not wishing to drive. There is no cost but we need to be advised of members attending. Advise Russell Yeoman at the May Meeting or by 10th May if you intend to go. We will not be able to add extra people after that date.Two colour photographsactivities, clifton pugh, dunmoochin, leon saper