In 2004 Kiran Mazumbar-Shaw received an Honorary Doctorate from the University of Ballarat (now Federation University Australia)A black/grey covered photograph album of photographs from the 2004 graduation ceremony taken by Williams Studio. Includes photographs of Kiran Mazumdar-Shaw receiving an Honorary Doctorate from the University of Ballarat. Also photographs of Kiran Mazumdar-Shaw with her lecturer Neville Gower and Helen Gower. Image courtesy of Williams Studio, 2004.university of ballarat, graduation, williams studio, mazumdar-shaw, honourary doctorate, neville gower, helen gower, kiran mazumdar-shaw, brewing

The University of Ballarat mace was made by scullptor Trefor Prest.CD-ROM of the mace bearers during the 2011 University Granduation ceremonies. university of ballarat graduation, mace bearers, academic regalia, mace

Federation University Australia was established on 1 January 2014. Formerly known as the University of Ballarat, its enabling legislation was the University of Ballarat Amendment (Federation University Australia) Act 2013. Although formally created as a University in 1994, the University of Ballarat has a lineage back to 1870 with the establishment of the School of Mines Ballarat, making it the third institution of higher learning to be established in Australia and the first to be established in regional Australia. On 1 January 1994, Ballarat University College became the University of Ballarat and in 1998 the University merged with three TAFE Institutes to become a dual sector institution with multiple campuses. On 1 January 2014, the University of Ballarat amalgamated with the Monash University Gippsland Campus to form Federation University Australia. The Gippsland Campus also had a long lineage dating back to 1928 with the establishment of the Yallourn Technical School which became a predecessor institution to the Gippsland College of Advanced Education formed in 1968. In 1990, it was renamed the Monash University College and in 1993 became the Gippsland Campus of Monash University. In 2016, Federation University Australia announced plans to take possession, over a two-year period, of Monash’s Berwick Campus in the south-east corridor of Melbourne. Federation University Australia, or FedUni, is headquartered in Ballarat and offers programs in Higher Education and Vocational Education and Training to regional Victoria and beyond. The University’s commitment to educational and social equity, teaching excellence, research distinction, environmental sustainability and regional capacity building has enabled it to develop in a way that draws on its proud heritage to inform its future. Its regional character sets a framework for the University’s priorities but does not constrain it from serving wider community interests, nationally and internationally. The name Federation University Australia was chosen to convey the scope and capacity of an expanded regional university with a federated network of campuses.Three black hard covered books with colour images of the December 2006 graduation ceremonies at the University of Ballarat.graduation, university of ballarat, david battersby, rosemary green, robert h.t. smith, dick de fegely, honorary doctorate

Brown photograph album of photographs of the 1990 Graduation taken by Williams Studios.graduation, ballarat college of advanced education, john sharpham, shirey falkinder, oppy, frank hurley, hurley

CD-ROM of images of recipients of Honorary Doctorates and Awards/medals by Williams Studios, Ballarat.university of ballarat, graduation, honorary doctorate, doctorate, award, medal, strobe driver. robert h.t. smith, jeremy johnson, julie heron, heron, johnson, driver

Photo of the SEC Ballarat tram crews shortly before the closure of the tramway system in front of the depot building with two tramcars behind and trams 30 and 33 alongside. Shows the whole of the front of the depot building. Has a printed list of all employees or staff underneath. Titled "Ballarat Tramways Employees 1971". Photograph on light stipple? paper. Features 61 personnel - only 60 names shown. Photograph by Williams Studios, Ballarat. Image btm1862i is of the photograph. See btm1861i2 for the listing. See also Reg. Item 1861 for another photograph/list of the same group and Reg Item 7001 for a framed version. Hi res scan of negative added as btm1862i3 9/5/2020.Has a close association with those shown in the photograph.Black and white photograph, mounted onto heavy stippled card.trams, tramways, ballarat, sec crews, personnel, staff photo, tram 30, tram 33

Black and white photograph, mounted onto heavy stippled card of the SEC Ballarat tram crews shortly before the closure of the tramway system in front of the depot building with three tramcars behind. Has a printed list of all employees or staff underneath. Titled "Ballarat Tramways Employees 1971". Photograph on light stipple paper. Features 61 personnel but only 60 apparently named. Photograph by Williams Studios, Ballarat. 2931.1 - Photograph 2931.2 - backing sheet Note this item has become separated from its backing sheet and has been maintained as such to enable scanning etc. in detail. See also Reg. Item 1862 and 1861 for another photograph/list of the same group showing trams on the sides and the whole depot front. Reg. Item 1861, another copy of the same photograph, but with some looking at different direction in particular the 7th person from left, row three who is looking down in the photograph of Reg. Item 1861 but looking up in Reg. Item 2931.Has a close association with those shown in the photograph.Black and white photograph - mounted.2931.2 - has name "R. Hall" ink in top left hand corner.tramways, trams, ballarat, sec crews, personnel, staff photo

Photo the SEC Ballarat tram crews shortly before the closure of the tramway system in front of the depot building with three tramcars behind. Has a printed list of all employees or staff underneath. Titled "Ballarat Tramways Employees 1971". Photograph on light stipple paper. Features 61 personnel but only 60 apparently named. Photograph by Williams Studios, Ballarat. Group photo, Crews, closure, Image btm1861i1 is of the photograph and btm1861i2 is of the listing. See also Reg. Item 1862 for another photograph/list of the same group showing trams on the sides and the whole depot front. See also Reg. Item 2931 for another copy of the same photograph, but with some look at different direction in particular the 7th person from left, row three who is looking down in the photograph of Reg. Item 1861. Hi res scan added 15/3/2015. Additional copy from the donation of Karelyn Satter added 2-3-16 and another copy within a plastic envelope with a typed list of names on the rear. See Reg Item 7001 for a framed version. See Image i1 for a detail of the personnel only. image i2 for a list of the names. image i3 for a hi res scan of the image including names. image i4 hi res scan of the negative personnel only. image i5 hi res scan of the negative with names. image i6 hi res scan of the print. Record revised 9/5/2020 for negative scans.Yields information about the Ballarat tramway staff at the time of closure of the SEC operated system.Black and white photograph, mounted.copy in plastic envelope has "From Mr Courtney 4.5.76" in top right hand corner in ink on the rear.trams, tramways, ballarat, sec crews, personnel, staff photo, closure, group photo

.1) Trooper Jack Miller .2) M J O'Donohue .3) & .4) F C Cotton .5) Pte Peter Williams .6) Pte A Bellingham, Queensland .7) D Kearin, G Thorn .8) Pte Roger Fitzpatrick, Maryborough East .9) L/Sgt D D Bruce, Sig W J Wair .10) John Oakes .11) Leslie Bryant .12) Cpt W Turner .13) Sgt T Marshall .14) R W Mattingley .15) Sgt A T Power .16) Sgt Walter Yates .17) Charles Drury .18) Joe O'Neill .19) Les J MartinPhotographs of Australian Servicemen WWI..17) Names on rear.photography-photographs, military history, passchendaele barracks trust

Cuthbert "Bert" Lodington enlisted under the Alias George Williams No 1608, 3/6th Batt AIF. KIA 8.5.15. Refer 2072 medals for full service details. Photo in sepia tone re "Bert" Lodington. Central photo on cardboard backing. Soldier standing in uniform holding a riding crop. Backing is light brown with ornamental surrounds."The Marlborough studios 123 Swanston St Melbourne"photogtaphy, military

Maroon colored cover with gold border, contains graduation ceremonies, Tuesday 5th, Wednesday 6th & Thursday 7th May photo 758 Sue McPhan and Jan Goyne. university of ballarat, graduation, founders hall, david caro, jan goyne, sue mcphan, kerry cox, mary akers, janet dore, academic regalia, bill pryor, frank williams, jack harvey, david james

Private George Alfred Williams Service number 70 Final Rank Private Unit 13 Fld.Amb. Conflict/Operation First World War, 1914-1918 Rolls First World War Nominal Roll: Unit 13 Fld.Amb. Conflict First World War, 1914-1918 Rank Private Timeline Date of enlistment 22 September 1914 Date of fate 17 September 1918 Father W.A. Williams of Belle Vue, Eltham Promoted to Corporal 15 March 1916 and transferred to 6th Field Ambulance Transferred to 13th Field Ambulance 9.2.17 Made temporary Sergeant from 27 April to 26 May 1918 whilst his unit awaited a replacement Sergeant at which point he reverted to Corporal. Died of shrapnel wounds to his left side and face received in action with the 4th Australian Field Ambulance in France, 17 Sep. 1918 His mother, Mary Ann Williams (nee Kidd) gave written permission for him to enlist In his Will he left all his effects to his mother.. Williams George Alfred : SERN 70 : POB Heidleberg VIC : POE Broadmeadows VIC : NOK F Williams W A https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/DetailsReports/ItemDetail.aspx?Barcode=1807628&isAv=Nmarg ball collection, 1914, george alfred williams, tesla studios photographer 244 chapel st prahran

EDHS_03095-338 | EDHS_08635-37 338 Main Road Lower Plenty | 37 Rangeview Road, Lower Plenty Original Mudbrick cottage and studio designed and built by Eltham artist, David Alan Newbury See also EDHS_06090 David Newbury (Artist) David Newbury was married to Clare Margaret Newbury. According to the 1954 Electoral Roll they were living at 36A Murphy Street, South Yarra however around 1953 they purchased Lots 3 and 4 of Main Road Lot Plan LP 23911 in Lower Plenty. A building permit, No. 71, was issued 8 December 1953 for a 5-room house of Vertical Board construction, cost £2,840, builder L. Williams, owner D. Newbury of 36 Murphy Cl., South Yarra. The large house was in fact mostly built of mudbrick, the construction method was only just becoming recognised as an acceptable form in the late 1940s for issuance of a building permit. The house was commenced in 1954, designed by David Newbury and built by David Newbury, Horrie Judd and others. Information from Newbury family friends suggests that a second mudbrick building was constructed in the late 1950s, early 1960s for use as an artist studio by Newbury. The building was connected directly to the water mains at the time and was made suitable for living accommodation during the period Newbury was teaching at Bendigo. Apparently he and Claire rented out the main house during their time in Bendigo and would reside in the studio when visiting Melbourne. No permit for this studio was found in the Building Permit Register, Shire of Eltham, 1949-1960. The last recorded entries in the register are dated May 1960. This would suggest that the studio was constructed post May 1960. It is believed the studio was constructed during the latter period of Newbury’s teaching post in Bendigo so possibly late 1960/1961. In 1963 the Newbury’s address in the Electoral Roll has the property recorded as 220 Main Road, Lower Plenty. Between 1967 to 1980 the Electoral Rolls record the property as 338 Main Road. Today the address is 37 Rangeview Road, Lower Plenty. Contents: 1. Extract from 1942 Shire of Eltham Rate Book. Muriel Gladys Reitsma listed as owner 2. Extract from 1984-85 Shire of Eltham Rate Book for Rangeview Road. (No mention of No. 37 so was probably still listed as 338 Main Road.) 3. Certificate of Title, Vol. 5601 Fol. 1120089 - Issued to David James Graham of Lower Plenty, Builder, Heidelberg for Lot 32 Block B on Plan of Subdivision No. 7606, part of Crown Portion Two, Parish of Nillumbik, County of Evelyn, 29 October 1929 4. Certificate of Title, Vol. 8008 Fol. 076 - Issued to David Alan Newbury of 36 Murphy Street, South Yarra, School Teacher for Lot 3 on Plan of Subdivision No. 23911, part of Crown Portion Two, Parish of Nillumbik, County of Evelyn, 29 October 1953. Amended 24 June 1963 to transfer portion for road widening scheme per Country Roads Board Plan 6889 - Cancelled 24 September 1984 5. Certificate of Title, Vol. 9581 Fol. 583 - Issued to Paul Robert Biber and Althea Constance Biber of 139 Lower Heidelberg Road, Ivanhoe for Lot 3 on Plan of Subdivision No. 23911, part of Crown Portion Two, Parish of Nillumbik, County of Evelyn, 24 September 1984. Derived from Vol. 8008 Fol. 076 L276994V - Cancelled 20 Nov 1992 when subdivided from one to two lots in Vol 10092 Fol. 192 and Vol. 10092 Fol. 193; LP222467B 6. Certificate of Title, Vol. 10092 Fol. 192 - Transfer to Lawrie Mein of 20 Dewar Drive, Hurstbridge of Lot 1 on Plan of Subdivision No. 222467B, lodged 17 Feb 1993, Registered 29 March 1996. Parent Titles Vol 08008 Fol 077, Vol 09581 Fol 583 7. Survey Field Notes of Part of Crown Portion 2, Parish of Nillumbik, County of Evelyn - Portion of land bounded by New Eltham Road. Application 23911 dated 8 Sep 1952 with appended Surveyor Field notes per Application 7098; R.D. Steele, Licensed Surveyor, 18 August 1950 8. Survey Field Notes of Part of Crown Portion 2, Parish of Nillumbik, County of Evelyn - Portion of land bounded by Main Road and Rangeview Road; 2 Lot subdivisions, Vol. 9581 Fol. 583 Part Lot 3 on LP 23911 and Vol. 8008 Fol, 077 Lot 4 on LP 23911; Application 221805 dated 27 November 1989; W.J. Goodison, Licensed Surveyor, and attached Surveyor's Report dated 6 June 1990 (Withdrawn) 9. Survey Field Notes of Part of Crown Portion 2, Parish of Nillumbik, County of Evelyn - Portion of land bounded by Main Road and Rangeview Road; 2 Lot subdivisions, Vol. 9581 Fol. 583 Part Lot 3 on LP 23911 and Vol. 8008 Fol, 077 Lot 4 on LP 23911; Application 222467 dated 20 November 1992 (221805 resubmitted); W.J. Goodison, Licensed Surveyor, and attached Surveyor's Report dated 6 June 1990 Notes: Items 1 to 6 donated electronically Items 7 to 9 sourced from LASSI - SPEAR, Department of Transport and Planning, Victoria State Government, https://maps.land.vic.gov.au/lassi/SpearUI.jsp main road, property, mudbrick, david newbury, phoebe mason collection, rate books, shire of eltham, certificate of title, survey plan, 37 rangeview road, 338 main road, application 23911, lower plenty, map, surveyor field notes, application 221805, application 222467

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

A small black and white photograph of Dorothy Northover (Mrs. L. Williams) as a child. A relative of Elma Winslade Wells. She is standing on a chair wearing a light coloured dress. At the bottom G. Brown & Son, Broad St. Deal. On the back: from G. Brown & Son electric and daylight studio, Broad St. (near pier), Deal. Electric light every evening at dusk till 8pm. these portrait are equal in every respect to the best daylight work.person, individual, dorothy northover

BHS CollectionMounted sepia photograph of Mary Williams, undated.To dear Auntie & Uncle with Mary's love, Mary Williams N.S.W. Mount stamped The Swiss Studio, Swiss Panel, King Street, Sydney and Melbournehistory

Thomas Harvey (16/8/1842-30/6/1912) was born in Cornwall. He married Eliza Williams (23/3/1841-12/7/1923) on 6/12/1865. The lived in Clarke Street, Harveyville. This was a small cluster of Cornish miners homes in Eaglehawk.Copy of posed studio photograph of Thomas and Eliza Harvey. Photographer's stamp John Lay Eaglehawk, Paris Panelhistory, period clothing

A recording of Negro spirituals by the girls' music deartment at Preston Technical School.There are few existing vinyl recordings of school choirs from this era.45 RPM black vinyl record (sound recording). Red label with both printed and handwritten inscriptions.Same inscriptions on both sides of recording. Typed: "Preston Technical School / Girls Music Dept." Handwritten : "Negro spirituals"preston technical school. pts, music, negro spirituals, sound recording, nmit,

Photograph of the German State School old boys 1845-1880 and their teacher Mr A H Williams. Photograph was taken July 1911. School was located in Violet St Bendigo. Black and White photograph of a group of 32 men posed formally in four rows. Some are standing, some are sitting on chairs and some are seated cross legged on the floor. All are dressed in dark suits with waistcoats. On the reverse are pencilled the words "Violet St Bendigo German State School old boys 1845 - 1880 and their teacher Mr A H Williams (taken July 1911)'.Sears Studios Melbournephotograph, portrait, group

Two page booklet. On front cover: The Bendigo Trust in conjunction with the City Family Hotel. present the opening of the Central Deborah Gold Mine Underground Project by Premier John Cain 20th June, 1986, featuring City Club Dancers. Contents include: 'The Legend of Golden Lady Deborah'; the 'Awakening of Deborah' and a description of the Central Deborah Goldmine. Listed are acknowledgements of assistance given by the City Family and City Club; Gillies; Sandhurst Dairies; McDonalds; Swan Breweries; 3BO;, Domenic House of Hair and Beauty; ESG Studios, Selex-Decal; Victoria Police Band; V-Line; Bendigo Timber; Stonemans; Alan Williams Sound; Radio Rentals; Waterfall Quarries; Arthur Holt; Bart N Print and Sandhurst Town. central deborah gold mine, gold, opening of mine, john cain

Original photo held by Ron BEDFORD (Ballarat) and scan taken 24.05.2011Black and white photo of Port Melbourne YMCA football team 1946, VFA sub-district (under 20). Players are identified on the photo."Lorraine Studios" stamp on rear in red. 159 Bay St Port Melbourne. Phone MX2763sport - australian rules football, s bigg, k jordan, k fennessy, b watts, mustan, r murray, w murray, m maher, a sortell, c seddon, r ralph, r marasceau, v thompson, lavery, j woods, t williams, foote, b balitho, i bedford, a foote, n fehr, r bedford, r newman, l saw, a freeman

Large B&W photograph of the Port Melbourne City Council in session sitting around the table in the Council Chamber, July 1952. Councillors names below photograph. (Also a separate photograph of the Mayor)local government - city of port melbourne, james patrick hickey, sydney sims anderson, town clerks, garnet s williams, james peter crichton, herbert charles edwards, edward john purchase, leslie stanley turner, henry melville fennell, john william (jack) woodruff, michael thomas woodruff, mayors, andreas (andy) t aanensen, archibald (arch) todd, james llewellyn cousland