non-fictionAn illustrated survey of public mural projects during the 1970's and 1980's in metropolitan and regional communities including feminist, Trade Union, and Indigenous projects.murals, trade unions, women's murals, indigenous, urban art, political art, community arts, community arts network, eve glen, carol ruff, sarah macnamarra, barbary o'brien, community arts board, geoff hogg, ann newmarch, merilyn fairskye, catriona moore

non-fictionA study of the field of Community Arts in Australia and the history of the Community Arts Board.community arts, art and working life, community arts board, community arts network, australia council, trade unions, murals, posters, activism, arts funding

MEDIUM: Oil on paper. DESCRIPTION: Blue, white and brown oil painting on paper, mounted on white board under glass, white outer frame. An abstract close up, bones are lined up vertically along the full length of the canvas against a bright blue background and a centrally placed horizontal earthy toned background, the bones almost appear attached, as to a cowboys belt. Initialed and dated on image, proper left bottom corner.them, oil, bathgate, bones

MEDIUM: Gouache on paper DESCRIPTION: Red, black and blue Image under glass, black frameSigned, titled and dated on backing boardbell, northcote, sky, meatworks, gouache

MEDIUM: Screenprint of drawing. DESCRIPTION: Black and white, signed print under glass, black outer frame, white board inner frame.Two figures are central on a light background. A man approaches a woman on a period chair. Signed across bottom of print (proper right).print, boyd, signed, limited, edition

MEDIUM: Acrylic on paper. DESCRIPTION: Image ranges from dark brown to pale brown with white. Light colored timber, outer frame with glass covering, white board and an inner frame. A very busy piece full of activity, starting from the bottom left we have an areoplane which is perhaps how this vacation begins, the sun sits above it and a bikini clad woman who has arrived to her destination is placed above the sun. There is cruise ship, a martini glass and a whale embracing the outer scene. Waves, a surfer, a marlin and a small guitar sit at the lower right. A large car takes the viewer to the centre of the picture where we come across a giant guitar. The music is what matters, this piece dances about the canvas in mushroom pinks and chocolates. Little outlines of fish fill the gaps. A very beachy scene. The image lyes quite flat to the eye, rough stick outlines of the images above. Signed proper left hand corner of image.bowers holiday, yardage, mambo acrylic

MEDIUM: Photographic print. DESCRIPTION: A photograph of abstract architecture. Black outer frame with glass front panel and white board inner frame. An abstract collection of building faces meeting towards a left off centre vertical line collision point. This picture is a meeting of mirrors, how many remains a mystery. Where one mirror or building starts and another ends, to the viewers eye is met with some uncertainty. Following lines, the clearest meeting of mirrors is where the building on the left appears to be the same and collides with a variety of other buildings coming horizontally in a distinct vertical line to the top of the image. The bulidings on the right have somehow through the skill of the photographer captured a bermuda triangle of walls. The mirroring angles of the walls being from either several different buildings, or from several different mirrors. This creates a strange collecetion of imagery, the viewer unable to make clear distinctions of where something starts or ends or from where it is coming from. The tonal shades and shadows created also play a role in creating an interesting collage of shapes and lines. This piece essentially speaks of lines, angles, geometric shapes, meeting points, shadow and light. Signed and dated on white board inner frame, directly under left corner of image.photograph, st, considine, converge, collins

MEDIUM: Inkjet print on cotton rag. DESCRIPTION: Abstract image, black and pale brown/ivory, black outer frame with glass, white board inner frame under glass. The objects appear to be broken up pieces of something greater. Pieces of a greater machine, here re-assembled in hard angular lines and triangular blocks, in abstracted form. The image is a close up, the ink on cotton comes up in rough grainy scratches of shadow. Shades of grey with highlights of blue. Dark angles with patches and corners of pure black. Hard dark lines which meet with white surfaces, blend into grey.Signed, titled and dated on backing board.de, grouchy, lightspace, inkjet

MEDIUM: Photo/collage DESCRIPTION: Photo collage Green wooden outer frame with glass front Image and yellow board inner frame under glass. The complete image is made up of 18 individual photographs compiled together to make one image. The image is of Disney Florida’s 25th Anniversary; here the artist captures the excitement and colour of such an event. The textural quality this collage technique offers is an interesting one. Each photograph has an individual quality about it, the outer perimeters of each print having lighter or darker edges to its neighbouring print. Continuous lines do not always meet; the tops of spiers are at times cut off. The tonal qualities of each print also vary, some slightly, some dramatically different to each other. Signed "Massimo'96" proper right hand corner in image - Vertical script.photograph, world, di, sora, massimo, collage, disney, florida

MEDIUM: Photograph DESCRIPTION: C.type print Black outer frame with glass panel White board inner frameCertificate of authenticity on reverse of imagephotograph, ellis, angus, young, ac dc

MEDIUM: Photograph / Silver bromide DESCRIPTION: Black and white photograph, silver bromide Black outer frame with glass front Image and white board inner frame under glassSigned and dated on on white board inner frame, proper left corner - under photographphotograph, silver, gibb, stone, angel, carlton, bromide

MEDIUM: Oil pastel on paper DESCRIPTION: Red oil and pastel painting Cream outer frame with glass front Image and white board inner frame under glassSigned and dated; bottom proper left corner Signed and dated on backing board - geographical referencecorner, store, goldberg, pastel

MEDIUM: Acyrlic on paper DESCRIPTION: Black and white acrylic painting on paper Black outer frame Paper mounted on tan colored boardSigned and dated along bottom edge of tan colored boardacrylic, hunt, city, lights

MEDIUM: Photograph DESCRIPTION: Green and black photography Black outer frame with glass front Image and black board inner frame under glassTitle and date on backing boardphotograph, kroh, untitled, 04

MEDIUM: Oil and fabric on board

MEDIUM: Unknown DESCRIPTION: Image ranges from black/dark brown to gold/yellow Timber outer frame with glass front White board inner frame Inscription on reverse Signed and dated; bottom proper left corner on white boarsegg, clancy golden

MEDIUM: Photograph/Print DESCRIPTION: Black and white photograph print No outer frame White board frameSigned, titled and dated under bottom of image on printbanda that, dress photograph

MEDIUM: Watercolor painting DESCRIPTION: Gold outer frame with glass front Image and white board inner frame under glass Signed, proper left bottom corner on imagepeitsch, horizons, watercolor

MEDIUM: Photograph/Print DESCRIPTION: Photographic collage Black outer frame with glass Image and white board inner frame under glassSigned and dated; proper left corner on white board under imagephotograph, de, print, me, roach, catch, if, you, can

Great Hall at Montsalvat built 1938-52, designed by Justus Jorgensen Covered under National Estate, National Trust of Australia (Victoria) State Significance, Victorian Heritage and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p129 At first glance, Montsalvat, the artists’ community at Hillcrest Avenue, Eltham, could belong to another time and place. The French provincial Gothic-style buildings blend picturesquely with the introduced and native trees and farm animals on the five hectare property. But Montsalvat belongs very much to today’s Eltham, having inspired much of its creative activity and style. The use of mud-brick and recycled building materials, for which Eltham is so well-known, was largely popularised by Montsalvat. Montsalvat – unique in Victoria and probably in Australia – is registered by the National Trust and National Estate.1 Montsalvat, named after the castle of the Knights of the Holy Grail, has attracted artists and intellectuals since it was founded in 1934. For years at weekends, artists, lawyers, philosophers, politicians and others, who shared a love for what Montsalvat stood for, gathered for a meal and stimulating discussion. The focus for this gathering of talent was Justus Jörgensen, an eccentric man with vision and charisma. It was Jörgensen’s foresight that saw the creation of Montsalvat, which in 1975 was formed into a trust to benefit the Victorian people. The property was then valued at about three million dollars. It is now visited by thousands of people annually. Born in 1894 and brought up a Catholic, Jörgensen had trained as an architect. He later studied painting at the National Gallery School under artist, Frederick McCubbin, then joined the studio of artist Max Meldrum. In 1924, Jörgensen married medical student Lillian Smith, and with artist friends they travelled to Europe to study the great masters. In London Jörgensen exhibited in several major galleries. One of his still life paintings was included in the book The Art of Still Life by Herbert Furst, which featured 100 of the greatest ever still life paintings.2 In 1929, Jörgensen returned to Melbourne where Lil, now qualified, worked as an anaesthetist at St Vincent’s Hospital. They bought a small house in Brighton and Jörgensen rented a large building in Queen Street for his studio until the Royal Automobile Club of Victoria bought it in 1955. While designing and overseeing the building of a studio for his friend the famous cartoonist Percy Leason, in Lavender Park Road, Jörgensen decided to buy land for a country retreat in Eltham. So the building of Montsalvat began. Jörgensen gathered around a dozen of his friends and students from his Queen Street studio. They set to work, first at weekends then some decided to live permanently on the site. Jörgensen had seen mud-brick buildings in Spain and recognised that Eltham’s clay soil was ideal for mud-bricks and although labour intensive, it was a very cheap way of building. Jörgensen’s students and friends worked under his direction with the help of local tradesmen, including carpenter, Len Jarrold and later stone mason, Horrie Judd. In return Jörgensen would give the students a painting lesson or two. It was the Great Depression when many were out of work. Jörgensen also inspired people to give generously of money and materials. With their help Jörgensen found second-hand materials for building. Friends donated slate for roofing, discarded firebricks were used for flooring and windows and doors and a cast-iron circular staircase came from a wrecker. The students’ day started at 7am with building and domestic chores, shared equally between the sexes. The first building was used by his friends at weekends and then became a home for his wife Lil. It consisted of three rooms and an attic under a high-pitched roof. Jörgensen then built a similar structure with the same high-pitched roof as a more permanent home for his students. The two buildings were joined together with a tower and a studio for Jörgensen. While excavating for the studio a reef of yellow mud-stone was found and then used in construction. The next building was the Great Hall, to be used for dining, exhibitions and meetings and completed in 1958, after a halt during the war. Whelan the Wrecker donated the stone-framed windows from the building that housed the Victorian Insurance Co. in Collins Street, which had been demolished in the 1930s. The swimming pool was donated and cubicles were built for the students with their initials marked in tiles on each doorstep.1 One of Jörgensen’s great abilities was to recognise how to use material which harmonised. He would comb through wreckers’ yards for what he needed. Regarding his buildings as sculptural pieces, his first consideration was for the aesthetic quality of a building and only then for its functionality.2 At Montsalvat, Jörgensen found he was able to put his ideas into practice without compromise and those who worked with him had to conform to his ideas. With the Jörgensens, the colony’s original nucleus consisted of the Skipper family – Mervyn and wife Lena, daughters Helen and Sonia and son Matcham,who was to become an eminent jeweller and sculptor represented in National Gallery collections throughout Australia and in European museums.3 Other members were Arthur Munday, Lesley Sinclair, Helen Lempriere, Ian Robertson, John Smith, George Chalmers, John Busst and Sue Van der Kellan; also Jörgensen’s three sons – Max, Sebastian and Sigmund – and Saskia, Sonia Skipper and Arthur Munday’s daughter. Montsalvat went through some hard times when local gossips spread rumours of sexual shenanigans at Montsalvat. However Montsalvat also had many local supporters – especially amongst the local tradespeople. The colony was certainly unconventional – with Jörgensen’s wife Lil (and son Max) and life-time partner Helen Skipper, (mother of Sebastian and Sigmund) living at Montsalvat. Sonia Skipper says in her biography that the group were ‘very conscious of their responsibilities to each other and a desire to make their relationships work’.4 By World War Two many buildings around the Great Hall were completed. Jörgensen was a pacifist, as were most of his students. Some of the Montsalvat community enlisted while others engaged in essential services like dairy farming and market gardening for the war effort. It was then that Jörgensen constructed farm buildings. After the war many well-known personalities such as Clifton Pugh, landscape gardener Gordon Ford, and builder Alistair Knox, were drawn to Montsalvat. They learnt that building was not a ‘sacred cow’ only for professionals, but that anyone who was willing to get their hands dirty could do it. The post-war shortage of materials also encouraged builders to follow Montsalvat’s lead in reusing materials. When Jörgensen died in 1975, his influence did not – thanks largely to the vigilance of his son, Sigmund, who became its administrator. The weekend dinners have gone, but in 2008 about 14 artists still work at Montsalvat – some living there – including a couple who have been there since its early days. Under Sigmund’s direction Montsalvat further expanded its activities which included festivals, art exhibitions, concerts and weddings. Sigmund completed the Chapel, then the Long Gallery next to the pool, After the barn burnt down, he replaced it in 1999 (the builder was Hamish Knox, Alistair’s son) with a new gallery and entrance and added a restaurant. Sigmund has been careful that any new building blends in with the character of Montsalvat. In 2006 Montsalvat was restructured for its continued financial viability and with the help of Arts Victoria a new executive officer was appointed. A representative board from the wider community was established, which includes members from the former Montsalvat Trust including Sigmund Jörgensen – who is now the heritage and arts adviser to the new company Montsalvat Ltd.5 Today, visiting Montsalvat one still sees artists, students and visitors enjoying the unique and beautiful surroundings.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, eltham, great hall, montsalvat

The Eltham Community Art & Craft Market was a long-standing weekend market in the Eltham area, offering, at first, arts and crafts of many types, made by local residents. It expanded to include produce in later years. Initially run by the Eltham Community Market Stallholders Association Incorporated, it is now run by Diamond Valley Community Support. These boards were displayed at the market to advertise upcoming market dates.GHS member Dawn Bennetts was a stall holder at this market and donated her memorabilia.Yellow plastic board with green text.eltham community market, diamond valley community support, markets

The Eltham Community Art & Craft Market was a long-standing weekend market in the Eltham area, offering, at first, arts and crafts of many types, made by local residents. It expanded to include produce in later years. Initially run by the Eltham Community Market Stallholders Association Incorporated, it is now run by Diamond Valley Community Support. These boards were displayed at the market to advertise upcoming market dates.GHS member Dawn Bennetts was a stall holder at this market and donated her memorabilia.Yellow plastic board with green text.eltham community market, diamond valley community support, markets

The Eltham Community Art & Craft Market was a long-standing weekend market in the Eltham area, offering, at first, arts and crafts of many types, made by local residents. It expanded to include produce in later years. Initially run by the Eltham Community Market Stallholders Association Incorporated, it is now run by Diamond Valley Community Support. These boards were displayed at the market to advertise upcoming market dates.GHS member Dawn Bennetts was a stall holder at this market and donated her memorabilia.White plastic board with red text."1997" written in pen on top right of postereltham community market, diamond valley community support, markets

The Eltham Community Art & Craft Market was a long-standing weekend market in the Eltham area, offering, at first, arts and crafts of many types, made by local residents. It expanded to include produce in later years. Initially run by the Eltham Community Market Stallholders Association Incorporated, it is now run by Diamond Valley Community Support. These boards were displayed at the market to advertise upcoming market dates.GHS member Dawn Bennetts was a stall holder at this market and donated her memorabilia.White plastic board with red text."1998" written in pen on top right of postereltham community market, diamond valley community support, markets

The Eltham Community Art & Craft Market was a long-standing weekend market in the Eltham area, offering, at first, arts and crafts of many types, made by local residents. It expanded to include produce in later years. Initially run by the Eltham Community Market Stallholders Association Incorporated, it is now run by Diamond Valley Community Support. These boards were displayed at the market to advertise upcoming market dates.GHS member Dawn Bennetts was a stall holder at this market and donated her memorabilia.White plastic board with blue text.eltham community market, diamond valley community support, markets

The Eltham Community Art & Craft Market was a long-standing weekend market in the Eltham area, offering, at first, arts and crafts of many types, made by local residents. It expanded to include produce in later years. Initially run by the Eltham Community Market Stallholders Association Incorporated, it is now run by Diamond Valley Community Support. These boards were displayed at the market to advertise upcoming market dates.GHS member Dawn Bennetts was a stall holder at this market and donated her memorabilia.Yellow plastic board with green text.eltham community market, diamond valley community support, markets

The Eltham Community Art & Craft Market was a long-standing weekend market in the Eltham area, offering, at first, arts and crafts of many types, made by local residents. It expanded to include produce in later years. Initially run by the Eltham Community Market Stallholders Association Incorporated, it is now run by Diamond Valley Community Support. These boards were displayed at the market to advertise upcoming market dates.GHS member Dawn Bennetts was a stall holder at this market and donated her memorabilia.Yellow plastic board with black text.eltham community market, diamond valley community support, markets