John Nation, Heidelberg Golf Club Captain, 1989-1992One of a set of framed portraits of Club Captains. Framed black and white portrait, timber frame with dark green mount under non-reflective glass.John Nation - Captain - 1989-1992hgc captains, john nation

Vin Hogan won the Eltham Gift 1949Black and white photograph of five runners commencing a race with two officials standing beside the track. In the background can be observed the old Henry Street extension to Central Park.eltham gift, eltham, central park

Small granite and resin? Memento 4.5 dia. X 3.8, sloping to 1.0 at the front. At the top on a red background is: Making A Nation. Underneath on a white background is: Federation Exhibition. In the centre is an engraving? Of Sir John Quick with 19 on one side and 01 on the other side. A circular piece with a red cross with white stars on a blue background and Sir John Quick around the edge with Bendigo in larger print below it. On the right is the Union Jack and on the left it is unreadable. At the bottom left is a blue flag? With a harp like shape on it, to the right is red ribbon.ephemera, mementoes, history, making a nation - sir john quick, federation exhibition

HGC dinner to celebrate the opening of the new clubhouse 22/02/1998. Members attending the dinner: Dorothy Nation and John NationA series of photographs taken at the official opening of the new Clubhouse, including the formal dinner.Colour photograph stored in albumnew clubhouse 1998, hgc clubhouse 1998, clubhouse redevelopment 1998

Club members Bernie Healey, Nola Mills, John Nation, Kevin Hartley (course architect) 2001, Heidelberg Golf ClubColour photograph of men on a golf courseheidelberg golf club, hgc members

HGC dinner to celebrate the opening of the new clubhouse 22/02/1998. Members attending the dinner: Dorothy Nation, John Nation, unknown, Max Guille, unknownA series of photographs taken at the official opening of the new Clubhouse, including the formal dinner.Colour photograph stored in albumnew clubhouse 1998, hgc clubhouse 1998, clubhouse redevelopment 1998

An early black and white photograph of the residents of Coranderrk Aboriginal Station near Healesville in Victoria.An early black and white photograph of the residents of Coranderrk Aboriginal Station near Healesville in Victoria.coranderrk, john green, kulin nation, healesville

Reverend John Haysey was ordained in 1965 and served at East Bentleigh, Ringwood East, Altona, Mentone, New Hebrides, Board of Local Mission, Synod Mission Promotion Office, Vanuatu Vila, Gardiner. He retired in 1990.John Haysey BW head and shoulders photoJohn Haysey; Church & Nation 1/3/1978, p. 2reverend john haysey was ordained in 1965 and served at east bentleigh, ringwood east, altona, mentone, new hebrides, board of local mission, synod mission promotion office, vanuatu vila, gardiner. he retired in 1990.

Rev John WestermanWesterman, John. Church and Nation 21 September 1977, p 9

Australia the making of a nation by John Foster Fraser, blue hardcover, printed by Cassell & Co London, 299 pages with black and white illustrations. Stamped Bendigo Free Library View Street.John Foster Fraserbooks, natural history, australia

Certificate issued to Australian Serviceman for their contribution towards BCOF. Signed by Prime Minister John Howard and VA Minister Bruce Scott so would be circa 1996-2001. Items in the collection of Richard William McGilvery, RAAF. Refer No.7287P for his service details, photo and awards.Hard cardboard, yellow pages with thin black, red and blue lines. Commonwealth Government emblem at top, a message of thanks and signatures at bottom. Also stylised picture of Australian Flag and image of child and man in front of a cenotaph.Says " A grateful nation expresses it's thanks to Richard McGilvery for contributing to Australia's effort in the British Commonwealth Occupation Forces (Japan). Signed by Prime Minister, His local MP & Minister for Veteran Affairs.bcof, certificate

This collection of 19 black and white photographs was taken at the Five Nation Mapping, Charting & Geodesy (MC&G) Conference, held at the Army Survey Regiment, Fortuna, Bendigo from the 9th to 11th of September 1980. Directors (or their representatives) from Australia, Canada, New Zealand, United Kingdom and the United States of America military mapping agencies attended Five Nations MC&G Conference. Identifiable attendees were MAJ GEN William L. Nicholson III - D-DMA (USA), MAJ GEN Eric W Barton CB - Director of Military Survey (UK) and COL NRJ Hillier - D-SVY (AUS). It is apparent from the background of the photos that they were taken in the Army Survey Regiment’s Officers/SGTs Mess Dining Room. Directors (or their representatives) from the five nations signed Page 156 of the Army Survey Regiment’s Visitors Book. See Item 6047. This set of 19 black and white photographs was taken during the Five Nation Mapping, Charting & Geodesy (MC&G) Conference, held at the Army Survey Regiment, Fortuna, Bendigo from the 9th to 11th of September 1980. Photos .1P to .18P are on 35mm negative film and scanned at 96 dpi. Photo .19P is printed on photographic paper and scanned at 200 dpi. They are part of the Army Survey Regiment’s Collection. .1) - Photo, black & white, 1980. In background L to R: MAJ John Blackburn, CAPT Paddy Strunks, MAJ David Bowen USA Exchange, in foreground L to R: unidentified, unidentified USA Army Aide de Camp, D-SVY COL NRJ Hillier. .2) - Photo, black & white, 1980. In background L to R: unidentified, unidentified RAN Hydrographer, MAJ GEN Eric W Barton CB - UK Director of Military Survey, MAJGEN William L. Nicholson III – USA D-DMA, unidentified, in foreground L to R: unidentified NZ Hydrographer, Cr Peter Mansell – City of Bendigo councillor. .3) - Photo, black & white, 1980. In background L to R: unidentified, D-SVY COL NRJ Hillier, unidentified NZ Hydrographer, in foreground L to R: unidentified RAN Hydrographer, unidentified. .4) - Photo, black & white, 1980. L to R: MAJ Don Swiney MBE, MAJGEN William L. Nicholson III - D-DMA. .5) - Photo, black & white, 1980. L to R: CAPT Paddy Strunks, MAJ David Bowen USA Exchange, unidentified (x3). .6) - Photo, black & white, 1980. L to R: unidentified (x2), MAJ GEN Eric W Barton CB - UK Director of Military Survey. .7) - Photo, black & white, 1980. L to R: D-SVY COL NRJ Hillier, unidentified. .8) - Photo, black & white, 1980. L to R: MAJ David Bowen USA Exchange, unidentified NZ Hydrographer. .9) - Photo, black & white, 1980. In background L to R: unidentified, CAPT Peter Searle - UK Exchange, in foreground L to R: unidentified, CO LTCOL Bob Skitch. .10) - Photo, black & white, 1980. L to R: CO LTCOL Bob Skitch, unidentified (x2), MAJ GEN Eric W Barton CB - UK Director of Military Survey. .11) - Photo, black & white, 1980. L to R: Cr Peter Mansell – City of Bendigo councillor, CAPT John Harrison. .12) - Photo, black & white, 1980. L to R: CAPT Peter Searle - UK Exchange, unidentified (x2). .13) - Photo, black & white, 1980. L to R: unidentified Royal Canadian Air Force officer, unidentified. .14) & .15) - Photo, black & white, 1980. L to R: unidentified, D-SVY COL NRJ Hillier. .16) - Photo, black & white, 1980. L to R: CAPT Paddy Strunks, unidentified USA Army Aide de Camp. .17) - Photo, black & white, 1980. L to R: CAPT Bob Cooper, MAJ David Bowen USA Exchange, Cr Peter Mansell – City of Bendigo councillor, CAPT John Harrison. .18) - Photo, black & white, 1980. In background L to R: D-SVY COL NRJ Hillier, CAPT Paddy Strunks, in foreground L to R: MAJ John Blackburn, COL Stirling (NZ). .19) - Photo, black & white, 1980. L to R: MAJGEN William L. Nicholson III - D-DMA, Cr Peter Mansell – City of Bendigo councillor, unidentified Royal Canadian Air Force officer, MAJ GEN Eric W Barton CB - UK Director of Military Survey, unidentified, Cr Robert Campbell – City of Bendigo Mayor, D-SVY COL NRJ Hillier, unidentified, COL Stirling (NZ), unidentified NZ Hydrographer, unidentified RAN Hydrographer.No personnel or civilians are identifiedroyal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna

Historically this item is from the early to late 1890's. This Item documents the day to day commerce and financial transactions of a business in a regional centre of a rural district. It illustrates the greater degree of personal contact between bank staff and client, outside electronic money transfers and A.T.Ms. The personal activities especially in small towns between bank and customers made for a clearer and friendlier transaction interchange possibleThis item clearly details pre Federation banking and the important link with English law and commerce. Regional banking was very strong and the rural sectors provided the "wealth of the nation". This confidence was backed by the assurances of the Royal Charter and the financial strength of the British Homeland. The strong Pound Sterling was the currency of the "Empire"Discoloured white, hard cardboard book with brass clasp/clip early Pass book containing 45 pages. The page thickness is close to thin cardboard.No outside markings. Inside cover printed "The Bank Of Australia (Incorporated by Royal Charter, 1835)". Also Listed, the paid up capital, the reserve fund and regulatory information. The second page details the list of offices in Australia and the London office. Following pages credit debit information of typical bank Pass Book of "John Woodside No.2 A/Ccommerce, banking beechworth early accounting pre federation

This item predates the change of Imperial measure (England -1824) to decimal measure (Europe) in Australia (1970 to 1988). This item was manufactured in England as, was the majority of measuring tool and equipment. It was not until the late 1950s that other countries e.g. United States and Europe provided the same type of manufactured tools for the Australian market. World War II, when Australia had to defend its own boarders that the political push for self sufficiency of manufactured goods started local production. Workers in the Kiewa Valley had always relied on the high quality of tools and manufactured goods coming from England. From the middle to late 1950s migration by skilled workers from a war torn Europe provided the source of manpower for the expansion of the manufacturing industries in Australia.The requirement of an accurate measuring tool has always been critical. This item was used at the time when Australia was using the British Imperial measurements. Accurate measurements by carpenters and other trades people for both town and rural needs was just as critical as for the larger cities. The transition period from Imperial to metric was a period of over four years but it still presented those who had used the Imperial measurements for a longer period in their trades with a dual system of measurement for a longer time(usually up to their retirement) Other nations still using Imperial measurements kept the transition from Imperial to metric alive (the UK and USA still uses Imperial measurements in 2012)Retractable metallic wired tape measure within a leather casing. Length of tape is 66 feet. Brass fittings on casing(winder and back plate)Tape on one side marked in inches and feet and on the other in links. Winder lever marked "66ft No 401" on front and arrow with"wind this way". Leather cover marked "John R A Bone & Sons Birmingham England" on reverse side "Metallic wired tape R A Bone & Sons"wired tape measure, tool, mobile tool, construction tool

From relevant information - "The poster was sent to my Grandmother's father (John Garriock) from Canada. It was a giveaway in a Canadian farming magazine of the time. My Grandmother (Barbara Ross) and Grandfather (Robert Heddle Ross) kept the poster and it eventually came to me. I wish to donate it as a way of remembering them".Poster - panoramic poster, paper, black and white, depicts the "Canadian Army setting sail to join British Forces operating against Germany in the War of Nations". Collection of ships setting sail. Print below illustration. Frame - timber, brown/black stain/paint, cardboard backing to poster, cardboard backing. Glass front.framed item, poster, canada, 1914

This collection of four photographs was taken at the Five Nation Mapping, Charting & Geodesy (MC&G) Conference, held at the Army Survey Regiment, Fortuna, Bendigo in 1991. Directors (or their representatives) from Australia, Canada, New Zealand, United Kingdom and the United States of America military mapping agencies attended Five Nations MC&G Conference. The Director of Australia’s Joint Intelligence Organisation - MAJ GEN John Baker AC DSM FTSE attended the conference. Photos .1P to .3P were taken in the front of Fortuna’s Pompeii Fountain and photo .4P was taken probably at the same time in Lithographic Squadron’s main print room. More information on this conference is provided in page 145 of Valerie Lovejoy’s book 'Mapmakers of Fortuna – A history of the Army Survey Regiment’ ISBN: 0-646-42120-4. Note – Photo .1P was also published on page 144 of the book. It was incorrectly dated 1988.This set of four photographs was taken during the Five Nation Mapping, Charting & Geodesy (MC&G) Conference, held at the Army Survey Regiment, Fortuna, Bendigo in October 1990. The photographs are on 35mm negative film and scanned at 1200 dpi. They are part of the Army Survey Regiment’s Collection. .1)- Photo, colour, 1991, back row L to R: unidentified (x2), D-SVY COL Don Swiney MBE, unidentified (x2), front row L to R: unidentified (x3), MAJ GEN John Baker AC DSM FTSE, unidentified (x3). .2) - Photo, colour, 1991, back row L to R: unidentified (x2), D-SVY COL Don Swiney MBE, unidentified (x2), front row L to R: all unidentified. .3} - Photo, colour, 1991, back row L to R: unidentified (x2), D-SVY COL Don Swiney MBE, unidentified (x3), front row L to R: all unidentified. .4} - Photo, colour, 1991, L to R: LTCOL Simon Lemon, CO LTCOL Rene van den Tol, MAJ GEN John Baker AC DSM FTSE, MAJ Bob Coote. No personnel or civilians are identified. ‘5 Nations Conference ‘91’ is annotated on plastic negative sleeve. Note – the 1991 date is most likely incorrect as there is conflicting dates. Refer to Historical information.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna

For many Australians, Australia's participation in World War 1 is both an essential part of their national identity and an inevitable consequence of their British heritage; it is a popular view that Australia perceived its national interests and those of Britain to be one. In this major study, John Mordike challenges this view of Australia's past by exposing the competing national and imperial influences which shaped the foundation of the Australian Army. The book reveals how political ambition and electoral pressures subordinated a farsighted policy of defence self-reliance to the demands of imperial defence.Hard cover book, 310 pagesISBN 1 86373 192 Xmilitary history, mordike, australian army, colonial era, perfidious albion, military history, mordike, australian army, colonial era, perfidious albion

Brown cardboard covered, spiral bound A4 size book.Collected summary papersballarat college of advanced education, summary papers, peter coman, ian moore, john burrell, norm barling, roger slee, helen hayes, ross whitefield, denise walsh, geoff mcrae, wendy crebbin, frank williams, iteraera abera, valo valo, rob baker, george baume, chris bigum, nerida blair, bob boyd, david symington, geoffrey burkhardt, majorie carss, dawn muir, jim christensen, margaret clyde, desmond connelly, jack darmody, barrie dickie, gwenda chapman, pat duffy, anne piggott, laurie andrew, john budby, stephen duggan, maryann ehle, alison elliott, terry evans, daryl nation, barry fields, sue gillard, max gillet, mon khamis, noel gough, richard gunstone, jeff northfield, maurice hale, brian hansford, bill harrison, janice wilson, win haseloff, trevor hutchins, brian jacka, james lukabyo, hugo mccann, r. kerrison, peter mcnally, ian macpherson, dianna mannigel, genne marks, margaret marks, alan peacock, susan moore, judy mousley, helen watson, john henry, robin mctaggart, charles myers, john nicholson, lynne noone, peter olsen, marion curry, david bull, geoff orr, phil meade, john pearson, ray preston, ross price, robert peake, les regan, ian robottom, richard tinning, g. di chiro, maurice robson, carol scott, bob semmens, tony simpson, janette stapleton-hill, arthur smith, peter smith, frank sofo, rosemary stack, david townsend, tony townsend, geoff treblico, ted wadsworth, kathleen warren, don williams, john williamson, john lake, joseph zajda

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

Visit to Dunmoochin prior to Clifton Pugh's home being destroyed by fire in 2002. Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire.fay bridge collection, 1995, barreenong road, cottles bridge, dunmoochin

Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire.fay bridge collection, 2016-05-14, art gallery, barreenong road, clifton pugh, cottles bridge, dunmoochin, maurice hurry