Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth and brilliant light, its grittier textures and luminous colour, qualities he sought to convey in-the-round and on canvas. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood, Midwinter and Denby.Stoneware bowl with flange. Glazed in white matt crackle with a faint copper red tint. Dry black glazed rim. Gift of the artist.Robin Welch stamped on baseceramics, robin welch, gippsland, gppsland campus, jan feder memorial ceramics collection

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. Stoneware bowl on a tall foot. Calcium matt glaze, underglaze colour with underglaze metallic lustre. ceramic, jan feder memorial ceramics collection, robin welch, gippsland campus, mungeribar pottery, stadbroke pottery

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth and brilliant light, its grittier textures and luminous colour, qualities he sought to convey in-the-round and on canvas. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood, Midwinter and Denby. Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965.Stoneware bowl with split flange, glazed with matt white, black and a touch of copper red Tobin Welch stamped on basejan feder memorial ceramics collection, ceramics, robin welch, gippsland campus, jan feder

In 1961 the Falls Creek Tourist Area Management Committee determined that there should be only one approved Ski School in the Tourist Area. The franchise for 1961 was granted to Alpine Developments Pty. Ltd', which also had the franchise for Tow Bar operations. The Ski School headquarters were based at the canteen adjacent to the T-Bar drive station. The Management Committee also determined that "No person shall be permitted to give instruction in skiing for any money or material consideration without the prior approval of the Management Committee". The Alpine Developments franchise was extended for the 1963, 1964 & 1965 seasons. In August 1964, the Committee declared that it was satisfied with the present Ski School operated by Alpine Developments, and is most anxious to retain it at Fells Creek. They declared that they were particularly happy with the standard of teaching and control achieved by the School director, Mr. Siegfried Haberzettl, who was at the resort for his fifth year, and to whose leadership and direction the success of the School was largely due. The Committee therefore arranged to extend the franchise for a further three years after 1965, and thereafter the franchise was to be continuous on twelve months' notice of termination from either party. In the 1960s and 1970s, the majority of Ski Instructors were Austrian. Lorna Clarke was one of the first Australians to gain the highest Austrian qualification, the Staatlicher Bundessportheim. She was employed at the Falls Creek Ski School in 1964. In the 1980s there was a push for more Instructor training to take place in Australia to enable local instructors to gain higher qualifications without having to travel to Europe. During this period, George Pirmoser and later Brad Spalding were Ski School Directors and Bridgford was the still the owner of Alpine Developments (Holdings) Pty. Ltd. continued to push for training of Australian instructors. Brad Spalding took over as Ski School Director in 1986 and along with his partner, Melissa Landregger developed a wide range of programs including children’s and women’s programs, private lessons and multi-day clinics for which Falls Creek Ski School is renowned until the present.This image is significant because it depicts some of the early instructors at Falls Creek Ski School.A coloured photo of a group of instructors at Falls Creek Ski School. On left Siggy Haberzettl, on right Lorna Clark. Siggy (Sigi) Haberzettl was the Ski School Director in the 1960s and Lorna was the first Australian instructor to be employed by the Falls Creek Ski School in 1964.falls creek ski school, brad spalding, lorna clarke, siegfried haberzettl

The Fred Rochow Railways Collection incorporates photos related to the operation of the Wodonga Railway Station including different types of trains and railways staff C. 1930 – 1990. It was donated to the Wodonga Historical Society by Fred Rochow, a railwayman who spent many years based in Wodonga. He joined the Victorian Railways on 17th June l947 and retired in 1988. For some time, he was a member of the Australian Federated Union of Locomotive Enginemen and served a term as a member of the Trades Hall Council. He had an extensive knowledge of the struggles that took place to achieve better conditions for railway workers. Fred worked for many years as a fireman and then worked his way up the ranks to driver, experiencing many changes from the days of steam locomotives through to diesel trains, locomotives and even the modern XPT train. He worked throughout Victoria at different stages of his career, with his final working years focused on the northeast of Victoria and the Albury to Melbourne line. After his retirement, Fred continued to share his love of steam miniature trains with the community. S Class Diesel Locomotives The eighteen members of the S Class were ordered in two batches by the Victorian Railways from Clyde Engineering for express passenger and freight workings, with the final eight locomotives ordered specifically to work the North-East standard gauge line. Many were named after prominent Victorians. S315 entered service on 16 October 1961 and was named after Sir Charles Gavan Duffy who was an Irish poet and journalist, Young Irelander and tenant-rights activist. After emigrating to Australia in 1856 he entered the politics of Victoria on a platform of land reform, and in 1871-72 served as the colony's 8th Premier. The S315 pulled the first goods train to travel straight through from Sydney to Melbourne on 3 January 1962. The S315 was withdrawn from service on 22 August 1988 and scrapped in April 1992.This collection has local and statewide significance as it captures images of trains, locomotives and personnel who operated the railway services in Wodonga and throughout Northeast Victoria. The railways played a critical role in opening up Victoria and connecting Australia for trade, business, social communication and transport.Harry Binder being congratulated by Commissioner Edgar Brownbill on the arrival of the first standard gauge goods train at North Dynon Terminal, The Fireman was John Wortmann.railways wodonga, fred rochow, wodonga railway men, harry binder, s class locomotive

Mr Alfred Morton with his sisters, brothers and friends camping at Carrum in the 1890's. This area was later called Chelsea. Alfred Louis Morton (known as Louis) was born in Geelong in 1866, the fifth of eleven children of Mark Morton and Eliza nee Heard (married 1898). Alfred began work for the Post Office at South Yarra in the 1890s. In the late 1800s it was common for people from Melbourne and north of the city to travel to Chelsea area beaches for their holidays and many liked the area so much that, like the Mortons, they moved here permanently. In the 1890s Alfred’s sister, Mrs William Ashmore, built a weekend house at the foot of what is now Foy Avenue in Chelsea. The Morton family, including Alfred, visited the area often, camping on the foreshore during the 1890s. In 1911 Alfred moved his family permanently to a house on the corner of Morton Grove and Main Road Chelsea (now known as the Nepean Highway) on property that extended from the main road to the beach. This house was destroyed in the fire of 22 December 1913 which raged amongst the ti-tree on the foreshore between Aspendale and Chelsea. Many buildings were destroyed in this fire. The Argus newspaper reported on Wednesday 24 December that 94 houses were burnt with glowing embers blown a mile and half inland. According to the Argus but for the wide break provided by the Point Nepean Road (now the Nepean Highway) and the railway line, the scrub on the other side might have caught. The Morton children, Elsa and Ivan, attended Chelsea State School (now Chelsea Primary School) and Mrs Morton was active in the establishment of St Chad’s Church of England in Chelsea. At the age of 80 in 1945 Mr Morton was concerned about reports that English children had lost their toys due to the war and so he made (as part of a wider effort in Australia) 100 toy engines that were sent to England. He died in 1946 in Chelsea.Sepia photo of members of the Morton family camping at Carrum (now Chelsea). Tents and a wagon in the backgroundmorton, chelsea, carrum, post office, south yarra, camping, tents, wagon

Mr Alfred Morton with his sisters, brothers and friends camping at Carrum in the 1890's. This area was later called Chelsea. Alfred Louis Morton (known as Louis) was born in Geelong in 1866, the fifth of eleven children of Mark Morton and Eliza nee Heard (married 1898). Alfred began work for the Post Office at South Yarra in the 1890s. In the late 1800s it was common for people from Melbourne and north of the city to travel to Chelsea area beaches for their holidays and many liked the area so much that, like the Mortons, they moved here permanently. In the 1890s Alfred’s sister, Mrs William Ashmore, built a weekend house at the foot of what is now Foy Avenue in Chelsea. The Morton family, including Alfred, visited the area often, camping on the foreshore during the 1890s. In 1911 Alfred moved his family permanently to a house on the corner of Morton Grove and Main Road Chelsea (now known as the Nepean Highway) on property that extended from the main road to the beach. This house was destroyed in the fire of 22 December 1913 which raged amongst the ti-tree on the foreshore between Aspendale and Chelsea. Many buildings were destroyed in this fire. The Argus newspaper reported on Wednesday 24 December that 94 houses were burnt with glowing embers blown a mile and half inland. According to the Argus but for the wide break provided by the Point Nepean Road (now the Nepean Highway) and the railway line, the scrub on the other side might have caught. The Morton children, Elsa and Ivan, attended Chelsea State School (now Chelsea Primary School) and Mrs Morton was active in the establishment of St Chad’s Church of England in Chelsea. At the age of 80 in 1945 Mr Morton was concerned about reports that English children had lost their toys due to the war and so he made (as part of a wider effort in Australia) 100 toy engines that were sent to England. He died in 1946 in Chelsea.Black and white photo of postal works in front of the South Yarra Post Office. Members of the Morton family are in the group.morton, chelsea, carrum, post office, south yarra, postal workers

Mr Alfred Morton with his sisters, brothers and friends camping at Carrum in the 1890's. This area was later called Chelsea. Alfred Louis Morton (known as Louis) was born in Geelong in 1866, the fifth of eleven children of Mark Morton and Eliza nee Heard (married 1898). Alfred began work for the Post Office at South Yarra in the 1890s. In the late 1800s it was common for people from Melbourne and north of the city to travel to Chelsea area beaches for their holidays and many liked the area so much that, like the Mortons, they moved here permanently. In the 1890s Alfred’s sister, Mrs William Ashmore, built a weekend house at the foot of what is now Foy Avenue in Chelsea. The Morton family, including Alfred, visited the area often, camping on the foreshore during the 1890s. In 1911 Alfred moved his family permanently to a house on the corner of Morton Grove and Main Road Chelsea (now known as the Nepean Highway) on property that extended from the main road to the beach. This house was destroyed in the fire of 22 December 1913 which raged amongst the ti-tree on the foreshore between Aspendale and Chelsea. Many buildings were destroyed in this fire. The Argus newspaper reported on Wednesday 24 December that 94 houses were burnt with glowing embers blown a mile and half inland. According to the Argus but for the wide break provided by the Point Nepean Road (now the Nepean Highway) and the railway line, the scrub on the other side might have caught. The Morton children, Elsa and Ivan, attended Chelsea State School (now Chelsea Primary School) and Mrs Morton was active in the establishment of St Chad’s Church of England in Chelsea. At the age of 80 in 1945 Mr Morton was concerned about reports that English children had lost their toys due to the war and so he made (as part of a wider effort in Australia) 100 toy engines that were sent to England. He died in 1946 in Chelsea.Sepia photo of members of the Morton family camping at Carrum (now Chelsea).morton, chelsea, carrum, post office, south yarra, camping, tents

Mr Alfred Morton with his sisters, brothers and friends camping at Carrum in the 1890's. This area was later called Chelsea. Alfred Louis Morton (known as Louis) was born in Geelong in 1866, the fifth of eleven children of Mark Morton and Eliza nee Heard (married 1898). Alfred began work for the Post Office at South Yarra in the 1890s. In the late 1800s it was common for people from Melbourne and north of the city to travel to Chelsea area beaches for their holidays and many liked the area so much that, like the Mortons, they moved here permanently. In the 1890s Alfred’s sister, Mrs William Ashmore, built a weekend house at the foot of what is now Foy Avenue in Chelsea. The Morton family, including Alfred, visited the area often, camping on the foreshore during the 1890s. In 1911 Alfred moved his family permanently to a house on the corner of Morton Grove and Main Road Chelsea (now known as the Nepean Highway) on property that extended from the main road to the beach. This house was destroyed in the fire of 22 December 1913 which raged amongst the ti-tree on the foreshore between Aspendale and Chelsea. Many buildings were destroyed in this fire. The Argus newspaper reported on Wednesday 24 December that 94 houses were burnt with glowing embers blown a mile and half inland. According to the Argus but for the wide break provided by the Point Nepean Road (now the Nepean Highway) and the railway line, the scrub on the other side might have caught. The Morton children, Elsa and Ivan, attended Chelsea State School (now Chelsea Primary School) and Mrs Morton was active in the establishment of St Chad’s Church of England in Chelsea. At the age of 80 in 1945 Mr Morton was concerned about reports that English children had lost their toys due to the war and so he made (as part of a wider effort in Australia) 100 toy engines that were sent to England. He died in 1946 in Chelsea.Sepia photo of Mr Alfred Morton and his friend, Mr Doug Campbell at his holiday house, in what was to become Morton Grove, Chelsea. morton, chelsea, carrum, morton grove, holiday house

Mr Alfred Morton with his sisters, brothers and friends camping at Carrum in the 1890's. This area was later called Chelsea. Alfred Louis Morton (known as Louis) was born in Geelong in 1866, the fifth of eleven children of Mark Morton and Eliza nee Heard (married 1898). Alfred began work for the Post Office at South Yarra in the 1890s. In the late 1800s it was common for people from Melbourne and north of the city to travel to Chelsea area beaches for their holidays and many liked the area so much that, like the Mortons, they moved here permanently. In the 1890s Alfred’s sister, Mrs William Ashmore, built a weekend house at the foot of what is now Foy Avenue in Chelsea. The Morton family, including Alfred, visited the area often, camping on the foreshore during the 1890s. In 1911 Alfred moved his family permanently to a house on the corner of Morton Grove and Main Road Chelsea (now known as the Nepean Highway) on property that extended from the main road to the beach. This house was destroyed in the fire of 22 December 1913 which raged amongst the ti-tree on the foreshore between Aspendale and Chelsea. Many buildings were destroyed in this fire. The Argus newspaper reported on Wednesday 24 December that 94 houses were burnt with glowing embers blown a mile and half inland. According to the Argus but for the wide break provided by the Point Nepean Road (now the Nepean Highway) and the railway line, the scrub on the other side might have caught. The Morton children, Elsa and Ivan, attended Chelsea State School (now Chelsea Primary School) and Mrs Morton was active in the establishment of St Chad’s Church of England in Chelsea. At the age of 80 in 1945 Mr Morton was concerned about reports that English children had lost their toys due to the war and so he made (as part of a wider effort in Australia) 100 toy engines that were sent to England. He died in 1946 in Chelsea.Sepia photo of members of the Morton family on the verandah of Mrs William's house, Foy Avenue Chelsea.morton, chelsea, carrum, verandah, mrs williams

Mr Alfred Morton with his sisters, brothers and friends camping at Carrum in the 1890's. This area was later called Chelsea. Alfred Louis Morton (known as Louis) was born in Geelong in 1866, the fifth of eleven children of Mark Morton and Eliza nee Heard (married 1898). Alfred began work for the Post Office at South Yarra in the 1890s. In the late 1800s it was common for people from Melbourne and north of the city to travel to Chelsea area beaches for their holidays and many liked the area so much that, like the Mortons, they moved here permanently. In the 1890s Alfred’s sister, Mrs William Ashmore, built a weekend house at the foot of what is now Foy Avenue in Chelsea. The Morton family, including Alfred, visited the area often, camping on the foreshore during the 1890s. In 1911 Alfred moved his family permanently to a house on the corner of Morton Grove and Main Road Chelsea (now known as the Nepean Highway) on property that extended from the main road to the beach. This house was destroyed in the fire of 22 December 1913 which raged amongst the ti-tree on the foreshore between Aspendale and Chelsea. Many buildings were destroyed in this fire. The Argus newspaper reported on Wednesday 24 December that 94 houses were burnt with glowing embers blown a mile and half inland. According to the Argus but for the wide break provided by the Point Nepean Road (now the Nepean Highway) and the railway line, the scrub on the other side might have caught. The Morton children, Elsa and Ivan, attended Chelsea State School (now Chelsea Primary School) and Mrs Morton was active in the establishment of St Chad’s Church of England in Chelsea. At the age of 80 in 1945 Mr Morton was concerned about reports that English children had lost their toys due to the war and so he made (as part of a wider effort in Australia) 100 toy engines that were sent to England. He died in 1946 in Chelsea.Sepia photo of members of the Morton family sitting on their land after the fires in Chelsea, 1913.morton, chelsea, carrum, verandah, fires

Mr Alfred Morton with his sisters, brothers and friends camping at Carrum in the 1890's. This area was later called Chelsea. Alfred Louis Morton (known as Louis) was born in Geelong in 1866, the fifth of eleven children of Mark Morton and Eliza nee Heard (married 1898). Alfred began work for the Post Office at South Yarra in the 1890s. In the late 1800s it was common for people from Melbourne and north of the city to travel to Chelsea area beaches for their holidays and many liked the area so much that, like the Mortons, they moved here permanently. In the 1890s Alfred’s sister, Mrs William Ashmore, built a weekend house at the foot of what is now Foy Avenue in Chelsea. The Morton family, including Alfred, visited the area often, camping on the foreshore during the 1890s. In 1911 Alfred moved his family permanently to a house on the corner of Morton Grove and Main Road Chelsea (now known as the Nepean Highway) on property that extended from the main road to the beach. This house was destroyed in the fire of 22 December 1913 which raged amongst the ti-tree on the foreshore between Aspendale and Chelsea. Many buildings were destroyed in this fire. The Argus newspaper reported on Wednesday 24 December that 94 houses were burnt with glowing embers blown a mile and half inland. According to the Argus but for the wide break provided by the Point Nepean Road (now the Nepean Highway) and the railway line, the scrub on the other side might have caught. The Morton children, Elsa and Ivan, attended Chelsea State School (now Chelsea Primary School) and Mrs Morton was active in the establishment of St Chad’s Church of England in Chelsea. At the age of 80 in 1945 Mr Morton was concerned about reports that English children had lost their toys due to the war and so he made (as part of a wider effort in Australia) 100 toy engines that were sent to England. He died in 1946 in Chelsea.Sepia photo Mr Morton in Fireman Uniformmorton, chelsea, carrum, fireman uniform

Mr Alfred Morton with his sisters, brothers and friends camping at Carrum in the 1890's. This area was later called Chelsea. Alfred Louis Morton (known as Louis) was born in Geelong in 1866, the fifth of eleven children of Mark Morton and Eliza nee Heard (married 1898). Alfred began work for the Post Office at South Yarra in the 1890s. In the late 1800s it was common for people from Melbourne and north of the city to travel to Chelsea area beaches for their holidays and many liked the area so much that, like the Mortons, they moved here permanently. In the 1890s Alfred’s sister, Mrs William Ashmore, built a weekend house at the foot of what is now Foy Avenue in Chelsea. The Morton family, including Alfred, visited the area often, camping on the foreshore during the 1890s. In 1911 Alfred moved his family permanently to a house on the corner of Morton Grove and Main Road Chelsea (now known as the Nepean Highway) on property that extended from the main road to the beach. This house was destroyed in the fire of 22 December 1913 which raged amongst the ti-tree on the foreshore between Aspendale and Chelsea. Many buildings were destroyed in this fire. The Argus newspaper reported on Wednesday 24 December that 94 houses were burnt with glowing embers blown a mile and half inland. According to the Argus but for the wide break provided by the Point Nepean Road (now the Nepean Highway) and the railway line, the scrub on the other side might have caught. The Morton children, Elsa and Ivan, attended Chelsea State School (now Chelsea Primary School) and Mrs Morton was active in the establishment of St Chad’s Church of England in Chelsea. At the age of 80 in 1945 Mr Morton was concerned about reports that English children had lost their toys due to the war and so he made (as part of a wider effort in Australia) 100 toy engines that were sent to England. He died in 1946 in Chelsea.Sepia photo of nine postal workers at South Yarra Post Office. They are wearing hats each with a different number, some have postal bags and some with letters in their hands. Mr Morton is the only one not wearing a hat.morton, chelsea, carrum, post office, south yarra, postal workers, postal uniform

Mr Alfred Morton with his sisters, brothers and friends camping at Carrum in the 1890's. This area was later called Chelsea. Alfred Louis Morton (known as Louis) was born in Geelong in 1866, the fifth of eleven children of Mark Morton and Eliza nee Heard (married 1898). Alfred began work for the Post Office at South Yarra in the 1890s. In the late 1800s it was common for people from Melbourne and north of the city to travel to Chelsea area beaches for their holidays and many liked the area so much that, like the Mortons, they moved here permanently. In the 1890s Alfred’s sister, Mrs William Ashmore, built a weekend house at the foot of what is now Foy Avenue in Chelsea. The Morton family, including Alfred, visited the area often, camping on the foreshore during the 1890s. In 1911 Alfred moved his family permanently to a house on the corner of Morton Grove and Main Road Chelsea (now known as the Nepean Highway) on property that extended from the main road to the beach. This house was destroyed in the fire of 22 December 1913 which raged amongst the ti-tree on the foreshore between Aspendale and Chelsea. Many buildings were destroyed in this fire. The Argus newspaper reported on Wednesday 24 December that 94 houses were burnt with glowing embers blown a mile and half inland. According to the Argus but for the wide break provided by the Point Nepean Road (now the Nepean Highway) and the railway line, the scrub on the other side might have caught. The Morton children, Elsa and Ivan, attended Chelsea State School (now Chelsea Primary School) and Mrs Morton was active in the establishment of St Chad’s Church of England in Chelsea. At the age of 80 in 1945 Mr Morton was concerned about reports that English children had lost their toys due to the war and so he made (as part of a wider effort in Australia) 100 toy engines that were sent to England. He died in 1946 in Chelsea.Sepia photo of postal workers at South Yarra Post Office, corner of Toorak Road and Osborne Street, South Yarra. Mr Morton is standing at the counter, other workers are in the background .morton, chelsea, carrum, post office, south yarra, postal workers, postal uniform

Mr Alfred Morton with his sisters, brothers and friends camping at Carrum in the 1890's. This area was later called Chelsea. Alfred Louis Morton (known as Louis) was born in Geelong in 1866, the fifth of eleven children of Mark Morton and Eliza nee Heard (married 1898). Alfred began work for the Post Office at South Yarra in the 1890s. In the late 1800s it was common for people from Melbourne and north of the city to travel to Chelsea area beaches for their holidays and many liked the area so much that, like the Mortons, they moved here permanently. In the 1890s Alfred’s sister, Mrs William Ashmore, built a weekend house at the foot of what is now Foy Avenue in Chelsea. The Morton family, including Alfred, visited the area often, camping on the foreshore during the 1890s. In 1911 Alfred moved his family permanently to a house on the corner of Morton Grove and Main Road Chelsea (now known as the Nepean Highway) on property that extended from the main road to the beach. This house was destroyed in the fire of 22 December 1913 which raged amongst the ti-tree on the foreshore between Aspendale and Chelsea. Many buildings were destroyed in this fire. The Argus newspaper reported on Wednesday 24 December that 94 houses were burnt with glowing embers blown a mile and half inland. According to the Argus but for the wide break provided by the Point Nepean Road (now the Nepean Highway) and the railway line, the scrub on the other side might have caught. The Morton children, Elsa and Ivan, attended Chelsea State School (now Chelsea Primary School) and Mrs Morton was active in the establishment of St Chad’s Church of England in Chelsea. At the age of 80 in 1945 Mr Morton was concerned about reports that English children had lost their toys due to the war and so he made (as part of a wider effort in Australia) 100 toy engines that were sent to England. He died in 1946 in Chelsea.Sepia photo of South Yarra Post Office, corner of Toorak Road and Osborne Street, South Yarra. Mr Morton and three other postal workers are standing at the front.morton, chelsea, carrum, post office, south yarra, postal workers, postal uniform

Mr Alfred Morton with his sisters, brothers and friends camping at Carrum in the 1890's. This area was later called Chelsea. Alfred Louis Morton (known as Louis) was born in Geelong in 1866, the fifth of eleven children of Mark Morton and Eliza nee Heard (married 1898). Alfred began work for the Post Office at South Yarra in the 1890s. In the late 1800s it was common for people from Melbourne and north of the city to travel to Chelsea area beaches for their holidays and many liked the area so much that, like the Mortons, they moved here permanently. In the 1890s Alfred’s sister, Mrs William Ashmore, built a weekend house at the foot of what is now Foy Avenue in Chelsea. The Morton family, including Alfred, visited the area often, camping on the foreshore during the 1890s. In 1911 Alfred moved his family permanently to a house on the corner of Morton Grove and Main Road Chelsea (now known as the Nepean Highway) on property that extended from the main road to the beach. This house was destroyed in the fire of 22 December 1913 which raged amongst the ti-tree on the foreshore between Aspendale and Chelsea. Many buildings were destroyed in this fire. The Argus newspaper reported on Wednesday 24 December that 94 houses were burnt with glowing embers blown a mile and half inland. According to the Argus but for the wide break provided by the Point Nepean Road (now the Nepean Highway) and the railway line, the scrub on the other side might have caught. The Morton children, Elsa and Ivan, attended Chelsea State School (now Chelsea Primary School) and Mrs Morton was active in the establishment of St Chad’s Church of England in Chelsea. At the age of 80 in 1945 Mr Morton was concerned about reports that English children had lost their toys due to the war and so he made (as part of a wider effort in Australia) 100 toy engines that were sent to England. He died in 1946 in Chelsea.Sepia photograph of a of Mr Alfred Morton with his sisters, brothers and friends camping at Carrum in the 1890's. bike riding, picnic, morton, morton grove, chelsea, carrum, camping

Yields information in movie film format of Ballarat trams in 1962, a enthusiast tour, how the system operated and was used by people., Yields information in movie film format of Ballarat trams in 1962, a enthusiast tour, how the system operated and was used by people.Movie film - 8mm, approx. 4.15mins, with green leader strip on a plastic reel, within a Kodachrome II colour movie cardboard box and addressed to B.J. Parle, Chatswood. Titled "Ballarat 1962" Has been transferred to DVD - see Reg item 4100 as Segment No. 3. Filmed and made by Ben Parle. Also transferred to DVD by Rod Cook Oct. 2015, via Roger Greenwood for use in his DVD, "The City of Ballarat Trams, Gardens & Gold" of 2016. See Reg Item 6883. Synopsis: based on time - Colour film Title "Ballarat 1962" 0:00 21 in Sturt St arriving City Centre tram stop from the west. 0:12 41 and another bogie car at City Centre tram stop, North side of Sturt St loading passengers 0:21 39 crosses Sturt St from Lydiard St Nth and pulls up at the tram stop in Sturt St. 0:55 39 leaves City centre and travels west along Sturt St – two sequences. 1:11 View from front of a single trucker, leaving Carlton St loop after crossing a bogie car and travelling along Wendouree Parade towards Gardens Loop 2:09 No. 20 in Gardens Loop and pan across to the Gardens Statuary pavilion with lots of flowers. 2:41 No. 20 leaving Gardens loop and heading north in Wendouree Parade. 2:54 Bogie tram in Wendouree Parade between depot and Gardens loop, southbound. 3:12 No. 32 leaving Victoria St terminus, with orphanage in the background, in bound, has a Trotting tonight sign on front of tram, and crossing the Eureka line rail bridge. 3:23 No. 20 in Bridge St, out bound, near Stones Corner 3:42 38 in bound from Mt Pleasant at Stones Corner, stops, lets of passengers and then proceeds along Bridge St into the City 4:15 endWritten labels giving title information on outside of box.trams, tramways, ballarat, wendouree parade, sturt st, victoria st, bridge st, tram 21, tram 41, tram 39, tram 20, tram 32, tram 38

Yields information about many transport tickets systems from around the world, including some SEC tickets. Has a strong association with Wal Jack.Diary, printed for 1934, two days per page - full bound and sewn in black Rexene with end papers (partly removed) with gold block title "Diary 1934" on front and "1934" on spine of book, stationary item, with a Nestle's product advertised on the bottom right hand pages. Has a blue ribbon sewn into book. A number of pages have been cut from the front and back of the book. See btm230i for image of book. Has been used primarily to store and present tramway tickets using stamp hinges. Cities collected: Most c1950 though some earlier - 1920's, 1930's. MMTB - 5d - 12 No. - image 1 MMTB - 4d, 6d, 5d, 8d and 9d - 17 No. - image 2 MMTB - 2d, 3d 7d, 4d - 10 No. - image 3 Eastern Goldfields Transport Board - Kalgoorlie, 16 No. - image 4 Ditto - 6 No. - image 5 Ditto - 14 No. - image 6 Ditto - 11 No. - image 7 W.A. government tramways - Perth - 10 No. - image 8 Auckland - 5 No. - image 9 (Special One Day travel ticket loose) MTT Adelaide - 11 No. - image 10 NSW Govt. Tramways - Sydney - 20 No. - image 11 Brisbane - 10 No. and AETA tour ticket date 3/2/1951 - image 12 NSW Govt. Tramways - Sydney - 13 No. - image 13 St Kilda Brighton electric tramway - 1 No. - image 14 German and Swiss tramway tickets - 4 No. - image 15 Wellington, Hamburg, Wanganui, New Plymouth, Hobart and Winnipeg - image 16 Ballarat (or other Provincial cities) 11 No. - image 17 German cities - 9 No. - image 18 German cities - 4 No. - image 19 Front inside page of book has some birthdays listed of relatives and friends. Last few pages contain notes on photos of train leaving Ballarat 1943. 56, 57 (copy to ARHS Archives). Item revised 30/6/2002. Inside front page has a list of birthdaystrams, tramways, tickets, photo notes, vr steam locos, ballarat., kalgoorlie, mmtb, melbourne, auckland, weekly tickets, adelaide, perth, sydney, brisbane, vr trams, st kilda brighton, wellington, wanganui, new plymouth tramways, hobart

Manila folder, Wotan flat file, with built in fold back metal clips (see images 19 and 20) holding 9 plastic sheets that have been made to hold railway (Edmondson pasteboard) or tramway paper tickets. Sheet 1 - 25 No. MMTB tickets, ranging from 3d to 2/6 and two decimal conversion tickets, including 5 tickets which have been overstamped "City Section". On the rear are adverts for Blind Babies (Royal Victorian Institute for the blind), John Randle hair salon, Leighton home builders and the Promote Thomastown Committee. Sheet 2 - 25 No. MMTB tickets - decimal currency - two conversion tickets and other decimal currency tickets ranging from 6c to 25c. Included are 6 overstamped City Section tickets. Sheet 3 - 25 No. MMTB decimal currency tickets - ranging from 25c to $1 with one ticket overstamped "City Section". Includes one ticket with a red P overstamp. Sheet 4 - 22 No. MMTB tickets - 13 tickets overstamp P, for Pensioner, one bus transfer ticket, 3 non-cash tickets, one city concession tickets and four machine issued bus tickets. Sheet 5 - small sheet with four pockets with three tickets, - MMTB 1981 single journal ticket, MMTB day tripper $2 and MMTB bus ticket. Sheet 6 - 13 No. MMTB Section tickets, hospital travel, Australia post, incapacitated soldier and special police department concession. Sheet 7 - 8 MTA paper tram tickets and 9 The Met paper tram tickets. Sheet 8 - 23 Ballarat or Bendigo tickets, both pence and decimal currency including 6 BTM or BTPS tickets. Sheet 9 - 10 VR motor coach tickets, both pence and decimal and one single ticket - East Kew to East Camberwell. See Reg Item 5424 for a further folder of tickets from the same donor.trams, tramways, tickets, mmtb, vr, the met, btps, btm, ptc

Early 1900's. "Boiling the billy". The term billy or billycan is particularly associated with Australian usage, but is also used in the UK and Ireland. It is widely accepted that the term "billycan" is derived from the large cans used for transporting bouilli or bully beef on Australia-bound ships or during exploration of the outback, which after use were modified for boiling water over a camp fire. Postcards developed out of the complex tradition of nineteenth-century printed calling cards, beginning with the advent of the Cartes-de-Visite in France. In the 1850s, Parisian photographer Andre Adolphe Eugene Disderi invented a photographic process involving egg white, albumen, and silver nitrate to create inexpensive portraits on paper cards. These photographic Cartes-de-Visites were 2 1/2 (75mm) by 4 inches (98mm) and became a popular, collectable form of "visiting cards" world-wide. Photographers would reprint portraits of famous individuals they had taken at their studios or during travel and sell them as collectable cards. Postcards as we know them now first began in 1861 as cards mailed by private post. In the 1870s picture postcards grew in popularity throughout the United States, Britain, Europe, and Japan. Cards were first permitted to have a "Divided Back," with text written on the left half of a dividing line and the address on the right half, beginning in England in 1902. Around 1900 the first postcards made of "Real Photos" rather than artwork began to circulate, aided in by advances in amateur photography equipment by companies such as Kodak. Kodak also introduced postcard paper for photographic development and photography studios began to offer portraits printed as postcards Many local town, countryside, and architectural images were captured during this period by local photographers, then printed and sold as postcards . Advances in amateur photography all contributed to a postcard craze that lasted from 1900 to the First World War. Postcards were the preferred means to send a quick note, whether across town or across a continent.Postcard with a black and white Photograph on the front and a 'Divided Back ' for the message and address. There are seven men surrounding the billy suspended over a camp fire. The ground has a lot of dead branches around. One man is bending down towards the billy. Two men on either side of the camp fire are carrying either a white bag across their shoulders or the fish in their hands. You can see, that there is some steam also coming out of the billy, which means that its hot. Court Post Card. / this space may be used for correspondence. / The address only to be written here.1900's, boiling the billy , postcards, photographers, england, hungary, america, cartes-de-visite, visiting cards, moorabbin, cheltenham, bentleigh, market gardeners, early settlers, pioneers,

Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sansom who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is a regular finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize, and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An academic portrait of Federation University Australia Vice Chancellor Helen Bartlett.academic portrait, helen bartlett, graeme drendel, portrait, vice chancellor, academic regalia

A document summarising events significant to Legacy in the year 1953. The coronation of Queen Elizabeth II was a highlight, with Legatee Stan Savige travelling to London to attend as a representative of Legacy (his account of the event is at 01164). 1,200 children attended a rally at the South Melbourne Town Hall to watch films of the life of the Queen, her visit to Canada and the Coronation. (A copy of the programme of this event is at 01163). It was decided that the Intermediate Legacy Club had degenerated into a club without a distinct purpose. They were encouraged to help the Legatees in the senior Club. For instance in the repairs to widow's houses. There is mention of the country clubs with a new club formed in Benalla. Education of Legatees was seen as something that needed to be addressed and a formal induction process with proper training would be necessary. A two page report was included as attachment 'C', which is stored as 01492. Welfare committee had prepared reports with were attached as 'D' but the whereabouts is not known. Camps and holidays. Country clubs would take city children and work had started at Blamey house to clear land for tent sites and country children could have a holiday in the city. The annual conference was held in Brisbane, a general report was attached as 'J' but the whereabouts is not known. Widows - childless and aged widows were identified in the Brisbane conference as needing more attention and a committee was formed to look into it. A report marked 'G' was mentioned but the whereabouts is not known. Dureau House. It was recognised the premises purchased some years before was not suitable as too much renovation was required and should be sold. The original donor, Mr Goldsmith of the B&G Corporation in New York was approached and he agreed the money could be used directly for the widows and children if provision of a headquarters was not important, but the decision was to be up to Legacy to make. The building was sold to Mr Bernard Evans for £57,000. Contact committee reported that the need for contact outstripped the present membership and new members were needed. The dental committee there were issues with payments by the Repatriation Department. The medical committee had decided that children in all classes would be given a Mantoux test for TB. The notation H18 in red pen shows that it was part of the archive project that was trying to capture the history of Legacy. A report covering the main work of Legacy in 1953.White foolscap paper with black type x 4 pages of the history of Legacy in 1953.Handwritten H18 in red pen.history, annual summary

‘The Fading Dream of Australian Home Ownership’ was made by Judy Turner in 1989 for her son Nicholas (then 14 years) after a family discussion about mortgages and rising interest rates (17% at the time), out of concern for his generation. “Perhaps this will keep my son warm when he can’t afford a house”, wrote Judy at the time. As a quilting teacher for over thirty years, Judy was well aware of the ‘wagga’ tradition of making do with what you have and reusing resources to make something useful. The quilt was made using approximately 270 different men’s woollen suiting samples. The fabrics in the quilt were a gift from Micheal Haze who was a travelling men’s ware salesman and friend of the artist’s late husband. The suiting samples were used just as they were, without cutting, and are stacked liked house bricks. The pieces have been machine pieced and tied. The quilt has woollen backing, with no batting. Judy’s son Nicholas, always interested in drawing, and keen to see what his mother was making, helped with the drawing and design of the house. The quilt has been exhibited in Canberra, Armidale and Sydney and featured in publications in Australian and Japan. Judy’s work has been exhibited Nationally and Internationally, including in Japan, Korea, Germany, Switzerland and the United States of America. Judy’s work has featured extensively in publications around the world, and has received many awards. Her work is held in public and private collections across Australia and the USA. As well as a successful career as an artist, Judy spent three decades imparting skills to the next generation as a patient and skilled teacher. ARTIST STATEMENT The medium of my artistic practice is quilt making and my focus is the use of colour and speedy, accurate and efficient methods of making successful quilts. In 1995 I developed an original technique of applying woollen yarn to a woollen background, focusing on the subtle blending of colour to express an idea. Author of Awash With Colour (1997) and co-author with Margaret Rolfe of Successful Scrap Quilts (2002).Folio page depicting three items attached to a black card background. One item is a title written in black ink on white background, another is a photograph of a quilt, the third shows a hand drawn sketch of a house with a verandah.Front: [handwritten] 95 / Judy Turner / The fading dream of / Australian Home Ownership. / Initial sketch while / deciding how to depict / the Fading Dream of / Australian Home Ownership.quilt, wagga, home, house, housing affordability, design

‘The Fading Dream of Australian Home Ownership’ was made by Judy Turner in 1989 for her son Nicholas (then 14 years) after a family discussion about mortgages and rising interest rates (17% at the time), out of concern for his generation. “Perhaps this will keep my son warm when he can’t afford a house”, wrote Judy at the time. As a quilting teacher for over thirty years, Judy was well aware of the ‘wagga’ tradition of making do with what you have and reusing resources to make something useful. The quilt was made using approximately 270 different men’s woollen suiting samples. The fabrics in the quilt were a gift from Micheal Haze who was a travelling men’s ware salesman and friend of the artist’s late husband. The suiting samples were used just as they were, without cutting, and are stacked liked house bricks. The pieces have been machine pieced and tied. The quilt has woollen backing, with no batting. Judy’s son Nicholas, always interested in drawing, and keen to see what his mother was making, helped with the drawing and design of the house. The quilt has been exhibited in Canberra, Armidale and Sydney and featured in publications in Australian and Japan. Judy’s work has been exhibited Nationally and Internationally, including in Japan, Korea, Germany, Switzerland and the United States of America. Judy’s work has featured extensively in publications around the world, and has received many awards. Her work is held in public and private collections across Australia and the USA. As well as a successful career as an artist, Judy spent three decades imparting skills to the next generation as a patient and skilled teacher. ARTIST STATEMENT The medium of my artistic practice is quilt making and my focus is the use of colour and speedy, accurate and efficient methods of making successful quilts. In 1995 I developed an original technique of applying woollen yarn to a woollen background, focusing on the subtle blending of colour to express an idea. Author of Awash With Colour (1997) and co-author with Margaret Rolfe of Successful Scrap Quilts (2002).Quilt featuring block pieces in tones of grey, blue, tan and brown, graduating in light to dark tones from top to bottom. The top third features a house with a verandah.quilt, wagga, home, house, housing affordability, design

‘The Fading Dream of Australian Home Ownership’ was made by Judy Turner in 1989 for her son Nicholas (then 14 years) after a family discussion about mortgages and rising interest rates (17% at the time), out of concern for his generation. “Perhaps this will keep my son warm when he can’t afford a house”, wrote Judy at the time. As a quilting teacher for over thirty years, Judy was well aware of the ‘wagga’ tradition of making do with what you have and reusing resources to make something useful. The quilt was made using approximately 270 different men’s woollen suiting samples. The fabrics in the quilt were a gift from Micheal Haze who was a travelling men’s ware salesman and friend of the artist’s late husband. The suiting samples were used just as they were, without cutting, and are stacked liked house bricks. The pieces have been machine pieced and tied. The quilt has woollen backing, with no batting. Judy’s son Nicholas, always interested in drawing, and keen to see what his mother was making, helped with the drawing and design of the house. The quilt has been exhibited in Canberra, Armidale and Sydney and featured in publications in Australian and Japan. Judy’s work has been exhibited Nationally and Internationally, including in Japan, Korea, Germany, Switzerland and the United States of America. Judy’s work has featured extensively in publications around the world, and has received many awards. Her work is held in public and private collections across Australia and the USA. As well as a successful career as an artist, Judy spent three decades imparting skills to the next generation as a patient and skilled teacher. ARTIST STATEMENT The medium of my artistic practice is quilt making and my focus is the use of colour and speedy, accurate and efficient methods of making successful quilts. In 1995 I developed an original technique of applying woollen yarn to a woollen background, focusing on the subtle blending of colour to express an idea. Author of Awash With Colour (1997) and co-author with Margaret Rolfe of Successful Scrap Quilts (2002).Folio page depicting three items attached to a black card background. One item is a red, blue, black and white textile sample, another is a hand drawn sketch of a house, the third shows hand written text on lined paper in black ink.Front: [handwritten] Final / design / for housequilt, wagga, home, house, housing affordability, design

‘The Fading Dream of Australian Home Ownership’ was made by Judy Turner in 1989 for her son Nicholas (then 14 years) after a family discussion about mortgages and rising interest rates (17% at the time), out of concern for his generation. “Perhaps this will keep my son warm when he can’t afford a house”, wrote Judy at the time. As a quilting teacher for over thirty years, Judy was well aware of the ‘wagga’ tradition of making do with what you have and reusing resources to make something useful. The quilt was made using approximately 270 different men’s woollen suiting samples. The fabrics in the quilt were a gift from Micheal Haze who was a travelling men’s ware salesman and friend of the artist’s late husband. The suiting samples were used just as they were, without cutting, and are stacked liked house bricks. The pieces have been machine pieced and tied. The quilt has woollen backing, with no batting. Judy’s son Nicholas, always interested in drawing, and keen to see what his mother was making, helped with the drawing and design of the house. The quilt has been exhibited in Canberra, Armidale and Sydney and featured in publications in Australian and Japan. Judy’s work has been exhibited Nationally and Internationally, including in Japan, Korea, Germany, Switzerland and the United States of America. Judy’s work has featured extensively in publications around the world, and has received many awards. Her work is held in public and private collections across Australia and the USA. As well as a successful career as an artist, Judy spent three decades imparting skills to the next generation as a patient and skilled teacher. ARTIST STATEMENT The medium of my artistic practice is quilt making and my focus is the use of colour and speedy, accurate and efficient methods of making successful quilts. In 1995 I developed an original technique of applying woollen yarn to a woollen background, focusing on the subtle blending of colour to express an idea. Author of Awash With Colour (1997) and co-author with Margaret Rolfe of Successful Scrap Quilts (2002).Two typed letters held together with a staple. The first letter has a grey printed letter head which includes a logo of a person with wings holding a heart.[printed] PATCHWORK QUILT TSUSHINquilt, wagga, home, house, housing affordability, design

Steering Gear Operation: All steering was done from the stern of the ship and a steering mechanism was used to connect the rudder to the ship's wheel, often housed in a box-like construction behind the helm. The rudder was, in turn, mounted on a pintle or stern-post held in place by gudgeon's (sockets). The steering was activated with lines attached to the blocks on the two threads (half left hand, half right hand) of the steering gear. As the helmsman turned the helm in the direction in which he wished the ship to travel, the central screw of the steering gear, which was attached to the back of the helm, turned horizontally. This caused the rods on either side of the gear to move backwards or forwards at the same time, which then turned the pintle and rudder to port or starboard. A brief history of the Newfield (1889-1892): - The Newfield was an iron and steel sailing barque of 1306 tons, built in 1889 by Alexander Stephen & Sons Dundee (Yard No 89) for Brownelles & Co., Liverpool. The Newfield was on a voyage from Sharpness to Brisbane on 29 August 1892, with a cargo of 1850 tons of fine rock salt. The Cape Otway light had been sighted in squally, bumpy weather, but the captain was under the impression it was the King Island light. The ship’s chronometers were wrong, and orders were given to tack the ship away from the light, which headed it straight for the cliffs of the Victorian coast. The vessel struck rocks about 100 yards from shore, and five feet of water immediately filled the holds. The captain gave orders to lower the boats which caused a disorganised scramble for safety among the crew. The panic resulted in the deaths of nine men, including the captain when they drowned after the boats capsized in heavy seas. The seventeen men who regained the ship decided to wait until daylight and rowed to Peterborough in the ship’s jolly boat and gig after locals had failed to secure a rocket apparatus line to the ship. The Marine Board inquiry found the wreck was caused by a "one-man style of navigation" and that the captain had not heeded the advice of his crew.The Newfield wreck and its collection of recovered items are heritage listed and are regarded as historically significant. They represent aspects of Victoria’s shipping history and their potential for us today to interpret the maritime history and social themes of the time. The assemblage of various Newfield artefacts held in the Flagstaff Hill Museum is not only significant for its association with the shipwreck but helps archaeologists when examining the relationship between the objects to better understand our colonial marine past.Ship’s steering gear, cast iron, consists of a long round metal rod into which gears have been machined. The thread of the gear from one end to almost the centre winds in a left hand direction while the thread of the gear from the other end to almost the centre winds in the right hand direction. Each end of the rod has a metal coupler attached and two narrower round rods are also attached to the coupling, one each side of the gear rod, the same length as it and parallel to it. Two more ‘S’ shaped couplers are joined to the gear rod. Each of these have an opening through which the gear rod is threaded and can move along. There is another opening in these couplers through which one of the narrower rods is threaded. The other end of this coupler has half length metal rod attached to it by a bolt through the ring at the end of the rod. One end of the steering gear still has the brass hub of the ship’s wheel solidly attached. The hub no longer has its wooden spokes but the ten holes for the spokes can be easily recognised.Noneflagstaff hill, maritime museum, shipwreck coast, warrnambool, peter carmody, carmody, newfield, shipwreck, peterborough, south west victoria, rocket, rocket crew, shipwreck artefact, flagstaff hil maritime museum, steering, steering gear, screw steering gear, sailing ship

IAN ALFRED (Joe) LYONS MBE Born 16.2.1915 in Bendigo enlisted in the RAAF aged 25 years on 27.5.1940, No 400095. Starting in the ranks as an LAC, he rose to Flt/Sgt pre-embarkation. He embarked for the Middle East on 2.11.1941before dis-embarking to serve with No 3 Sqd RAAF. During heavy action on 8.1.1942, his plane was forced down due to engine damage. It landed in an enemy minefield and when it came to a halt, its wheels were straddling a mine. After being rescued by a British officer, dozens of mines were located and dug up. On return, some 15 miles from base, the vehicle Lyons was travelling in hit a mine (on 9.1.1942), resulting in 5 KIA or WIA. Lyons spent 2 weeks in hospital with severe concussion and deafness. Lyons the embarked for Australia on 11.3.1942 before disembarking on 18.4.1942. He was posted to Townsville with 82nd Sqd on 27.6.1944. Subsequently he was posted to Noemfoor Island on 21.9.1944 as Operational with 82nd Sqd and promoted to Flt/Lt (Temp.) on 3.1.1945. On 6.1.1945 he was posted to 77Sqd as Operational on Morotai. This deployment ended on 9.7.1945. Records show that he flew 26 Strike/Attack missions and 13 others with both squadrons. Post WW2, Lyons remained with the RAAF with a new service number (033072). On 2.2.1948 he was posted to Japan before returning to Australia on 28.8.1948, apparently for medical reasons. He was appointed Flt/Lt on 23.9.1948 before returning to Japan and Korea on 22.8.1950. He was awarded an MBE as Operations Officer with 77Sqd for 'Outstanding enthusiasm and energy at 3 Korean bases'. A US Bronze Star was awarded to Lyons for 'Distinguished and meritorious service as Operations Officer in Korea during the period 14.10.1950 to 17.2.1951'. After Korea, Lyons received a number of posting from Victoria to Western Australia. He was awarded the Air Efficiency Medal in 1964. At his own request, Flt/Lt Ian Alfred 'Joe' Lyons MBE, retired from the RAAF HQ OP COM on 15.12.1967. The photograph is part of the Ian A. 'Joe' Lyons MBE Collection.Framed hand tinted colour head and shoulders photograph of a man in an RAAF uniform. The photograph is bordered with a light brown matt. THe wooden frome is painted white and gold. A white printed label bearing the name of the man is located below the photograph. Clear perspex covers the photograph. The photographer's name also appears below the photograph. The rear of the frame is covered in brown paper secured with masking tape. Two eyes and white cord are attached for hanging purposes.Handwritten in black below the photograph: 'VINCENT KELLY, Bendigo'.raaf uniform, photograph, flight lieutenant ian a. lyons