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Port Melbourne Historical & Preservation Society
Photograph - Dalma Barfoot & Frank Potter, 11 Mar 1950
... Dalma Barfoot & Frank Potter....Frank POTTER...Photograph of Dalma BARFOOT with new husband Frank POTTER...B & W photograph of Dalma BARFOOT & her husband Frank... Photograph of Dalma BARFOOT with new husband Frank POTTER after ...Photograph of Dalma BARFOOT with new husband Frank POTTER after their wedding at Holy Trinity Church, Port Melbourne.B & W photograph of Dalma BARFOOT & her husband Frank POTTER taken on their wedding day outside Holy Trinity Church, Port Melbourne.Dalma Barfoot & Frankreligion - anglican (holy trinity), dalma barfoot, frank potter -
Port Melbourne Historical & Preservation Society
Photograph - Dalma & William Barfoot, 11 Mar 1950
... Frank POTTER... to Frank POTTER.... Trinity Church, Port Melbourne for her wedding to Frank POTTER ...Photograph of Dalma BARFOOT with her father William entering Holy Trinity Church, Port Melbourne for her wedding to Frank POTTER.B & W photograph of Dalma BARFOOT & her father William at Holy Trinity Church, Port MelbourneMr Barfoot Snr Dalmareligion - anglican (holy trinity), dalma barfoot, williiam barfoot, frank potter -
Bendigo Military Museum
Card - CARD, CHRISTMAS, MEMORABILIA
... "Potter Frank Hales 153, 10th Aust Machine Gun. Died... goldfields "Potter Frank Hales 153, 10th Aust Machine Gun. Died ..."Potter Frank Hales 153, 10th Aust Machine Gun. Died of wounds 3 Nov 1917. Wimereu Communal Cemetery, Plot IV, Row L, Grave 3.Cream coloured card, red silk bow on front with the Rising Sun Emblem in gold ink. Inside has 4 paper pages. Middle pages have gold writing. Last page and inside back cover is a handwritten in black ink letter. Letter written 5 Nov 1916. Letter contents - hoping the receiver, his wife, and kiddies are well. They have not reached the front as yet. Very wet and muddy also measles & mumps are infecting a few.AUSTRALIAN COMMONWEALTH MILITARY FORCES. Inside the card "10th Machine Gun Company AUSTRALIAN IMPERIAL FORCES. To wish you a Merry Christmas and a Happy New Year from 2nd Lieut F. H. Potter.card, christmas card, ww1 -
Bendigo Military Museum
Instrument - BUGLE, Henry Potter & Co, 1915
Donors listed the original owner as Frank FITZGERALD of Moonee Ponds.Two Tone brass & copper coloured brass bugle with silver coloured metal mouth piece. Mouth piece is secured to bugle with a loop of cored.At top of bugle: Etched: “Rolestone Lark Hill” At top of bugle: Stamped: “Henry Potter & Co, 38 West St, Charing Cross Road London 1915” At side of bugle: Etched: “R Jacobson”musical instruments - brass section, bugle -
Glen Eira Historical Society
Article - Elsternwick Park
This file contains items pertaining to Elsternwick Park: 1/A clipping from the Caulfield/Port Philip Leader (titled ‘Hunter takes reins at Elsternwick’, author unspecified, 17/04/2012), which pertains to Justin Hunter being installed as the captain of the Elsternwick Amateur Football Club. 2/A clipping from the Caulfield/Port Philip Leader (titled ‘Wicks lose a champion’, by Brad Beitzel, undated), which pertains to Graham Holmes of the Elsternwick Amateur Football club dying of cancer. 3/A book titled Bazaar Beginnings: A Century of Sport at Elsternwick Park (author unspecified, undated, 37 pages), which describes the history of Elsternwick Park from 1901 to 2003, with an emphasis on sports.elsternwick park, parks and reserves, sport, sporting clubs, sportsgrounds, australian rules football, elsternwick amateur football club, elsternwick hockey club, sculthorpe a. , elsternwick park committee of management, world war 1939-1945, langford-jones andrew, dunstan mark, todd barry, price , bill, riddell mrs, riddell ken, scott arthur, coombs percy, emburey john, potter jack, holmes graham, blumfield chris, jorgensen james, baxter andrew, taft shura, hunter justin, mahony craig, beddingfield lachie, hodskiss nathan, cesario john, mcdonald jack, rose james, warren phil, gaze andrew, local history, cricket, miller keith r., burgoyne a.d. mr, beadle ken cr., bent thomas, st. kilda cricket club, south st. kilda cricket club, muntz mr, lloyd c.d. cr., fundraising events, ground improvement fund, elsternwick hall, sargood frederick sir, foote ian, hockey, victorian hockey association, elsternwick baptist cricket club, elsternwick methodist cricket club, soccer, brighton soccer club, barr alex, loghran frank, bignell bonb, pettigrew john, morrow bruce, baseball, brighton baseball club, victorian baseball league, victorian baseball association, elsternwick baseball club, brighton football club, williamson col., mcindoe rus, warburton keith, blood michael, sherrin cup, bourke mick, l.a. adamson cup, watt judy, anderson sue, connell brett, lawry bill, stackpole keith, hookes david, hurst alan, graf shaun, madden simon, dipierdimenico robert, parkin david, malthouse mick, cleary phil, madden justin, jordan ray, michael barry, carroll wayne, mildenhall bill, brown joyce, matthews alf, madigan laurie, lane tim, roberts sandy, leonard tony, cover ian, phillips steven, marmalade trevor, fleet greg, whittle slim, marasco con, warne shane, elsternwick, elsternwick hotel, cox charles mr, turner george sir, fairbairn mr, russell-brown j. mr, peacock cr., huntley cr., taylor j.h. mr, elsternwick lacrosse club, elsternwick football club, elsternwick district football club, elsternwick junior football club, victorian amateur football association, elwood central school, elsternwick primary school, australian broadcasting commission, mcdonald a.j. mr, mccutcheon r.g. mr, melbourne cricket club, victorian cricket league, wardill b. mr, melbourne & metropolitan board of works, elsternwick golf club, clubs and associations, balme kate, stevens phil, new tommy, pratt bob, elsternwick cricket club, searle barney, blundell norm, power john, gartrell rob, victorian junior cricket association, victorian turf cricket association, australian cricket board, victorian cricket association, russell simon cr. , white cameron, abbey alan, blizzard aiden, bull adam, murphy liam, scorgie stuart, tenace kane, victorian women’s cricket association, hunt reg, hatch ron, community groups, elliot matthew, fraser colin, pike arthur, young darryl, mills alf, werf pat van der, leather tom, gregory ross, fullerton norma, sharkie keith, johnson alex, dixon brian, trezise neil, rundle noel, corner donald dr., loysh len cr., french peter, francis chris, johnson cameron, miles john, de la salle old collegians club, old xavierans club, victorian amateur football association umpires’ association, hinton wayne, cultural events and activities -
Federation University Historical Collection
Poster, Ballarat School of Mines Staff, 1995, 1995
The Ballarat School of Mines is a predecessor institution of Federation University Austraila.An A2 poster showing small black and white portraits of each staffmember at the Ballarat School of Mines. Names include: Curriculum Services - John Kemp, Roger McFarlane, Leanne Gingell, Sandra Glover, Doug Seymour. Human Resources - Ross Furness, Ian Pym, Jenny Gough, Julie Thomas. Planning/Marketing - Keith Boast, Simone Byrne Student Services - Brian Webber, Janet McGie, Jani White, Jan Harwood, Judy Mills, Kirsten Martin, Barrie Frith, Tania Gaunt, Pam Merrett, Heather Durrant, Jola Piskozub, Frances Ratcliffe, Ian Robinson, Merill Potter, Lorelli Huggins, Maureen Auchettl, Fiona Angus, Natalie Howard. Corporate Services - Graham Penhall, Phil Dixon, Ron Sutton, Ron Lucas, Robert Munt, Garry Christie, Don Lawless, Bernie Stevens, David Fithall, Rebeccah Parker, Craig Holloway. Ararat Campus - David Haddow, Kim Knight, Kevin Martin, Maureen Green, Ian Harris, Adrian McMillan, Frank Parker, Keith Akers. Rural Studies - Andrew Sullivan, Gary Lyttle, Ian Best, Graham Shearer, Malcolm Trainer, Ross Holton, Anthony Thake, Paul Norquay, John Harrison. ballarat school of mines, staff, ron wild, max palmer, heather durant, vl d'angri, alistair heighway, neville french -
Federation University Historical Collection
Photographs - black and white, Ballarat College of Advanced Education: 1st Year Applied Science Students, 1983, 1983
Individual images of students in 1st Year Applied Science Course. The names of the student is written under the photo - in alphabetical order. Some spaces have no photo. Some names have been crossed out. In total there are 91 names (55 on one and 36 on the other). Of this number there are only 16 girls in the course for this year.Two beige cards with small black and white photographs - photographer's proofsName of student under photo - alphabetical orderapplied science, 1st year, barker, alison, baxter, mark, beamish, lisa, blake, linda, bodon, stephen, brown, rodney, byron, dean, campbell, noreen, cesnik, frank, clark, geoffrey, clarke, peter, coffey, damien, daniel, michelle, desnoy,gary, de vries, peter, drake, peter, duthie, barry, elkin, gary, ? e/f guiseppe, flanagan, denise, ford, gary, foster, gary, fowler, anthony, fullarton, david, gore, brendan, gorell, brett, gowers, alan, grinham, wayne, hall, richard, harrison, francis, hartmann, mark, hay, theresa, hovard,stephen, hoy, terrance, hull, grant, humphries, robert, hynd,geraldine, jakubans, linda, jarecki, ted, jeffreys, andrew, johns, alvin, kirkpatrick, kaye, laidlaw, gary, lazarus, peter, lean, rohan, long, paul, markby, craig, mcdonald, peter, mceuna, timothy, mcinnes, gregory, mckay, james, nicholson, scott, o'connor, paul, owen, janette, owen, michael, pear, zlatko, picorrillo, john, pilkington, john, potter, steven, prendergast, maurice, roberts, barry, ryan, marie, schwarz, peter, seeary, adrian, shiells, jane, stevenson, michael, tan, simon, taylor, catherine, turkuile, marianne, thomas, rosemarie, twyford, keith, vorstenbosch, mark, walker, paul, ward, jennifer, warner, gary, wheeler, stuart, winter, anthony, wood, mark, yee, arthur, zentgraf, mark, bowie, ?, davies, ronald, mckay, ?, maclean, andrew, cramer, geoff, page, stuart, firth, barry, fry, b, hennesy, tom, hoell, nicholas, evans, michael -
Ringwood and District Historical Society
Photograph, Warrandyte Historical Society Newsletters nos. 68-75
... (Clara Southern, Jo Sweatman) Potter's Cottage Architects Frank... Primary School Artists (Clara Southern, Jo Sweatman) Potter's ...Digitised WHS newsletters from August 1989 (no. 68) to October 1990 (no. 75). Sent to Secretary of the Ringwood Historical Research Group, Jack Lindsay.Noteable articles:- Warrandyte Primary School Artists (Clara Southern, Jo Sweatman) Potter's Cottage Architects Frank Crozier (artist) Warrandyte State Park Harris Gully Road Warrandyte Royal Women's Hospital Auxiliary Warrandyte Trade Directories 1899-1908 Gold nuggets in Warrandyte Gold mining in Warrandyte 1859-60 -
Ringwood and District Historical Society
Photograph, Warrandyte Historical Society Newsletters nos. 76-84
Digitised WHS newsletters from December 1990 (no. 76) to October 1990 (no. 84). Sent to Secretary of the Ringwood Historical Research Group, Jack Lindsay.Noteable articles:- Earl Stewart bus service Brackenbury Street Yarra Yarra Mining Company Dr Owen's Puddling Machine 1927 bushfires Schult Steven Houghton Taffy Jones Great Southern Hill Caledonia Gold Mine Mary Hill - South Warrandyte Post Office Artists - Nutter Buzacott, Frank Crozier, Penleigh Boyd, William Frater, Christine Gray-Aldor Warrandyte Primary School Potter's Cottage -
Bendigo Historical Society Inc.
Document - LONG GULLY HISTORY GROUP COLLECTION: INCURSION 1/11/1935 TO -/5/1936
Photocopy of a page with photo of the Little 180 Gold Mine N. L. and a C. P. Diamond Drill used in underground prospecting. Article mentions an incursion which took place between 1/11/1935 to -/5/1936 between the Little 180 and Central Blue. It mentions the people involved and the Court judgement that was made. Written on the back is - this was sitting where Spotlight is now.. Junction of Marong Eaglehawk Rd. A pink sticker on the photo has written on it - this was on the spot now known as Spotlight.bendigo, history, long gully history group, the long gully history group - incursion 1/11/1935 to -/5/1936, e g robertson, savage, little 180, james elliot potter, south new chum syncline, h thompson, lou moroni, syd edwards, central blue, new chum syncline, bendigo crushing company, frank savage, h e jones, robert wills, spotlight, m thomson -
Robin Boyd Foundation
Book, Stephen Potter, illustrated by Frank Wilson, Some Notes on Lifemanship: With a Summary of Recent Researches in Gamesmanship, 1962
... Stephen Potter, illustrated by Frank Wilson... Stephen Potter, illustrated by Frank Wilson Penguin Books ...Softcoverhumour, walsh st library -
Nillumbik Shire Council
Print (Lithograph) Clifton Pugh, Clifton Pugh, Untitled (Black Birds) from the Bodford Terrace Suite 1978, 1978
Pugh was one of many artists who brought an Australian experience to attention. This work reveals the colour, textures, harshness and inhabitants of the natural bush, with the angular forms found on the ‘black birds’ dominating the composition with dramatic effect. Shanahan, Albert Tucker, Frank Werther and Fred Williams have at one time settled and or work there. Untitled (Black Birds) from the Bodford Terrace Suite 1978, created by Clifton Pugh - a celebrated Australian artist known for his landscapes and portraiture as well as (three-time) winner of Australia’s Archibald Prize. This piece plays a significant role within the Nillumbik Shire Collection due to Pugh’s strong connection to the local land where he settled in Cottle’s Bridge in 1951, purchasing 15 acres and named it Dunmoochin. Artists, potters and others settled at Dunmoochin and formed the Dunmoochin Artists Co-operative in order to collectively protect the land. Numerous renowned artists worked or resided at Dunmoochin including: Rick Amor, Fred Williams, Albert Tucker, Frank Hodgkinson, Mirka Mora, John Olsen, John Percival and John Howley amongst others. Upon his death in 1990 he left an art collection and extensive properties at Dunmoochin to be appreciated and utilised by artists for years to come lithographic print on French Arches paper. Dynamic and expressive depiction of black birds in flight on far left of composition, cropped elements of Australian landscape in blue and red in the background (trees, shrubs, rocks). Inscribed lower right 'Clifton'; 1:1; 179/300clifton pugh, bodford suite, dunmoochin -
Nillumbik Shire Council
Painting, Clifton PUGH, White Choughs in the Landscape, 1958
Pugh was one of many artists who brought an Australian experience to attention. His landscapes reveal the colour and textures of the natural bush, often with a dramatic emphasis. His reference to the harshness of the bush consistently arises, with angular forms dominating the composition. White Choughs in the Landscape is typical of his representations of the bush as a dynamic environment. White Choughs in the Landscape, 1958, created by Clifton Pugh - a celebrated Australian artist known for his landscapes and portraiture as well as (three-time) winner of Australia’s Archibald Prize. This piece plays a significant role within the Nillumbik Shire Collection due to Pugh’s strong connection to the local land where he settled in Cottle’s Bridge in 1951, purchasing 15 acres and named it Dunmoochin. Artists, potters and others settled at Dunmoochin and formed the Dunmoochin Artists Co-operative in order to collectively protect the land. Numerous renowned artists worked or resided at Dunmoochin including: Rick Amor, Fred Williams, Albert Tucker, Frank Hodgkinson, Mirka Mora, John Olsen, John Percival and John Howley amongst others. Upon his death in 1990 he left an art collection and extensive properties at Dunmoochin to be appreciated and utilised by artists for years to come White Choughs in the Landscape is typical of Pughs' representations of the bush as a dynamic environment. The brittleness and fragility of the landscape is recorded in the surface of the work, where paint is applied in thin layers.Signed 'Clifton Sept. 1958'clifton pugh, dunmoochin, white choughs -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Photograph, Bairnsdale Advertiser, 1974 c
Black and white photograph taken at farwell by Cr Frank Burns to people who attended Back to Bairnsdale celebration in 1974. In photograph Cr. Frank Burns first Mayor of Bairnsdale Town Council, later city, Mrs Alex McKay, Kelso, Mrs Eileen Potter nee Duncan of New Zealand, Mrs Jean Wilton or Walton nee Duncan of New Zealand74 5 03 5genealogy -
Bendigo Historical Society Inc.
Programme - BENDIGO OPERATIC SOCIETY ''ANNIE GET YOUR GUN''
Bendigo Operatic Society ''Annie Get Your Gun'' At the Capital Theatre View Street Bendigo for a Six Night Season Commencing Thursday 18th November,1971. Producer: Max Collis. Assistant Producer, Bellet and Wardrobe Mistress: Madge Welch. Society Pianist: Ruth Gorman. Musical Director: Gwen Grose. Cast: Kerry Lorenz as a Small Girl - Ferd Lorenz as Charlie Davenport - Shane Brennan as Mac (Property Manager) - Douglas Sayle as Foster Wilson - Ann Ball as Dolly Tate - Annette Beckwith as Winnie Tate - Terry Carr as Tommy Keeler - Len Carr as Frank Butler - Heather Lindhe as Annie Oakley - Mark Edebone, Peter Miller as Little Jake - Debbie Moyle, Rosemarie Favaloro as Nellie - Jennifer Carr, Cathy Johnson as Jessie - Judith Hall, Suzanne Hartley as Minnie - Brian Thomas as Col.Wm F. Cody - Valerie Griffith as Mrs. Little Horse - Wilma Baldwin as Mrs. Black Tooth - Kerry Hogan as Trainman - Bridgette Agnew as Waitress - John Tonkin as Conductor - Bernard Keogh as Major Gordon Lillie (Pawnee Bill) - Fred trewarn as Chief Sitting Bull - Ann Rundall as Wild Horse Ceremonial Dancer - Jan Lovett as Sylvia Potter Porter - Jill James as Mrs. Adamsprogram, theatre, bendigo operatic society -
Surrey Hills Historical Society Collection
Photograph, Mabel Pye, daughter of William and Alice Pye of 12 Loch Street, Surrey Hills
Mabel Pye was a printmaker and painter. She was born in Box Hill in 1894, probably at the family’s Loch Street property. She was the daughter of Alice Eleanor Noar and her husband William Edward Pye, who married in 1893. William was known as Ted and is recorded in electoral rolls as a legal clerk and later as a public servant. Mabel had a sister Hazel who was also an artist, but less well known. 12 Loch Street, Surrey Hills was known as ‘Mulberry Hill’ and the Pyes appear to be the first occupants – Alan Holt’s register of Surrey Hills properties has them there from c1900. The property was originally about an acre in size and was later divided into 4 house blocks. In 1923 they built a house for themselves on one of the blocks facing Benwerrin Street and called it ‘Tanglewood’. The Loch Street house abutted the Surrey Hills Reservoir and was diagonally linked to the land in Benwerrin Street. In 2019 both the houses still stand. The family were involved in amateur theatre and at times the studio doubled as a rehearsal space for the Benwerrin Players, a group which operated through the late 1920s and early 1930s being comprised of friends and neighbours from Benwerrin Street and Windsor Crescent. Some of their performances were at the Surrey Hall in Union Road. Most of Mabel’s known work dates from the 1930s. She had studied under Bernard Hall at the National Gallery School. Mabel was a member of both the Victorian Artists Society from 1918-1941 and also the Melbourne Society of Women Painters and Sculptors from 1920-1950. Her work is represented in the Australian National Collection and in state galleries. The NGV has one of her works, the Gallery of NSW has 9 works, a large body of works and personal material is held by the Ian Potter Collection and there is one piece in the City of Whitehorse Collection. This ink sketch of the White Horse Hotel is signed MP and dated 1933, the year the building was demolished. A black and white studio photograph of a young lady standing beside a pedestal and wearing a light coloured dress with 3/4 length sleeves, dark stockings and lace up shoes. A corsage of dark flowers adorns the bodice. loch street, surrey hills, artists, whitehorse hotel, box hill, miss mabel pye, city of whitehorse collection, william edward pye, miss alice elanor noar, mrs alice eleanor pye, frank stamford -
Eltham District Historical Society Inc
Document - Folder, Saper, Leon
Leon Saper was a potter and a founding member of Clifton Pugh's Dunmoochin artists colony. Contents Newspaper article: Paragraph noting death of Leon Saper after a long illness, Diamond Valley Leader, 4 May 2005. Newspaper article: "Potter's place in arts history", Diamond Valley News, 25 May 2005. Retrospective exhibition of work of Leon Saper at Nillumbik Council offices.Newspaper clippings, A4 photocopies, etcleon saper, clifton pugh, dunmoochin, kela shakahn, st andrew's market, bryan walters, don thomson, catherine thomson, michael trembath, christine tuisku, jukka tuisku, julie coulson, holocaust survivor, stella saper, alexandre saper, george bell, morrice shaw, myra skipper, frank werther, ruth saper, aaron saper, tony trembath -
Eltham District Historical Society Inc
Photograph - Digital Photograph, Marguerite Marshall, Art Gallery at Clifton Pugh's Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge, 5 February 2008
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 -
Eltham District Historical Society Inc
Photograph - Digital Photograph, Marguerite Marshall, Doorway of Clifton Pugh's former house at Dunmoochin, Barreenong Road, Cottles Bridge, 5 February 2008
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