Greensborough's Kerryn and Stephen Longmuir have been honoured with an award for their tireless dedication to foster caring.News article 1 page, black text, colour image.greensborough, victoria's child protection award, longmuir family, foster care

Sepia photograph of a family. The mother & father are sitting on wooden chairs. The father is wearing a three piece suit and watch chain and has a young boy on his knee. The mother is wearing a dark dress, below knee length, and hat. She is holding a baby. Written on the back: Dear Kath & Harry, How are you all down there. All are well here. Am sending you a photo of the family group. Hoping all are well. Love from Nell.photograph, portrait, family, foster & wilson collection, photograph

Shaped, brown wooden picture frame with rectangular picture in the centre and an oval one on each side of it. At each end are carved wooden gumnuts which have been glued on. Some pieces are missing. The left photo is a sepia, waist high portrait of two young women. Both are wearing lacy type dresses with high necklines. One is wearing a locket? and the other a brooch. The centre photo is a young woman sitting at a window. She is wearing a lacy type dress and a bracelet on her right arm and also a ring. There are some flowers in a vase and on her lap. The photo on the right is of an older woman wearing a dark embroidered high neck dress with a white frill collar. She has a brooch at the neckline. Also a waist high portrait.person, family, family, foster & wilson collection, photograph

Yields information about the appearance of Stones corner and trams in the early 1960'sDigital image from the Wal Jack Ballarat Album of a photograph of trams No. 20 and 30 in Main St, Ballarat with the Stones building in the background. Both trams are heading into the city. 27-12-1961. In the background is the Verna Cake Shop. No. 20 has a roof advertisement for "Foster Clark's family foods" See image i2 for rear of photograph. See image i3 for hi res scan of print. See image i4 for hi res scan of negativeOn rear of photograph in ink "SEC, Ballarat Nos. 20 and 30 in Main St Ballarat East (9.10am), 27-12-61" and Wal Jack stamp in top right hand corner with number "T1238" written in.trams, tramways, main st, stones corner, tram 20, tram 30

Black and white photograph of W2 's at the Batman Ave terminus late 1950's to early 1960's. .1 - W2 388 with destination of Burwood, route 74 with Flinders St station Swanston St awning in the background. Has adverts for Long John whiskey, Apex Ford, and Foster Clarks family food. .2 - W2 337 just after arrival with the conductor about to raise the pole front pole. Has passengers leave and boarding the tram from across the roadway. Showing route 76. Has advert on the drivers panel for Remy Martin Brandy. Printed on Fujichrome paper. Not known who took the photograph or when it was printed.Stamped in black ink on back "TMSV Sales"trams, tramways, batman ave, conductors, burwood, tram 388, tram 337

Rowing was introduced to Bendigo in 1872 by John Godfrey, who built the first wooden skiff and promoted the sport locally. The Sandhurst and Bendigo Rowing Clubs were formed in 1873, with Lake Weeroona's creation in 1879 providing a permanent home for the club. BRC members have competed nationally and internationally, including at the Commonwealth and Olympic Games. Notable achievements include women from Bendigo winning the Henley on the Maribyrnong three years in a row during the 1930s, challenging gender norms in sport. Key athletes such as Hannah Every-Hall and Neville Howell have played significant roles in the club's development and reputation. The club emphasizes inclusivity, welcoming juniors, women, men, and masters, and fostering a family-friendly, socially responsible culture.The ethos of volunteerism and community connection is central to the club's identity and future aspirations. The club has survived challenges such as droughts, wars, and the COVID-19 pandemic, consistently adapting and continuing its activities. Physical mementos and historical relics are preserved and celebrated, especially during milestone events like the 150th anniversary. 1872 the First skiff built and rowing demonstrated in Bendigo.1879: Lake Weeroona created.1927: Club officially named Bendigo Rowing Club.1969: Revitalization led by Olympic gold medallist Neville Howell.1992: Jason Day represents Australia at the Barcelona Olympics.2012: Hannah Every-Hall competes at the London Olympics.2022: 150th anniversary celebration.Bendigo Advertiser Article - Rowing for 150 years, Sat 04 June 2022, by Anthony Pinder This item contains the following documents: 3486.61a Colour photo of current Bendigo Rowing Club President Lynda Davis and Jesse Sherwood in the club rooms 3486.61b Colour photo of four members in a kayak 3486.61c Colour photo of Livia Rosaia exercising 3486.61d Black and white photo of the Bendigo Rowers in 1905 at the old sheds which were situated at the Nolan St end of Lake Weeroona 3486.61e Bendigo Advertiser Article - Rowing for 150 years bendigo, bendigo rowing club, john godfrey, lake weeroona

Distributed to residents and rate payersSunshine City Council. Council Report No 12 Headings December 1988|A message from your Mayor Ian Mill|Making millions from Sunshines garbage|Tip tickets|Use Proper garbage bins|Waster Paper pickup service|Council acts to minimise hardship on rates|Sunshines Management Team|$1.5 million for Nursing Home|Sunshine District Centre will boost Commerce|Government Grants|Hunt Club lives againFree help in Family Planning|August Election results|Mayor and Mayoress meet the Pope|Mayor meets Asian delegates|Librays new computer linkup gives better cheaper service|Council services in the holidays|A new Fitness Centre free to use anytime|Sunshines Sports Calendar Girls|Sunshines Own Postcard|Sunshine City Council. Council Report No 14 Headings July 1999|Council Electrions in August|West Sunshine Community Centre|Waste Paper Pick Ups End|Other Recycling News|Marie Mill Community Centre|Location of Polling Places|Family services|Foster Care|Family Support|Emergency Crisis Assistance| Financial counselling|Family Counselling|Vice Regal Visit to Sunshine|Out of School Hours Programs|About the Library|The Hunt Club community Centre|Leisure and Swimming Centrews|Labour Market Programssunshine city council

This photograph documents a moment from the 1990 Jacana Primary School Christmas picnic, likely held at Greenvale Reservoir Park, a popular recreational area in Melbourne’s northern suburbs. The image shows students, families, and staff gathered under a wooden pavilion, engaging in festive activities that marked the end of the school year. Jacana Primary School was established in 1959 to serve the growing suburban community of Jacana, part of Melbourne’s post-war urban expansion. The school became a central institution in the area, not only for education but also for fostering social bonds among families from diverse backgrounds. Annual events like the Christmas picnic were key to the school’s ethos, promoting inclusivity, celebration, and connection to nature. Greenvale Reservoir Park, where the picnic was likely held, offered a scenic and accessible venue for such gatherings. Its open spaces and family-friendly amenities made it an ideal location for school events, reinforcing the school’s commitment to outdoor learning and community engagement. The photograph is historically significant as it reflects broader trends in public education during the late 20th century in Melbourne’s outer suburbs—particularly the role of schools in building community identity and supporting intergenerational relationships. It also captures the spirit of Jacana Primary School before its closure in the early 2000s, preserving a visual memory of its contribution to local life.This photograph, taken during the 1990 Jacana Primary School Christmas picnic at Greenvale Reservoir Park, holds cultural and historical significance as a visual record of community life and educational values in Melbourne’s northern suburbs during the late 20th century. It captures a moment of joyful gathering under a wooden pavilion, where students, families, and staff came together to celebrate the end of the school year. Jacana Primary School, established in 1959, served as a cornerstone of the Jacana community until its closure in the early 2000s. Events such as the annual Christmas picnic were central to the school’s identity, fostering inclusiveness, friendship, and a strong sense of belonging. The choice of Greenvale Reservoir Park reflects the school’s connection to local landscapes and its commitment to accessible, outdoor learning experiences. The image is significant not only for its depiction of school traditions but also for its broader representation of how public education in Melbourne’s outer suburbs supported social cohesion, local identity, and intergenerational connection. It stands as a testament to the enduring values of joy, community, and inclusivity that defined Jacana Primary School and its legacy within the region.Photograph on glossy paper of a group children in the park.PH18289 (crossed out) PH-4209 (crossed out) PH-4868jacana primary school, christmas picnic, 1990, jacana, christmas party

These two cards have been sent In 1929 by two early Warrnambool amateur radio persons to William (Bill) Douglas, an amateur radio person with the call sign, VK3GA. The cards are QSL cards, sent as a result of radio contacts being made between two amateur radio persons. Bill Douglas (1898-1986) was a Victorian schoolteacher who was the first licensed amateur radio person in the Otway Ranges district. He was licensed in January 1929 and these cards refer to radio contacts in the July of that year. The cards do not feature the call signs of the contacts but were standard cards used by amateur radio people who did not have personalised cards at the time,. One card was sent by J.F. Anderson (VK3WN) whose address at the time was 100 Foster Street, Warrnambool. He was possibly connected to the family of James and Jane Anderson who lived for some time in Foster Street but later went farming in the Nullawarre district. The other card was sent by W. Brown of 23 Mackay Crescent South Warrnambool (call sign unknown). No information has been found on this person.These two cards are of some importance as they are very early examples of amateur radio operations in Warrnambool. .1 A rectangular card, very faded and torn at edges. The card has a red border and red and black printing and handwritten material. On the back is a handwritten letter. .2 A rectangular card, very faded and torn at the edges. The card has a red border and black and red printing and handwritten material. On the back are a postal franking stamp, a green postage stamp and a handwritten address.1 a handwritten letter .2 Radio VK3GA Lavers Hill Victoriaamateur radio stations, w. douglas vk3ga, j.f.anderson vk3wn, w.brown warrnambool

This photograph was donated by the Bread and Cheese Club, Melbourne but it is not know to what group or institution it was originally given. It is a copy of a well-known photograph of John Feltham Archibald, taken about 1910 when he was obsessed with all things French and was known at the time as Jules Francois Archibald. John Archibald (1856-1919) was born at Kildare near Geelong (so is not a native of the Warrnambool district) but he lived for some time in Warrnambool with his family. He began his working life with the Warrnambool Examiner newspaper and its successor, the Warrnambool Standard before going to Melbourne. In N.S.W. in 1880, he established with John Haynes, the Sydney Bulletin , a journal that became the most influential one of its day, promoting nationalism and fostering Australian writers and poets. He left legacies to establish the Archibald Prize for artists and the Archibald Fountain in Sydney. This photograph of John Archibald is of some interest though it is a widely-known one and is not original. It is kept because John Archibald, a national figure in Australian History of some importance, spent his school years in Warrnambool in the 1860s and 70s where his father was a local policeman. He went to Henry Kemmis’ Warrnambool Grammar School and wrote about his time here in later years, He also commenced his career as a journalist with the Warrnambool Examiner newspaper and later the Warrnambool Standard newspaper before going to Melbourne. This is a black and white photograph of John Archibald, mounted on cardboard. It has been taken out of its original frame and the typed card with the original frame has been removed and attached to the back of the photograph.The typed card reads: ‘J.F.Archibald, A Native of Warrnambool District. Founder of the ‘Bulletin’ School of Australian Literature, Presented by the Bread and Cheese Club, Melbourne’ (note that this contains inaccurate information in that John Archibald was not a native of the Warrnambool district)warrnambool, archibald family, j f archibald, john archibald, john feltham archibald

Educational book used for teaching Spelling circa 1950s - 1960sHistorical: Comparative with educational books of different eras. An emerald green book with black writing (printed) with a thin and thick black line around the perimeter. Bound by 2 staplesA / Graded / Word-Book / for / Australian Schools / Junior and Senior Classes / (New on Enlarged Edition) / emblem / by / W. Foster, M.A. / and / H. Bryant, B. A.education. word study. spelling., davies family

Used as a pickle bottle by Mary Gilbert, local historian and Orbost high school teacher. . Mary Isabelle Gilbert was born in 1905 in Orbost, Australia. She was born to John Gilbert and Annie Cameron Gilbert, and had seven sisters and one brother. Four siblings died at a young age. .She was a teacher historian loved and respected by her family and the wider community.Mary Gilbert, B.E.M. was devoted to Orbost. She taught in Orbost for 40 years. She fostered the Orbost Historical Society and initiated the establishment of the Orbost Museum.Cut glass square shaped bottle with lid (202.2). Square designs with large diamond shape in centre.glass-container gilbert-mary

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

Photograph - black and white. Portrait of a man, well dressed in a plain suit, wearing a moustache.Foster, Pall Mall, Sandhurst.person, individual, portrait male, photograph. portrait of a man. unknown family collection.

Photograph, black and white. Portrait of a man. Well groomed, he has ringlet curls.Foster, Pall Mall, Sandhurst.person, individual, portrait male, photograph. portrait of a male. unknown family collection.

Photograph - black and white. Portrait of a young man, dressed in a buttoned up suit and tie, and a unassuming moustache.Foster - Pall Mall. Sandhurst.person, individual, portrait male, photograph. unknown family. portrait of a male.

This carte de visite was taken of Hiram Crawford in fire brigade uniform taken by Stewart & CO., Melbourne. Hiram Crawford was Captain of the Beechworth Volunteer Fire Brigade for twenty-five years. Hiram arrived in Australia at the age of 21 in August 1853. He mined for short time at Back Creek Bendigo, then went to the Ovens where he sought gold in Spring Creek, Buckland and 3 Mile. After moving to Albury for 18 months he married Anna, moved to Woolshed and was there for two years mining gold. After discovering his fortune he formed Crawford and Co. Coaching Lines in Beechworth in late 1856. It was this company which became the longest surviving coaching business in the State of Victoria. Hiram and Anna had two daughters. Anna died in March 1862 and in May Hiram left from Melbourne to return to the United States on a visit. Hiram married Martha Foster during this visit and returned to Australia in March 1863. With his coach line established, and leaving it under management, he moved around the north east of Victoria establishing and building shops and the Star Hotel and Theatre in Chiltern in 1866. In 1869 he moved to Melbourne for a few years in which time he built the Eastern Arcade in Bourke Street. In 1876 the family returned to Beechworth for a few years eventually moving to Everton where Hiram grew hops, tobacco, fruit trees and established the largest lemon orchard at that time in Australia. Hiram spent a considerable amount of his time helping to develop the North East of the State not only in his private endeavours but as a public figure. Among his many achievements a few are listed - Councillor, Mayor of Chiltern and Beechworth, President of the Shire on two occasions, Director of many mining companies, Inaugural Chairman and Director of the Beechworth Gas Company roles he held for over 20 years, Foundation member of Beechworth Pottery, Committee member of the Beechworth Hospital, Captain/Superintendent of the Vol. Fire Brigade for over 20 years, Foundation, Life member of and on the State Fire Brigade Board for many years, President of the North Eastern Railway League in Chiltern On a personal level Hiram was involved in lodges including St. Johns #14, Beechworth. and had several grazing properties in the Ovens area. He had the Forest Park Hotel at Carboor, the Creamery at Carboor, and grazing land on which the Milawa Creamery was built during his ownership. He was a committee member for 3 committees duirng the 1888 International Exhibition in Melbourne. Hiram had many voyages around the world studying irrigation, hop growing, tobacco growing and drying. During his retirement in Melbourne Hiram purchased many properties in the Elsternwick area and acted as an Estate Agent. After the death of his second wife Martha, Hiram married for the third time in 1912 to Sophia Maude Heatley. Crawford and Co continued until 1921. [Taken from HighCountryHeritage.com.au]Black and white reproduction of a studio portrait of Hiram Crawford in fire brigade uniform, printed on gloss photographic paper and bordered with a white frame.Badge on uniform sleeve reads: CAPTAIN / BVFB Obverse: AB/ Stewart & CO./ Melbourne Reverse: Hiram Collection/ BMM2435burke museum, emergency services, beechworth, carte de visite, black and white, fire brigade, hiram crawford, stewart & co., melbourne.

This photograph depicts a soldier, credited on the reverse as Fred Foster. The young man is dressed in military attire and is standing tall with a gun beside him. He is located in the Australian bush and the date of the photograph is unknown. Frederick “Fred” Arthur Foster was nephew to famous Bushranger Edward “Ned” Kelly. He was born on the 15th of March 1889 in Forbes, New South Wales. He was the eldest son of Catherine “Kate” Kelly and William Henry “Bricky” Foster. After the death of his mother in October of 1898 from apparent drowning, Foster (then aged 9) was raised by his grandmother Ellen Kelly (née Quinn) at Eleven Mile Creek in Victoria. On the 29th of June 1915, 26 year old Foster travelled to Melbourne, Victoria and enlisted in the Australian Army. He was a Private in the 17th Infantry Battalion (originally C.Company, 47th battalion). He previously was attached to the 55th Battalion but transferred in 1916. Prior to enlisting in the army, Foster worked as a Bee Keeper and served in the 16th Light Horse regiment at Benalla. Foster had blue eyes, brown hair and was of Presbyterian faith. On the 28th of February 1917, Foster travelled to France aboard SS “Golden Eagle”. He was killed in action in Lagnicourt, France on the 15th of April 1917 at 28 years old. The Battle in Lagnicourt France, on the Western Front, occurred from the 1st of March to the 30th of April of 1917 and was the location of fierce fighting between Germany and the British Empire. Germany became aware of a weakness they had along the Hindenburg Line, one of these weaknesses was located in Lagnicourt which is a small village in Northern France. Therefore, the Germans decided to launch a counter-attack in this area on the 15th of April at dawn. During this fight, German forces captured several batteries of the 1st Australian Division’s artillery but the Australians led a strong counter-attack by four of their battalions and recaptured the village and most of the guns from the German forces. German forces were forced into a premature withdrawal. This battle was not undertaken in typical WW1 “trench” style warfare. Instead, the battle was up on the ground in what was described as “old open style warfare”. In this battle, slightly more than 1000 casualties were Australian, with 300 of these prisoners of war. German forces suffered a loss of over 2300 casualties with 360 taken captive. Foster was one of 43 in his regiment who died, 87 were wounded and 51 reported missing. Foster was buried at location in Lagnicourt and whilst the grave was initially marked, it is now unknown. Foster’s service, alongside those who fell at Lagnicourt, is commemorated at the Australian National Memorial in Villers-Bretonneux, France along with other national Australian memorial sites.Photography played an important part in World War 1. Photographs of men in their military uniforms served as propaganda during the Great War to reassure civilians back at home of the military prowess of their nation and the bravery of their men. It did this while hiding the true horrors which faced the men in battle. These photographs, which includes those taken at home prior to embarking overseas like Fred Foster’s, act as censored memory for those who have lost a loved one at war. It enables families to remember their relatives in their youth and standing proudly rather than having to face the actual danger and horror which faced these men at the front line. The battle of Lagnicourt France was a victory for the European Empire and therefore, men who lost their lives protecting their countries became heroes and were awarded posthumous medals for their service. Photos of soldiers in their uniforms, were undertaken by men like Foster, so their families would be able to retain their memories and likeness before they embarked for war. Many men were killed or horribly wounded so these images were important for reminding families about their sons/ husbands/ brothers/ cousins and friends. This photo is a part of the Burke Museum Kelly album which includes numerous photographs relating to the Kelly Gang. As the son of Kate Kelly and William “Bricky” Foster, Fred Foster is an important part of the Kelly story after the execution of Edward “Ned” Kelly which has information it can impart relating to the history of the family after 1880. Whilst an important element of the Kelly Album, Foster’s photograph is also historically important in its own right for its connection to the Great War and the experiences of a soldier at the Western Front.Original sepia rectangular photograph developed on matte photographic paper, unmounted.Reverse: (Top right corner of reverse:) FRED FOSTER/ (Top centre of reverse:) Kate Kelly's son.kelly album, fred foster, kate kelly, photograph, australian soldier, the kelly gang, australian bush, burke museum, sepia photo, gum trees, family of the kelly gang, world war i, langnicourt, france, great war, 1917, ned kelly, frederick foster, william "bricky" foster, ellen kelly, military history, australian military

Oral history Myrtle Barnett ( 1915- ); fostered daughter of Caroline & Ferdinand Barnett; Lower Plenty. Interviewed on 19 Feb 1996 by Peter Blackbourn. "We lived at Grace Park and could walk straight down the road and over the bridge to the Montmorency State School. The school was in Rattray Rd about half way up the hill. The King family lived next door to the school. One day the students were all taken on a walk to choose the site of the new school (which was built in 1924). In addition to the above story; Myrtle said at either the Lower Plenty School or the Montmorency School there was a teacher they didn’t like so they swapped schools. My Grandmother Jean Barnett; started at Greensborough Primary in 1919 and stayed 3 months. When I told her about this; she told me off and said she never went there! She must have then gone to Montmorency and when there was a call to start a school at Lower Plenty; took the opportunity to get away from the teacher they didn’t like. I’m not sure of the time line for the above events; or which school they swapped to but I thought it gave a little insight into the 1920’s and how Lower Plenty; Montmorency and Greensborough were connected."Transcript of Oral History. barnett family, myrtle barnett

In 2018, Greensborough Historical Society placed plaques in the Main Street area of Greensborough. In these photographs, GHS President Noel Withers and GHS member Chris Foster view the plaque of Medhurst's shop and dwelling on Grimshaw Street Greensborough.The Main Street Plaques Project placed historical information about original Greensborough buildings as close to the original site as possible. Further information available on the GHS website. The Plaques were made possible through a Greensborough RSL Grant.Digital copy of 2 colour photographs.main street plaques project, medhurst family, medhurst's fruit shop, grimshaw street greensborough

In 2018, Greensborough Historical Society placed plaques in the Main Street area of Greensborough. In these photographs, GHS member Chris Foster, accompanied by GHS President Noel Withers, has photographed the installation of the 'Quirk the Tailor and Mrs Quirk's Tearoom' plaque on Main Street Greensborough. The Main Street Plaques Project placed historical information about original Greensborough buildings as close to the original site as possible. Further information available on the GHS website. The Plaques were made possible through a Greensborough RSL Grant.Digital copy of 2 colour photographs.main street plaques project, main street greensborough, quirk family

" A History and Family Tree of William Bradshaw and his wife Elizabeth Foster 1792 - 1984 and George Robinson and hsi wife Margaret Finn 1816 - 1984 and their descendants in Australia". Comp;iled and written by David J. Bradshaw, Colonel Light Gardens, South Australia 1984. Cream coloured hard cover book of 330 pages with black and white photos, maps and illustrations. Front cover has a sepia image of a sailing ship. First published in 1984 by David J. Bradshaw. Printed by Hyde Park Press Adelaide.bradshaw, robertson