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

Clifton Pugh (1924-1990) was born at Richmond Victoria, and educated at various schools including Briar Hill Primary, Eltham Higher Elementary School and Ivanhoe Grammar. He studied art at the National Gallery School of Victoria 1948-52. Pugh is recognised as a one of Australia’s foremost painters. He is represented in major galleries throughout the country and overseas. He founded the “Dunmoochin” artists colony at Cottles Bridge.Two black and white photographs of Clifton Pugh painting, c.1971clifton pugh, painters, artists

Clifton Pugh (1924-1990) was born at Richmond Victoria, and educated at various schools including Briar Hill Primary, Eltham Higher Elementary School and Ivanhoe Grammar. He studied art at the National Gallery School of Victoria 1948-52. Pugh is recognised as a one of Australia’s foremost painters. He is represented in major galleries throughout the country and overseas. He founded the “Dunmoochin” artists colony at Cottles Bridge.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book, "Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.4 x 5 inch colour reversal film (1) Condition: May not be true to colour of original work. Scanned from a 4 x 5 inch colour transparency which was taken c.1970 (approx. 50 years old) and which has undergone significant colour degradation towards the red spectrum. Allowances made for colour cast correction in scan with best guess for white balance. In some cases, significant light flare is reflected off glossy surface of original work at camera lens causing quality issues.clifton pugh, sepp, shire of eltham pioneers photograph collection, self portrait

A series of photos of Pugh at work. Clifton Pugh (1924-1990) was born at Richmond Victoria, and educated at various schools including Briar Hill Primary, Eltham Higher Elementary School and Ivanhoe Grammar. He studied art at the National Gallery School of Victoria 1948-52. Pugh is recognised as a one of Australia’s foremost painters. He is represented in major galleries throughout the country and overseas. He founded the “Dunmoochin” artists colony at Cottles Bridge. This front image from "Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall, page 128 shows Pugh working on his portrait of Dame Mabel Balcombe Brookes (1890-1975). According to an entry in the Australian Dictionary of Biography for Dame Brookes, this Pugh portrait remains in the family. This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book, "Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image Various prints and colour reversal films artists, clifton pugh, cottles bridge, dunmoochin, eltham local characters, painters, "pioneers and painters", sepp, shire of eltham pioneers photograph collection, painting, dame mabel brookes

This supplement to the Diamond Valley Leader August 27 1997, lists details of the foundation and history of all schools in the Diamond Valley/Banyule area.Information regarding the foundation of primary and secondary schools in the area. includes state, catholic and private schools.5 pages copied from Diamond Valley Leader 1997.heidelberg, ivanhoe, schools, banyule, greensborough

John (Jock) Corben Lavender Jock was born in Ivanhoe, but spent most of his youth in Northcote where his father was a bank manager, and where he attended primary school, high school and the Methodist church in High Street which became a central point in his life. He took his first job in the dispatch office at McPhersons nut and bolt factory in North Richmond in 1935. After a short time at McPhersons he moved to the Trustees Executors and Agency Company in 1936. While working at the Trustees Jock developed the conviction that his vocation lay with the church. This necessitated studying Matriculation at night school for two years as well as working and studying to become a Local Preacher. The minister at Northcote at the time was the Rev.F.T.Cleverdon who helped him prepare to apply as a candidate for Ordination. Before going to university and Queen’s for his arts degree and theological training, Mr Cleverdon, who was now the minister at Neil Street, Ballarat, offered Jock the opportunity to minister to the small congregation at Brown Hill, Ballarat, which was in his Circuit, and to live with the Cleverdons. He spent a year in Ballarat under the tutelage of Rev.F.T Cleverdon in 1939. Jock was accepted by the 1940 Victorian Methodist Conference as a Candidate for the Ministry and started his studies for his theological training and an arts degree at Melbourne University that year. Because of a shortage of ministers, due to the war, Jock was taken out of Queen’s in 1943 to take charge of two fairly small churches in Caulfield - Hawthorn Road and Bambra Road. Jock was ordained in 1945 & married two days later to Elsie Chipperfield, with whom he had worked at the Trustees Executors and Agency. He had joined the RAAF as a chaplain and was sent to Borneo. Returning to Australia in early 1946, he was then appointed to Orbost for a year, Bracknell in Tasmania in 1948, followed by Reid in Canberra, 1951. The next move was to Portland in 1954. Unfortunately not long after this, Elsie was diagnosed with breast cancer. This necessitated a move back to Melbourne - to Mitcham in 1957. Elsie died in December 1957. This period was a very hard time as Jock had four young daughters but his mother helped out by living in for most of the week until Jock was married to Peg in 1959 and their son was born in 1961. In 1964 Jock was moved to Launceston, his first city church. These years were challenging for Jock as he felt compelled to speak out around social issues, such as the Vietnam War & Aboriginal rights, although many did not agree with his view. In 1969 Jock was moved to Horsham to take up the role of Separated Chairman of the North-Western District responsible for Circuits, ministers and families for policy issues and pastoral concerns over an area from the South Australian border, up to the Murray and over it to Wentworth and Dareton, up river to Swan Hill and south to Ballarat and Daylesford. It was a demanding job but richly rewarding in the relationships made with ministers and their families. In 1971 Jock was elected Secretary of the Methodist Conference and in 1972 was voted President of the Conference. He felt it an honour and a vote of confidence by clergy and lay people The final move was to Geelong in 1976 where Jock was the minister at Wesley until 1983.Jock found Geelong a very satisfying parish in which to finish his active ministry. It was while he was Minister of Wesley Church, Geelong, that the Uniting Church came into being and Jock became the first Chairman of the Barwon Presbytery. There were now two ministers at Wesley – Jock and Alex Peerman, whose joint congregation of St. Giles (Pres) and City Congregational now joined with Wesley to become the City Parish. Jock was very surprised to be elected as the third Moderator of the Uniting Church in Victoria, to take office in 1979/1980 1983 saw retirement to Portarlington several months’ locum in both Canada & Kununurra. When the property at Portarlington became too large to maintain, they moved in 1994 into the current house in Belmont & returned to the Wesley Church here. In the words of Rev. Prof. Norman Young and Rev. Peter Gador-Whyte at Jock’s funeral service: “We are here today to give thanks to God for Jock Lavender; a gentle man of great compassion, humour and humility. We gather to remember the love he shared so generously the faith he lived so graciously, and the hope he expressed both in his preaching and in his presence. As President of the Methodist Conference and Moderator of the Uniting Church Jock held significant leadership roles within the church and did so with great dignity and grace never lording it over people but leading by example with an inner strength and faith that won respect and trust. There was something really special about him that is hard to put your finger on. We have all been blessed by God through Jock. Mr Alexander Kilgour Alex Kilgour was for many years an active elder and layman in the Presbyterian and then Uniting Church. He was involved in many committees at Synod level for many years. He was a Moderator of the Synod of Victoria of the UCA—one of the first laypeople to take on the role in the early years of the UCA. He was for many years Executive Director of the Resources Commission of the Synod. He worked at Mitchell Brushes (the company owned by Ethel and John Mitchell. B&W photograph. The Rev. John C (Jock) Lavender and Mr Alex Kilgour, dressed in shirts, are standing shoulder to shoulder, facing the camera.C&N 19/3/1986rev. jock lavender; mr alex kilgour; methodist, presbyterian, uniting church; synod appointments; moderator

JOHN CORBEN LAVENDER (Jock) Jock was born in Ivanhoe, but spent most of his youth in Northcote where his father was a bank manager, and where he attended primary school, high school and the Methodist church in High Street which became a central point in his life. He took his first job in the dispatch office at McPhersons nut and bolt factory in North Richmond in 1935. After a short time at McPhersons he moved to the Trustees Executors and Agency Company in 1936. While working at the Trustees Jock developed the conviction that his vocation lay with the church. This necessitated studying Matriculation at night school for two years as well as working and studying to become a Local Preacher. The minister at Northcote at the time was the Rev.F.T.Cleverdon who helped him prepare to apply as a candidate for Ordination. Before going to university and Queen’s for his arts degree and theological training, Mr Cleverdon, who was now the minister at Neil Street, Ballarat, offered Jock the opportunity to minister to the small congregation at Brown Hill, Ballarat, which was in his Circuit, and to live with the Cleverdons. He spent a year in Ballarat under the tutelage of Rev.F.T Cleverdon in 1939. Jock was accepted by the 1940 Victorian Methodist Conference as a Candidate for the Ministry and started his studies for his theological training and an arts degree at Melbourne University that year. Because of a shortage of ministers, due to the war, Jock was taken out of Queen’s in 1943 to take charge of two fairly small churches in Caulfield - Hawthorn Road and Bambra Road. Jock was ordained in 1945 & married two days later to Elsie Chipperfield, with whom he had worked at the Trustees Executors and Agency. He had joined the RAAF as a chaplain and was sent to Borneo. Returning to Australia in early 1946, he was then appointed to Orbost for a year, Bracknell in Tasmania in 1948, followed by Reid in Canberra, 1951. The next move was to Portland in 1954. Unfortunately not long after this, Elsie was diagnosed with breast cancer. This necessitated a move back to Melbourne - to Mitcham in 1957. Elsie died in December 1957. This period was a very hard time as Jock had four young daughters but his mother helped out by living in for most of the week until Jock was married to Peg in 1959 and their son was born in 1961. In 1964 Jock was moved to Launceston, his first city church. These years were challenging for Jock as he felt compelled to speak out around social issues, such as the Vietnam War & Aboriginal rights, although many did not agree with his view. In 1969 Jock was moved to Horsham to take up the role of Separated Chairman of the North-Western District responsible for Circuits, ministers and families for policy issues and pastoral concerns over an area from the South Australian border, up to the Murray and over it to Wentworth and Dareton, up river to Swan Hill and south to Ballarat and Daylesford. It was a demanding job but richly rewarding in the relationships made with ministers and their families. In 1971 Jock was elected Secretary of the Methodist Conference and in 1972 was voted President of the Conference. He felt it an honour and a vote of confidence by clergy and lay people The final move was to Geelong in 1976 where Jock was the minister at Wesley until 1983.Jock found Geelong a very satisfying parish in which to finish his active ministry. It was while he was Minister of Wesley Church, Geelong, that the Uniting Church came into being and Jock became the first Chairman of the Barwon Presbytery. There were now two ministers at Wesley – Jock and Alex Peerman, whose joint congregation of St. Giles (Pres) and City Congregational now joined with Wesley to become the City Parish. Jock was very surprised to be elected as the third Moderator of the Uniting Church in Victoria, to take office in 1979/1980 1983 saw retirement to Portarlington several months’ locum in both Canada & Kununurra. When the property at Portarlington became too large to maintain, they moved in 1994 into the current house in Belmont & returned to the Wesley Church here. Deceased c.2015. Rev. John (Jock) Lavender is pictured standing at a microphone, wearing clerical clothingRev. J C Lavenderrev. john (jock) lavender; methodist minister; uniting church minister;

JOHN CORBEN LAVENDER (Jock) Jock was born in Ivanhoe, but spent most of his youth in Northcote where his father was a bank manager, and where he attended primary school, high school and the Methodist church in High Street which became a central point in his life. He took his first job in the dispatch office at McPhersons nut and bolt factory in North Richmond in 1935. After a short time at McPhersons he moved to the Trustees Executors and Agency Company in 1936. While working at the Trustees Jock developed the conviction that his vocation lay with the church. This necessitated studying Matriculation at night school for two years as well as working and studying to become a Local Preacher. The minister at Northcote at the time was the Rev.F.T.Cleverdon who helped him prepare to apply as a candidate for Ordination. Before going to university and Queen’s for his arts degree and theological training, Mr Cleverdon, who was now the minister at Neil Street, Ballarat, offered Jock the opportunity to minister to the small congregation at Brown Hill, Ballarat, which was in his Circuit, and to live with the Cleverdons. He spent a year in Ballarat under the tutelage of Rev.F.T Cleverdon in 1939. Jock was accepted by the 1940 Victorian Methodist Conference as a Candidate for the Ministry and started his studies for his theological training and an arts degree at Melbourne University that year. Because of a shortage of ministers, due to the war, Jock was taken out of Queen’s in 1943 to take charge of two fairly small churches in Caulfield - Hawthorn Road and Bambra Road. Jock was ordained in 1945 & married two days later to Elsie Chipperfield, with whom he had worked at the Trustees Executors and Agency. He had joined the RAAF as a chaplain and was sent to Borneo. Returning to Australia in early 1946, he was then appointed to Orbost for a year, Bracknell in Tasmania in 1948, followed by Reid in Canberra, 1951. The next move was to Portland in 1954. Unfortunately not long after this, Elsie was diagnosed with breast cancer. This necessitated a move back to Melbourne - to Mitcham in 1957. Elsie died in December 1957. This period was a very hard time as Jock had four young daughters but his mother helped out by living in for most of the week until Jock was married to Peg in 1959 and their son was born in 1961. In 1964 Jock was moved to Launceston, his first city church. These years were challenging for Jock as he felt compelled to speak out around social issues, such as the Vietnam War & Aboriginal rights, although many did not agree with his view. In 1969 Jock was moved to Horsham to take up the role of Separated Chairman of the North-Western District responsible for Circuits, ministers and families for policy issues and pastoral concerns over an area from the South Australian border, up to the Murray and over it to Wentworth and Dareton, up river to Swan Hill and south to Ballarat and Daylesford. It was a demanding job but richly rewarding in the relationships made with ministers and their families. In 1971 Jock was elected Secretary of the Methodist Conference and in 1972 was voted President of the Conference. He felt it an honour and a vote of confidence by clergy and lay people The final move was to Geelong in 1976 where Jock was the minister at Wesley until 1983.Jock found Geelong a very satisfying parish in which to finish his active ministry. It was while he was Minister of Wesley Church, Geelong, that the Uniting Church came into being and Jock became the first Chairman of the Barwon Presbytery. There were now two ministers at Wesley – Jock and Alex Peerman, whose joint congregation of St. Giles (Pres) and City Congregational now joined with Wesley to become the City Parish. Jock was very surprised to be elected as the third Moderator of the Uniting Church in Victoria, to take office in 1979/1980 1983 saw retirement to Portarlington several months’ locum in both Canada & Kununurra. When the property at Portarlington became too large to maintain, they moved in 1994 into the current house in Belmont & returned to the Wesley Church Geelong.Head and shoulders portrait of the Rev. John (Jock) Lavender, wearing suit and tie.Jock Lavenderrev. john (jock) lavender; methodist minister; uniting church minister;

JOHN CORBEN LAVENDER (Jock) Jock was born in Ivanhoe, but spent most of his youth in Northcote where his father was a bank manager, and where he attended primary school, high school and the Methodist church in High Street which became a central point in his life. He took his first job in the dispatch office at McPhersons nut and bolt factory in North Richmond in 1935. After a short time at McPhersons he moved to the Trustees Executors and Agency Company in 1936. While working at the Trustees Jock developed the conviction that his vocation lay with the church. This necessitated studying Matriculation at night school for two years as well as working and studying to become a Local Preacher. The minister at Northcote at the time was the Rev.F.T.Cleverdon who helped him prepare to apply as a candidate for Ordination. Before going to university and Queen’s for his arts degree and theological training, Mr Cleverdon, who was now the minister at Neil Street, Ballarat, offered Jock the opportunity to minister to the small congregation at Brown Hill, Ballarat, which was in his Circuit, and to live with the Cleverdons. He spent a year in Ballarat under the tutelage of Rev.F.T Cleverdon in 1939. Jock was accepted by the 1940 Victorian Methodist Conference as a Candidate for the Ministry and started his studies for his theological training and an arts degree at Melbourne University that year. Because of a shortage of ministers, due to the war, Jock was taken out of Queen’s in 1943 to take charge of two fairly small churches in Caulfield - Hawthorn Road and Bambra Road. Jock was ordained in 1945 & married two days later to Elsie Chipperfield, with whom he had worked at the Trustees Executors and Agency. He had joined the RAAF as a chaplain and was sent to Borneo. Returning to Australia in early 1946, he was then appointed to Orbost for a year, Bracknell in Tasmania in 1948, followed by Reid in Canberra, 1951. The next move was to Portland in 1954. Unfortunately not long after this, Elsie was diagnosed with breast cancer. This necessitated a move back to Melbourne - to Mitcham in 1957. Elsie died in December 1957. This period was a very hard time as Jock had four young daughters but his mother helped out by living in for most of the week until Jock was married to Peg in 1959 and their son was born in 1961. In 1964 Jock was moved to Launceston, his first city church. These years were challenging for Jock as he felt compelled to speak out around social issues, such as the Vietnam War & Aboriginal rights, although many did not agree with his view. In 1969 Jock was moved to Horsham to take up the role of Separated Chairman of the North-Western District responsible for Circuits, ministers and families for policy issues and pastoral concerns over an area from the South Australian border, up to the Murray and over it to Wentworth and Dareton, up river to Swan Hill and south to Ballarat and Daylesford. It was a demanding job but richly rewarding in the relationships made with ministers and their families. In 1971 Jock was elected Secretary of the Methodist Conference and in 1972 was voted President of the Conference. He felt it an honour and a vote of confidence by clergy and lay people The final move was to Geelong in 1976 where Jock was the minister at Wesley until 1983.Jock found Geelong a very satisfying parish in which to finish his active ministry. It was while he was Minister of Wesley Church, Geelong, that the Uniting Church came into being and Jock became the first Chairman of the Barwon Presbytery. There were now two ministers at Wesley – Jock and Alex Peerman, whose joint congregation of St. Giles (Pres) and City Congregational now joined with Wesley to become the City Parish. Jock was very surprised to be elected as the third Moderator of the Uniting Church in Victoria, to take office in 1979/1980 1983 saw retirement to Portarlington several months’ locum in both Canada & Kununurra. When the property at Portarlington became too large to maintain, they moved in 1994 into the current house in Belmont & returned to the Wesley Church Geelong.Upper body photo of Rev. John (Jock) Lavender (Geelong) speaking at a lectern.Church & Nation 23/5/79, p. 5; Rev. Lavenderrev. john (jock) lavender; methodist minister; uniting church minister;