Acquired by the Sandringham City Council in 1979 as winner of the acquisitive Inez Hutchison Award, established by the Beaumaris Art Group in 1966.Andrew McLean, Black table still life c. 1979, oil on canvas, 101 x 101 cm. Bayside City Council Art and Heritage Collection. Purchased 1979.table, still life, painting, painting materials, brushes

A postcard with 5 colour photographs of local attractions in and around Marysville in Victoria.A postcard with 5 colour photographs of local attractions in and around Marysville in Victoria. This postcard was produced by Nucolorvue Productions as a souvenir of Marysville.MARYSVILLE/ Victoria 1. Burrengeen Park in Winter./ 2. Steavenson Falls./ 3. Autumn tonings of Marysville./ 4. Olde Yarra Track Shoppe./ 5. Mountain Grey (Brushtail) Possum. NU-COLOR-VUE/ OF/ AUSTRALIA AFFIX/ STAMP/ HERE/ 18 MA002/ NCV 5408 ADDRESS/ POSTCODE Made in Australia Date Stamp MARYSVILLE VIC AUST DEAR MELISSA,/ HERE IT IS MELISA/ YOUR OWN CARD AS/ REQUESTED. I AM/ RELAXING IN FRONT OF/ A HUGE LOG FIRE AT/ THE MOMENT BEFORE/ ATTACKING A 4 COURSE/ MEAL FOR TEA. I/ HAVE SETTLED IN TO/ THIS WAY OF LIFE/ ALREADY AND AM THROUGH/ LY ENJOYING IT. LOTS/ OF PAINTING MATERIAL/ AROUND HERE TOO. HEATED/ POOL (SALT) IS BEAUT./ SEE YOU LATER/ Jess xx M/S MELISA THOMSON/ C/- COCA-COLA BOTTLERS/ 128 BRIENS RD/ NORTHMEAD 2152/ SYDNEY/ N.S.W. COPYRIGHT/ Nucolorvue Productions Pty. Ltd. Telephone: (03) 560-1788marysville, victoria, burrengeen park, steavenson falls, autumn, yarra track, mountain grey possum, brushtail possum, nucolorvue productions, postcard, souvenir

This handmade picture has been painted on a cast plaster or composition frame. Plaster frames were popular in the e19th century. The material is quite fragile and many pictures from this era suffer from damage such as chips and cracks.This simple handmade painting on cast composite frame is typical of 19th century art work found in middle and upper class Victorian homes of that era. It cannot be attributed to a particular artist due to lack of inscriptons.Painting, oil on composite material, handmade Pink coloured cast composite oval frame with decorative border. Painting depicts two figures in a small green boat on the shore, sandy beach, rocks nearby, small surf waves, mild sea, two sailing vessels in background. No inscription on front of painting. flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, victorian art work, maritime scen, composite material, plaster, cast frame, oval frame, victorian era

William Lunn (1833-1916) was born i England where he learned cabinetmaking. He came to Australia in 1855 and initially partook in mining and puddling. He then became a salesman for Mr Henry King, painter and decorator. When King died in 1868, Lunn bought the business. In 1906 Lunn married the widow, Ann Jane Newman (nee Pinnell) . Ann and her first husband were neighbours of William Lunn who lived in "Esperence", Wills Street. Even whilst in business, Lunn remained an active mining investor.William Lunn Invoice: Cream paper with navy print and red and light blue lines. Dated April 30th 1923. Bendigo Glass and paper hangings Warehouse, TEL. 315 PALL MALL, Bendigo. Invoice no. 1595. Mr A Bush View Street. Dr. to William Lunn, Painter, Glazier, Paperhanger. &c. Dealer in glass of All Descriptions. Colours, Oils, Paints, Varnishes, &c. Terms - Cash. Paper hangings, Borderings of Newest designs, and panel Decorations. Invoice is for work to be carried out Painting etc, also lists materials and price. At the bottom is a orange Stamp Duty 2 pence stamp. Box 625business, retail, house furnishings, william lunn. a bush

Radio transcript - 12 foolscap sheets, typed. Although not named, appears to have been prepared for or by Mr. Strickland describing "inside information regarding tramcars". Notes cable trams, conversion, sale of trailers and dummies or grip cars, the variety taken over from the trusts, design of new cars (180 in service at the time of the report), open cars vs closed cars, seating and standing capacity, speed, braking system, step heights, destination signs, lifeguards. Gives a description of Preston Workshops, finishing soon, description of the tramcar construction, roofing, painting, sourcing of materials, timbers, cost per tram of 3250 pounds, depots, breakdowns, overhauls, workshops, collision repairs in 1925, construction of 10 safety cars. Vicsig.net gives that X1 461 entered service in Sept. 1926. Pinned to the file by Robert on the rear of TMSV Raffle ticket is a note "Electrical Engineer 15/7/26 p35 "C. H. Wickham gave recent address broadcast on 3LO"In blue pencil in top left hand corner appears to be "Wickham"trams, tramways, tramcars, preston workshops, new trams, sale of trams, cable trams, destination roll, tram brakes, tramcar equipment, x1 class, w class, depots, radio stations

Built in 1953, the Rice House was leading Melbourne architect Kevin Borland's first commssion and was one of two houses of its kind. The design of the shell-like structure was inspired by the Arch of Ctesiphon, built in the second century south of Baghdad. Cement with a waterproofing agent was applied in layers to a form of regularly spaced timber arches covered in hessian. This ctesiphon system was developed in the United Kingdom by engineer J.H. de Waller in 1947. Commissioned in 1951 by Harrie and Lorna Rice, after Harrie, then an art student, met Borland at The Age Small Homes Service. Borland suggested they buy land in Eltham because at that time it was the only council in Melbourne that would grant a permit for such an innovative house. Covered under Victorian Heritage. Inspired by an ancient arch in Iraq, a house stands on top of a hill in a private position, off Ryans Road, Eltham. One of only two houses of its kind, it was leading Melbourne architect Kevin Borland’s first commissioned house, which he built in 1953. The shell-like structure, partially screened by giant trees and cacti, was inspired by the Arch of Ctesiphon south of Baghdad, built in the second century.1 Cement with a waterproofing agent was applied in layers to a form of regularly spaced timber arches tightly covered by hessian. This ctesiphon system was developed in the United Kingdom by engineer J H de Waller in 1947. This house was the first of three such structures built in Victoria, of which only one other remains, although substantially altered.2 It is the Wood House and supermarket, at the corner of Cleveland Road and High Street Road, Ashwood, designed by Robin Boyd in 1952. The Rice House demonstrates Kevin Borland’s innovative and experimental work. It is an outstanding example of the post-war period of experimentation in domestic architecture in Melbourne – by Robin Boyd, Kevin Borland and others – for The Age Small Homes Service from 1947 to 1953. This was partly an expression of late-Modernism and also necessitated by the post-war shortage of building materials. In Eltham, the post-war shortage of building materials largely resulted in mud-brick houses. Examples of Borland’s public work include contributions to the Olympic Swimming Pool in Melbourne and the Preshil Junior School in Kew. After more than 50 years of living in the house, Harrie and Lorna Rice still love it. Facing north-east with large windows overlooking the garden and two courtyards, it is well lit and benefits from a through breeze. The couple commissioned the extraordinary house after Harrie, then an art student, met Borland in 1951 at The Age Small Homes Service. Harrie was so impressed by the recently graduated Borland’s enthusiasm, that he asked him to design them an interesting house for a low budget. The unusual design presented several hurdles for the young couple before they could construct it. Borland suggested that they buy land in Eltham, because at that time it had the only council in Melbourne that would allow such an innovative house. Another hurdle was to gain finance for this remarkable house. The State Savings Bank Manager refused finance on the grounds that it was ‘unliveable’ and a ‘disgrace’. Fortunately, through a family connection, the couple borrowed money from the National Bank. But they discovered years later, that the bank’s evaluation stated the two ‘concrete sheds’ were of no value! The house built in off-white concrete, consists of two sections. The main house has four arches supported by brick and concrete walls that create a series of inter-connected rooms. Inside, the ceiling follows the roofline. Originally this section was only ten square metres, because of building restrictions at the time. But in 1973 Borland added two rooms and a carport. The second structure of two arches was originally a garage and a studio for art teacher Harrie Rice. To accommodate the growing family, in the mid 1950s, Borland converted the second structure into two children’s bedrooms, a kitchenette, a bathroom and a living room. The two structures were originally linked by a covered way of suspended draped-concrete, but this collapsed in the 1980s. The design has several maintenance problems. Cracks developed where two halves of the shells were joined. Then the material sprayed over the cracks became brittle, causing leaks. Fortunately Harrie found another material he could use. The valleys between the arches collect water, requiring annual painting with a waterproof material to prevent leaking. Lorna framed the house with native and exotic plants, which provide privacy and as a bonus, the garden attracted the rare Eltham Copper Butterfly. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p157 Comments about the Rice House on Lost Eltham page on Facebook June 2018 https://www.facebook.com/Lost-Eltham-1535993463348408/ Kate Borland:  My dad designed this house. It is the Rice house and it is being renovated to its original glory as we speak.... Katherine Fox: I remember Harry and Lorna's, there was a secret room...! And the best loo with a view as I recall. Katherine Fox: Love this house! Wish I'd known it was up for sale. Looking forward to seeing progress if possible...If I recall correctly, the concrete swag over the walk-way collapsed at some stage. Marcus Skipper: In our little green Landrover, my dad and Alister Knox drove up dirt roads, a dirt track through the bush and finally to the ridge to check out this joint in about 1960. After the war at some time, they were all together at RMIT studying building design. Alister was the only one to graduate. A situation that resulted, my father would joke, in Alister having a career wherein his qualifications exceeded his talent. World Peace had broken out and all were hip to the ‘People’s’ century. Kevin went with the Modernist’s concrete, Alister went with the peasant’s mudbrick. “If this is the future,” my dad said,”I don’t like it.” And we drove back to medieval Montsalvat.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, rice house, ryans road, kevin borland

This is a soft cover book of 340 pages. It has a purple cover with a reproduction of a 19th century painting on the front cover and material about the contents of the book on the back cover. The spine is an orange colour with black and white printing. The book has an introduction by Kylie Tennant, an afterword by Dale Spender and 29 chapters of a novel. fictionA novel outlining the difficulties faced by 19th century women wishing to pursue a career.mary gaunt, history of warrnambool, women in literature

This is a paper back book with a plasticized cove which has an image of Flagstaff Hill Maritime Village (reproduction of Daniel Clarke’s Studio) in the background in muted colours, photographs and paintings of Thomas and Susan Lawson in colour on the front cover and a photograph of and information on the author on the back. It has 37 pages, a Lawson family tree at the back and an introduction by Helen Jones. The book included printed material, black and white photographs and illustrative material.non-fictionFamily history of Thomas Lawson (1831-1907) and his descendants lawson family, warrnambool, cobden, camperdown

This book belonged to Mary Norman- Bail (1883-1962). She came to Warrnambool in 1901 and studied art and became an art teacher and artist. She moved to Echuca and then Ararat where she set up a school called The Pathfinder. She became well known as an artist and exhibited her work in the Victorian Artists Exhibitions. In 1922 she married Jesse Bail and had one child named Jessica. Several of her paintings are in the Warrnambool and District Historical Society collection.This book is of considerable interest because of its connection to a Warrnambool artist.This a soft covered book of 88 pages. It has a blue cover with black printing and an image of a weaving loom. It contains printed material and many illustrations and diagrams. The Pathfinder School Ararat St. Andrew's M NORMAN - BAIL Principal and Proprietormary norman- bail, warrnambool

Clifton Banks is the name given to a bank on the Hopkins River Estuary, about one kilometre upstream from Proudfoots Boathouse. It is at the foot of the property, Clifton, which dates from 1850s. There are several works of art and photographs of Clifton Banks dating from the late 19th and early 20th centuries. Mary Norman (later known as Mary Norman=Bail) came to Warrnambool in 1901, residing with Canon and Mrs McGeorge. She studied art with Samuel Pearce Fuller and later taught art at Fuller's studio and at a local private school. She produced several seascapes and landscapes while she was in Warrnambool, leaving the town in 1905. She devoted the rest of her life to art as an artist and teacher. In 1922 she married Jess Bail. This art work of Clifton Banks won first prize at the 1902 Annual Ararat Art competitions. It was reported at the time that the work was not a copy but had been drawn from nature. The Warrnambool and District Historical Society has five of Mary Norman-Bail's art work.This is a most significant item as it is one of Mary Norman's art works and she was known in the early 20th century as a competent artist and a member of the Victorian Artists' Society. This art work also has historical significance as one of a number of Clifton Banks representations still surviving. Mary Norman also had an impact on the cultural life of Warrnambool during her short stay in the town. She also returned to teach in the town several times for short periods during the summer vacation times.This is a water colour mounted on art board and with a gilt framed and three outer layers of wooden gilded ornamental frames. The sides of the frames are broken in places and the guided material is somewhat discoloured. There are Les O'Callaghan handwritten notes and some typed material on the back giving information on Mary Norman and the art work. The back is sealed with pasted paper and there are both string and wire attached for hanging the pictureBack of art work: 'Diamond Bros, Photo Enlargers, Importers of Mouldings, Mounting Boards, Albums, Mirrors etc, Picture Framers. Mount Cutters and Plush Workers, Studio - 27 Bridge Road, Melbourne, Factory- 45 and 47 Duke Street, Richmond, Armstrong Street, Ballarat, Pirie Street, Adelaide, Brisbane, & Freemantle W.A.'mary norman, clifton banks, warrnambool

These renovations were first discussed by the Bendigo RSL in 1962 - 1963. This Document is headed, “Specifications of Workmanship and Materials required for Painting and Renovations etc, at R.S.S.A.I.L.A Hall, Pall Mall, Bendigo” There are 3 parts to the documents. First section has 22 parts, everything from “Tender - Insurance - Materials - Liability - Condition of Contract to the use of Sanitary conveniences. Second section has sections re “Carpenter and Joiner - Brick work - Plastering - Electrician - Painter and Glazier”. Each has sections under re their work to be done. Third section is a technical drawing of the Soldiers Memorial Institute minus the Main Hall, it shows scopes of work. The main works covered a new false ceiling in the Office, a new front door entrance to the Foyer in a different position, exhaust fan in the Billiard room, removal of a gate at the Stairwell entrance, fire place repairs, adding chair rails to walls to foyer, Committee room. These works were carried out. There was a false ceiling in the Meeting room but there was no mention re this in the above plans. This ceiling was removed during the 2016 - 2018 major renovations to the SMI. The false ceiling in the Office was removed in a major renovation to the room in 2011 - 2012 and taken back to original.Folder brown card covers with six typed in black pages and one map all black print, pages stapled in with 2 binder holes in.On front cover in black pen. "Specifications - Painting & Renovations R.S.L. Premises Pall Mall, Bendigo"brsl, renovations, smirsl

Hard cover book, buckram material, 304 pages, black & white photos. Top 1/3rd has additional painting of charging trench soldiers. Centre 1/3rd has black background with white ink. Bottom 1/3rd has black & white photo of walking wounded British & German soldiers.books - albums - military, photography-photographs

Warrandyte artist, Clara Southern, features on the Artists Trail. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p189 Since early in the 20th century this district has attracted artists and other creative people. So much so, that Eltham has been compared to the Left Bank in Paris, New York’s Greenwich Village and London’s Bloomsbury. That is until the 1970s when Eltham rapidly expanded into a suburb. However many artists still flourish not only in Montsalvat, Dunmoochin and the Bend of Islands but elsewhere in Nillumbik. Some artists who have worked or lived in Nillumbik are well-known nationally and internationally. Artists are attracted to the hilly district’s subtle colours, unique light and the Yarra River and Diamond Creek. The railway’s extension to Eltham in 1902 brought artists to paint for the day or to camp. Then many settled in Eltham, perhaps also because the poor quality land, far from the city, was cheap. Following World War Two they found they could build houses and studios cheaply by making their own mud-bricks. The flexible material, with its warm tones blending into the bush, also satisfied their aesthetic sensibilities. As early as 1900, Will Longstaff, known for his painting The Ghosts of Menin Gate at the National War Memorial in Canberra, lived at Stanhope in Peter Street, Eltham, later to become the home of intellectuals Clem and Nina Christensen. Members of Australia’s first significant art movement, the Heidelberg School of Artists, painted in Eltham, Warrandyte and Diamond Creek. Walter Withers lived at the corner of Bolton and Brougham Street, Eltham and taught Sir Hans Heysen, who for a short while stayed with the Withers family. In Warrandyte were Clara Southern, whom Frederick McCubbin taught at the National Gallery School and Penleigh Boyd, who is represented in all Australian state galleries and the National Collection in Canberra. May Vale, daughter of politician William, lived in Diamond Creek. With Jane Price they feature on the Heidelberg School Artists Trail, part of which runs through Nillumbik. The trail includes signs each displaying a reproduction of a painting by an artist and located near where the artist lived or painted. In Nillumbik the trail includes parts of Warrandyte, Eltham in the Alistair Knox Park, Main Road shopping precinct and Wingrove Park, the Research walking track on Main Road and the Diamond Creek Reserve. In 1916 artist William ‘Jock’ Frater lived at the corner of Arthur and Bible Streets, Eltham. Before then, Frater, with other artists including Percy Leason (who moved to Eltham in the mid 1920s) painted in Eltham on weekends. They camped near Bible and Pitt Streets and along the Diamond Creek where the Eltham Retirement Centre now stands.4 In 1921, painter Peter Newbury (father to painter David Newbury, who was born in Eltham) moved to Cromwell Street, Eltham. Max Meldrum, the first Australian painter to formulate a consistent theory of art largely based on tone,5 taught local artists Alan Martin, Clarice Beckett, Peter Glass and Justus Jörgensen. Meldrum visited Eltham then rented a house there for 18 months opposite Wingrove Park. In 1934, artist and architect Justus Jörgensen and his doctor wife Lil and friends built Montsalvat, the artists’ colony. Montsalvat has played an important part in attracting artists to Eltham and its mud-brick, pisé, stone and recycled building materials has had a major influence on Eltham’s built environment. Jörgensen’s students who also helped him build Monstalvat included Arthur Munday, Lesley Sinclair, Helen Lempriere, Joe Hannan, Helen, Sonia and jeweller/sculptor, Matcham Skipper. Among artists who visited Montsalvat were Clifton Pugh and Angry Penguins’ artists Albert Tucker and Arthur Boyd. Some who painted after World War Two were Alan Martin of Eltham and Warrandyte artists Frank Crozier and Harry De Hartog6, one of Melbourne’s first painters influenced by Cubism.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, clara southern, main road, research (vic), heidelberg school artists trail

Vol. 2, No. 4, Aug-Sep 1997 CONTENTS A PAINTER'S PROGRESS ARRESTED William Dobell's battle for artistic survival 3 WALK WITH THE HEIDELBERG SCHOOL A chance to revisit the sites of Australia's best-loved paintings 4 A DREAM REVISITED Once more Eltham has a real bookshop 8 THE ART OF RECYCLING Painter Baz Blakeney creates his own materials from the scrap heap 10 POETRY Sandy Jeffs 12 MOTHER AND CHILD The concept of arts therapy 13 IMAGES OF THE '50s A Czech migrant's view of Melbourne 16 SHORT STORY Helen Lucas 18 BOOK REVIEWS The life of Clem and Nine Christensen 21 Music theatre of Melbourne 23 THE CHINA QUESTION Exhibition of modern Chinese art 24 THEATRE REVIEWS 26 Music 27 CD REVIEW 28 SHORT STORY 29 EXHIBITIONS 30 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, heidelberg artists' trail, heidelberg school artists' trail, 1950s, william dobell, eltham bookshop, meera govil, baz blakeney, junk art, found objects, sandy jeffs, art therapy, michelle lonsdale, eltham community health centre, kath armour, raddie sindelka, helen lucas, sandon mcleod, clem christesen, nina christesen, judith armstrong, llobex picture framing, john jenkins, rainer linz, harriet dance, chinese art, bulleen art & garden centre, studio framing eltham, eltham little theartre, great darebin music expo, judy jacques, lucinda mcknight, les kossatz, barry dickens, diamond valley singers, eltham community orchestras, helen o'grady children's drama academy, alan marshall short story award

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

The Centenary-Jubilee Train. The Centenary-Jubilee train was one of the outstanding successes of the Centenary and Jubilee celebrations in Victoria. The train, attractively painted green and gold, consisted of eleven cars, and toured Victoria to take to people in the country exhibits of interest associated with the celebrations. National Art Gallery paintings, rare manuscripts and pictures were displayed, as well as models showing the history of gold production, and models and illustrations of national projects controlled by the various departments of this State. The Commonwealth section included displays by the Army, Navy, Air Force and Post Office; a war materials exhibit from the Supply Department; and diagrams and maps of the Snowy Mountains Hydro-Electric scheme. The Railways exhibit portrayed the century's growth and development of railways in Victoria and their influence on the prosperity of the State. During its 6,000 miles tour, from 1st February to 30th June, the train visited 168 stations and was inspected by 547,978 people. An entertainment unit accompanied the train and gave 100 performances which were attended by 96,400 people. Source: Report of The Victorian Railways Commissioners for the Year Ended 30th June 1951Digital TIFF file Scan of Kopdak 620 black and white negative transparencygeorge coop collection, n-430, n-class steam locomotive, victorian centenary jubilee 1951

The Centenary-Jubilee Train. The Centenary-Jubilee train was one of the outstanding successes of the Centenary and Jubilee celebrations in Victoria. The train, attractively painted green and gold, consisted of eleven cars, and toured Victoria to take to people in the country exhibits of interest associated with the celebrations. National Art Gallery paintings, rare manuscripts and pictures were displayed, as well as models showing the history of gold production, and models and illustrations of national projects controlled by the various departments of this State. The Commonwealth section included displays by the Army, Navy, Air Force and Post Office; a war materials exhibit from the Supply Department; and diagrams and maps of the Snowy Mountains Hydro-Electric scheme. The Railways exhibit portrayed the century's growth and development of railways in Victoria and their influence on the prosperity of the State. During its 6,000 miles tour, from 1st February to 30th June, the train visited 168 stations and was inspected by 547,978 people. An entertainment unit accompanied the train and gave 100 performances which were attended by 96,400 people. Source: Report of The Victorian Railways Commissioners for the Year Ended 30th June 1951Digital TIFF file Scan of Kopdak 620 black and white negative transparencygeorge coop collection, n-430, n-class steam locomotive, victorian centenary jubilee 1951

139 pagesnon-fictionDirectory which contains more than 600 organisations and individulas throughout Australia which have collections of pictorial material of Australian subjects. From fine art modes such as paintings or prints to photographic forms ranging from early glass negatives to video formats.directories, photographic collections

Built by noted artist Theodore Penleigh Boyd, father of architect Robin Boyd. Covered under National Estate, National Trust of Australia (Victoria) Local Significance and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p111 The Robins at Warrandyte,* was once home to a member of a famous family and is also one of the first reinforced concrete houses in Victoria. The builder, Theodore Penleigh Boyd, born in 1890, was a talented painter1 noted for his works of the Warrandyte bush. He was the father of architect Robin Boyd, author of the Australian Ugliness and the uncle of painter, Arthur Boyd. Penleigh Boyd’s great grandfather was Sir William A’Beckett, Victoria’s first Chief Justice. Penleigh Boyd is considered by some to be an ‘unsung hero’ overshadowed by more famous members of his family. Mornington Gallery Director Andrea May said many believed Boyd ‘had never received the national acclaim that he deserved’.2 Classified by the National Trust3 and part of the Australian National Heritage,4 The Robins is set well back near the end of Kangaroo Ground – Warrandyte Road, unobserved by passers-by. Built in 1913, The Robins has some Art Nouveau influences and is a descendant of the Queen Anne style. It is covered in stucco and has a prominent attic, which Boyd used as a studio. Some parts of the house are up to 33 centimetres thick and built in part with pisé (rammed earth) and in part with reinforced concrete. Amazingly, Boyd built The Robins without an accessible driveway, and only a narrow track along which he had to cart building materials. The journey was uphill and Boyd terraced the land with Warrandyte rock5 without the aid of machinery. At only 33 years, Boyd was killed in a car accident in 1923. He was buried in Brighton near the home of his parents. Several people have since owned the house, including political journalist, Owen Webster. Boyd was born at Penleigh House, Wiltshire, and studied at Haileybury College, Melbourne and The Hutchins School, Hobart. He attended the Melbourne National Gallery School and in his final year exhibited at the Victorian Artists’ Society. He arrived in London in 1911 and his painting Springtime was hung at the Royal Academy. He painted in several studios in England and then worked in Paris.6 There he met painter Phillips Fox through whom he met artists of the French modern school and also his wife-to-be, Edith Anderson, whom he married in Paris in 1912. After touring France and Italy, the couple returned to Melbourne. In 1913 Boyd held an exhibition and won second prize in the Federal Capital site competition, then the Wynne Prize for landscape in 1914. In 1915 Boyd joined the Australian Imperial Force, and became a sergeant in the Electrical and Mechanical Mining Company. However he was severely gassed at Ypres and invalided to England. In 1918 in London Boyd published Salvage, writing the text and illustrating it with 20 black-and-white ink-sketches of army scenes. Later that year he returned to Melbourne, and, despite suffering from the effects of gas, he held several successful one-man shows, quickly selling his water-colour and oil paintings. In his short career Penleigh Boyd was recognized as one of Australia’s finest landscape painters. He loved colour, having been influenced early by Turner and McCubbin. His works are in all Australian state galleries, the National Collection in Canberra as well as in regional galleries.7 His wife Edith was also an artist having studied at the Slade School, London, and in Paris with Phillips Fox. After her marriage she continued to paint and excelled in drawing. In later years she wrote several dramas, staged by repertory companies, and radio plays for the Australian Broadcasting Commission, in which she took part. She was the model for the beautiful red-haired woman in several of Phillips Fox’s paintings and the family hold three of his portraits of her. *Possibly named after the Aboriginal words warran, meaning ‘object’ and dyte, meaning ‘thrown at’.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, kangaroo ground-warrandyte road, north warrandyte, the robins

Great Hall at Montsalvat built 1938-52, designed by Justus Jorgensen Covered under National Estate, National Trust of Australia (Victoria) State Significance, Victorian Heritage and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p129 At first glance, Montsalvat, the artists’ community at Hillcrest Avenue, Eltham, could belong to another time and place. The French provincial Gothic-style buildings blend picturesquely with the introduced and native trees and farm animals on the five hectare property. But Montsalvat belongs very much to today’s Eltham, having inspired much of its creative activity and style. The use of mud-brick and recycled building materials, for which Eltham is so well-known, was largely popularised by Montsalvat. Montsalvat – unique in Victoria and probably in Australia – is registered by the National Trust and National Estate.1 Montsalvat, named after the castle of the Knights of the Holy Grail, has attracted artists and intellectuals since it was founded in 1934. For years at weekends, artists, lawyers, philosophers, politicians and others, who shared a love for what Montsalvat stood for, gathered for a meal and stimulating discussion. The focus for this gathering of talent was Justus Jörgensen, an eccentric man with vision and charisma. It was Jörgensen’s foresight that saw the creation of Montsalvat, which in 1975 was formed into a trust to benefit the Victorian people. The property was then valued at about three million dollars. It is now visited by thousands of people annually. Born in 1894 and brought up a Catholic, Jörgensen had trained as an architect. He later studied painting at the National Gallery School under artist, Frederick McCubbin, then joined the studio of artist Max Meldrum. In 1924, Jörgensen married medical student Lillian Smith, and with artist friends they travelled to Europe to study the great masters. In London Jörgensen exhibited in several major galleries. One of his still life paintings was included in the book The Art of Still Life by Herbert Furst, which featured 100 of the greatest ever still life paintings.2 In 1929, Jörgensen returned to Melbourne where Lil, now qualified, worked as an anaesthetist at St Vincent’s Hospital. They bought a small house in Brighton and Jörgensen rented a large building in Queen Street for his studio until the Royal Automobile Club of Victoria bought it in 1955. While designing and overseeing the building of a studio for his friend the famous cartoonist Percy Leason, in Lavender Park Road, Jörgensen decided to buy land for a country retreat in Eltham. So the building of Montsalvat began. Jörgensen gathered around a dozen of his friends and students from his Queen Street studio. They set to work, first at weekends then some decided to live permanently on the site. Jörgensen had seen mud-brick buildings in Spain and recognised that Eltham’s clay soil was ideal for mud-bricks and although labour intensive, it was a very cheap way of building. Jörgensen’s students and friends worked under his direction with the help of local tradesmen, including carpenter, Len Jarrold and later stone mason, Horrie Judd. In return Jörgensen would give the students a painting lesson or two. It was the Great Depression when many were out of work. Jörgensen also inspired people to give generously of money and materials. With their help Jörgensen found second-hand materials for building. Friends donated slate for roofing, discarded firebricks were used for flooring and windows and doors and a cast-iron circular staircase came from a wrecker. The students’ day started at 7am with building and domestic chores, shared equally between the sexes. The first building was used by his friends at weekends and then became a home for his wife Lil. It consisted of three rooms and an attic under a high-pitched roof. Jörgensen then built a similar structure with the same high-pitched roof as a more permanent home for his students. The two buildings were joined together with a tower and a studio for Jörgensen. While excavating for the studio a reef of yellow mud-stone was found and then used in construction. The next building was the Great Hall, to be used for dining, exhibitions and meetings and completed in 1958, after a halt during the war. Whelan the Wrecker donated the stone-framed windows from the building that housed the Victorian Insurance Co. in Collins Street, which had been demolished in the 1930s. The swimming pool was donated and cubicles were built for the students with their initials marked in tiles on each doorstep.1 One of Jörgensen’s great abilities was to recognise how to use material which harmonised. He would comb through wreckers’ yards for what he needed. Regarding his buildings as sculptural pieces, his first consideration was for the aesthetic quality of a building and only then for its functionality.2 At Montsalvat, Jörgensen found he was able to put his ideas into practice without compromise and those who worked with him had to conform to his ideas. With the Jörgensens, the colony’s original nucleus consisted of the Skipper family – Mervyn and wife Lena, daughters Helen and Sonia and son Matcham,who was to become an eminent jeweller and sculptor represented in National Gallery collections throughout Australia and in European museums.3 Other members were Arthur Munday, Lesley Sinclair, Helen Lempriere, Ian Robertson, John Smith, George Chalmers, John Busst and Sue Van der Kellan; also Jörgensen’s three sons – Max, Sebastian and Sigmund – and Saskia, Sonia Skipper and Arthur Munday’s daughter. Montsalvat went through some hard times when local gossips spread rumours of sexual shenanigans at Montsalvat. However Montsalvat also had many local supporters – especially amongst the local tradespeople. The colony was certainly unconventional – with Jörgensen’s wife Lil (and son Max) and life-time partner Helen Skipper, (mother of Sebastian and Sigmund) living at Montsalvat. Sonia Skipper says in her biography that the group were ‘very conscious of their responsibilities to each other and a desire to make their relationships work’.4 By World War Two many buildings around the Great Hall were completed. Jörgensen was a pacifist, as were most of his students. Some of the Montsalvat community enlisted while others engaged in essential services like dairy farming and market gardening for the war effort. It was then that Jörgensen constructed farm buildings. After the war many well-known personalities such as Clifton Pugh, landscape gardener Gordon Ford, and builder Alistair Knox, were drawn to Montsalvat. They learnt that building was not a ‘sacred cow’ only for professionals, but that anyone who was willing to get their hands dirty could do it. The post-war shortage of materials also encouraged builders to follow Montsalvat’s lead in reusing materials. When Jörgensen died in 1975, his influence did not – thanks largely to the vigilance of his son, Sigmund, who became its administrator. The weekend dinners have gone, but in 2008 about 14 artists still work at Montsalvat – some living there – including a couple who have been there since its early days. Under Sigmund’s direction Montsalvat further expanded its activities which included festivals, art exhibitions, concerts and weddings. Sigmund completed the Chapel, then the Long Gallery next to the pool, After the barn burnt down, he replaced it in 1999 (the builder was Hamish Knox, Alistair’s son) with a new gallery and entrance and added a restaurant. Sigmund has been careful that any new building blends in with the character of Montsalvat. In 2006 Montsalvat was restructured for its continued financial viability and with the help of Arts Victoria a new executive officer was appointed. A representative board from the wider community was established, which includes members from the former Montsalvat Trust including Sigmund Jörgensen – who is now the heritage and arts adviser to the new company Montsalvat Ltd.5 Today, visiting Montsalvat one still sees artists, students and visitors enjoying the unique and beautiful surroundings.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, great hall, montsalvat

Malachite is a green copper carbonate hydroxide mineral and was one of the first ores used to make copper metal. Malachite has been utilised as a gemstone and sculptural material in the past as its distinctive green color does not fade when exposed to light or after long periods of time. Malachite is formed at shallow depths in the ground, in the oxidizing zone above copper deposits. The material has also been used as a pigment for painting throughout history. This particular specimen was recovered from the Burra Burra Copper Mine in Burra, South Australia. Otherwise known as the 'Monster Mine', the Burra Burra Copper Mine was first established in 1848 upon the discovery of copper deposits in 1845. Within a few short years, people from around the world migrated to Burra to lay their claim in the copper economy. By April 1848 the mine was employing over 567 people and supporting a population of 1,500 in the local township. Up until 1860, the mine was the largest metals mine in Australia, producing approximately 50,000 tonnes of copper between 1845 to its closure in 1877. The Burra Burra Mine was also famous for a number of other specimens, including; crystalline azurite, cuprite, and botryoidal and malachite.Malachite is considered a rare gemstone in that the original deposits for the stones have been depleted leaving behind very few sources. In addition, the use of Malachite as gemstones and sculptural materials remains just as popular today as they were throughout history. It is quite common to cut the stone into beads for jewellery. The fact that Malachite has such a rich colour and one that does not fade with time or when exposed to light makes it particularly rare. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study. A solid hand-sized copper carbonate hydroxide mineral with shades of yellow, blue, and light green throughout.geological, geological specimen, burke museum, indigo shire, malachite, malachite specimen, burra burra mine, burra, south australia, australian mines, mines, monster mine

Malachite is a green copper carbonate hydroxide mineral and was one of the first ores used to make copper metal. Malachite has been utilised as a gemstone and sculptural material in the past as its distinctive green color does not fade when exposed to light or after long periods of time. Malachite is formed at shallow depths in the ground, in the oxidizing zone above copper deposits. The material has also been used as a pigment for painting throughout history. Malachite is considered a rare gemstone in that the original deposits for the stones have been depleted leaving behind very few sources. In addition, the use of Malachite as gemstones and sculptural materials remains just as popular today as they were throughout history. It is quite common to cut the stone into beads for jewellery. The fact that Malachite has such a rich colour and one that does not fade with time or when exposed to light makes it particularly rare. Although there is no indication available of the locality from which the specimen was sourced, it is likely that the specimen was collected either in South Australia in the vicinity of the Burra Burra mines or in Victoria as part of programs of geological surveying undertaken in the Nineteenth and Twentieth centuries. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A solid hand-sized copper carbonate hydroxide mineral with quartz pebbles in red conglomorate matrix presenting shades of cream, brown and green.Existing label: Malachite / (green) in / conglomerate / (white quartz / pebbles / in red matrix /geological specimen, geology, geology collection, burke museum, beechworth, geological, indigo shire, malachite, malachite specimen, australian mines, mines, geological survey, conglomorate, matrix

US Magnetic Compass: Made in 1966; used in Vietnam War (Sometimes referred to as a Surveyor's Compass or, less accurately, a prismatic compass). When unfolded, the user puts a thumb through the wire loop, holds the lens in front of the eye, and aims the wire 'aiming line' at the required object or direction. While held, the user then looks down towards the dial to read the compass direction. The engraving underneath includes a reference to radioactive material ('H3' – the tritium isotope of Hydrogen) and is used in the luminous paintings that mark principal compass directions.(with lid closed) U.S. COMPASS MAGNETIC FSN 6605-846 7618 UNION INSTRUMENT CORP. PLAINFIELD, N.J. DA23-195-AMC-00906(T) (lid open; distance scale on edge - see Media item #5) 1000 2000 3000 1:25000 METERS (underside) RADIOISOTOPE H3 A.E.C. LICENSE NO. 8-5736-3 CONTAIN 75 MS. RADIOACTIVE H3 DO NOT OPEN DISPOSE OF PER AR 755-380 IF FOUND RETURN TO MILITARY AUTHORITY

from EDHS Newsletter No. 122, September 1998 - There is a new display in our local history cabinet in the Eltham Library. This time we have used our growing collection of material on Eltham, England. It includes the painting by Lionel Backhurst presented to us on behalf of Eltham Society by Clifford Crate. The booklet on the Eltham town sign that Clifford also brought is in loose leaf format so we have been able to include the whole of that which really presents an excellent summary of the important historic buildings of Eltham. Also on display is another painting by Lionel which was presented to Russell and Marion Yeoman. (Much of this material was presented to the Society during a visit by Margaret Taylor and Clifford Crate of the Eltham Society during Christmas/New Year 1997/98.)Roll of 35mm colour negative film, 7 stripsKodak Gold 200-6activities, art, clifford crate, displays, eltham library, eltham society (london), lionel backhurst, local history, margaret taylor

Clinton Naina’s earliest memory is attending Collingwood football matches at Victoria Park with his father and uncles. His dad was an avid Collingwood supporter and Naina proudly wore his football colours. Lining up to enter the grounds at the big old black-and-white painted wooden doors gave Naina the feeling of entering into another world. 'Rule 30' is a comment on race relations in sport. The artwork is made from the original doors located at the front entrance of the Collingwood Football Club’s grounds at Victoria Park. When the club was refurbished the door was gifted to Naina by a friend—an ex-Collingwood football player—for use in his art practice. The work depicts a big red target painted on the existing Black and white stripes—Collingwood colours—of the door. Naina placed a fabric number ‘30’ on top of the target—created from material used for numbers on the back of players’ football vests. This represents the individuals who have been racially vilified while playing football over many years. The red represents the colour of human blood, while the Blak and white Collingwood colours already painted on the wood are a very fitting comment on race relations. The door itself becomes a potent metaphor for “overcoming barriers, making change, breaking down doors and moving forth into a new era of respect for people”. Rule 30 in the AFL was the first racial vilification code in Australian sport. It prohibited conduct between players, clubs and other AFL officials, which threatened, disparaged, vilified or insulted another person on the basis of that person’s race, religion, colour, descent or ethnic origin. In 2013, ‘Rule 30’ was amended to ‘Rule 35’ to combat other forms of discrimination including disability, appearance and sexuality.The number '30' cut out of fabric placed on top of a painted red target at the centre of an existing black and white wooden door.Accompanying labelracism, sport, football, afl

Booknon-fictionCatalogue accompanying exhibition at National Gallery of Australia in 2001 with two essays interweaving Hester's life and art, 1920-1960.contemporary art society, angry penguins, painting, watercolour, gouache