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

Ino KIYOSHI (b 1946, Kyoto Japan, d. 2008) Worked in Australia from 1973–76 and 1978–2008 Ino Kiyoshi was to a family that has been involved in the production of pottery for some 160 years. Working in the family studio while studying at the Kyoto School of Arts and Crafts, he completed his diploma of Ceramic Art in 1969. He then attended the KyotoTechnical School for a post-graduate course in glazing. then lectured in ceramics at the KyotoTechnical School. Following in the footsteps of the famous Japanese potter, Shoji Hamada who had visited Australia in 1965, Kiyoshi Ino visited Sydney in 1973, where he worked with Japanese potter Shigeo Shiga). Kiyoshi took up an appointment as Visiting Lecturer in Ceramics at the Gippsland Institute of Technical Education, Churchill, Victoria, from 1974 to 1976 and returned there as Assistant to the Senior Lecturer in Ceramics in 1979. He ceased teaching at the Gippsland Institute in 1988. Ino was involved in the establishment of a space for artists in the old butter factory at the nearby township of Yinnar and in 1982 the Yinnar Art Resource Collective, commonly known as Yinnar ARC, was established. Ino has exhibited extensively throughout Australia.Australian Studio Ceramics Gift of the artist, 1982Impressed seal for Kiyoshi Ino on baseceramics, gippsland campus, jan feder memorial ceramics collection, ino kiyoshi, japanese ceramics

Ino KIYOSHI (b 1946, Kyoto Japan, d. 2008) Worked in Australia from 1973–76 and 1978–2008 Ino Kiyoshi was to a family that has been involved in the production of pottery for some 160 years. Working in the family studio while studying at the Kyoto School of Arts and Crafts, he completed his diploma of Ceramic Art in 1969. He then attended the KyotoTechnical School for a post-graduate course in glazing. then lectured in ceramics at the KyotoTechnical School. Following in the footsteps of the famous Japanese potter, Shoji Hamada who had visited Australia in 1965, Kiyoshi Ino visited Sydney in 1973, where he worked with Japanese potter Shigeo Shiga). Kiyoshi took up an appointment as Visiting Lecturer in Ceramics at the Gippsland Institute of Technical Education, Churchill, Victoria, from 1974 to 1976 and returned there as Assistant to the Senior Lecturer in Ceramics in 1979. He ceased teaching at the Gippsland Institute in 1988. Ino was involved in the establishment of a space for artists in the old butter factory at the nearby township of Yinnar and in 1982 the Yinnar Art Resource Collective, commonly known as Yinnar ARC, was established. Ino has exhibited extensively throughout Australia. Gift of the artist, 1982impressed seal for Kiyoshi Ino on baseceramics, shikuhu ino, jan feder memorial ceramics collection, gippsland campus, yinnar, yinnar art resource collective

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

In this image a man sits and places tiles carefully on to a board, after applying adhesive. He wears floral apron, to protect his clothing, and a pot of Selley's Tile Bond (with an ice cream stick in it), rests on the board. Most likely taken during a crafting program held at a centre.1 black and white photograph of man sticking tiles to a boardrecreation, crafting

Ino KIYOSHI (1 (1946-28/09/2008) ) Born Kyoto, Japan Kiyoshi Ino was born into a family that has been involved in the production of pottery for some 160 years. He working towards a Diploma of Ceramic Arta at the Kyoto School of Arts and Crafts, which he completed in 1969. He then attended the Kyoto Technical School for a post-graduate course in glazing, and was laer appointed lecturer in Ceramics at the Kyoto Technical School. After completing a study tour of China and Taiwan, Ino was one of a group of Japanese potters that travelled to Australia from the 1970s onwards following in the footsteps of the famous Japanese potter, Shoji Hamada who Kyoshi visited in 1965. Kiyoshi Ino visited Sydney in 1973, where he worked with Japanese potter Shigeo Shiga. Between 1974 and 1976 Kyoshi took up an appointment as Visiting Lecturer in Ceramics at the Gippsland Institute of Technical Education, returning there as Assistant to the Senior Lecturer in Ceramics in 1979. He left Gippsland Institute in 1988. Ino was involved in the establishment of a space for artists in the old butter factory at the nearby township of Yinnar and in 1982 the Yinnar Art Resource Collective, commonly known as Yinnar ARC, was established.Glazed vesseljan feder memorial ceramics collection, staffmember, ceramics, yinnar art resource collective, ino kiyoshi

Two photos of Legatee Saltmarsh with widows in Legacy House. L/ Saltmarsh was the Widow Committee Chairman and was involved in organising events for widows and in publishing the newsletter. The photo shows him with two widows, Marion Scammell was working on a her tapestry under the guidance of Nancy Crooks, the instructor. One was published in the newsletter in April 1996 to show widows the types of activities that Legacy provided. For many years there were workshops for craft and others for painting. The timetable for activities was published in The Answer (prior to Sept 1992 it was called the Melbourne Legacy Widows' Newsletter) each month. These regular meetings and workshops provided important opportunities for widows to meet, socialise and be active.A record of the type of activities Legacy provided as a social outlet for the widows.Colour photos of widows and Legatee Saltmarsh during craft meeting at Legacy House.widows, craft, activities

ill. p.172.non-fictionAn entertaining look at railway events in Australia in the month of September - from 1848, when a meeting was called to start a railway company in New South Wales, to 2013, when the great Bayer-Garrett AD6029 steam engine was restored to working order. For some strange reason, September has been a month when particularly memorable railway events tend to occur. Author David Burke has crafted a 'diary' which documents, day by day, major happenings to do with railways in Australia - from the days of steam, to diesel, to diesel-electric and electrification, covering the first trains that ran between New South Wales and Queensland, and to Melbourne. It was in also September that the first sod was dug for the Trans-Australian Railway across the Nullarbor to Perth. The book is heavily illustrated with historic photographs, both black and white and colour, newspaper cuttings, sketches and maps, and features 13 paintings by renowned railway artist Phil Belbin. Names that leap to the fore among those who made railway history happen include Ben Chifley, the locomotive driver who became Prime Minister of Australia, engineer Dr John Bradfield, designer of the Sydney Harbour Bridge and responsible for putting Sydney's city trains underground, James Fraser, first Australian-born Chief Commissioner for Railways, and Harold Young, the Scotsman who designed the C38 engine and the Silver City Comet. Cover picture shows: Climbing the steep Fassifern Grade with a heavy coal train maakes for plenty of Bayer-Garrett action in Phil Belbin's painting of the AD60 class at work on the Shorty North line to Newcastle New South Wales Australia.railroads -- australia -- history., railroad travel -- australia -- history.

Denis Gibbons (1937 – 2011) Trained with the Australian Army, before travelling to Vietnam in January 1966, Denis stayed with the 1st Australian Task Force in Nui Dat working as a photographer. For almost five years Gibbons toured with nine Australian infantry battalions, posting compelling war images from within many combat zones before being flown out in late November 1970 after sustaining injuries. The images held within the National Vietnam Veterans Museum make up the Gibbons Collection.A black and white photograph of the Australian Army Landing Craft the Vernon Sturdie or 'The Ace of Spades' as it makes its way up the Mekong River towards Long Binh to deliver American tanks to the Vietnamese Army. The Ace of Spades worked extensively in the Mekong Delta area.photograph, landing craft vernon sturdie, the ace of spades, mekong delta, long binh, gibbons collection catalogue, denis gibbons, photographer, vietnam war, vietnamese army

Denis Gibbons (1937 – 2011) Trained with the Australian Army, before travelling to Vietnam in January 1966, Denis stayed with the 1st Australian Task Force in Nui Dat working as a photographer. For almost five years Gibbons toured with nine Australian infantry battalions, posting compelling war images from within many combat zones before being flown out in late November 1970 after sustaining injuries. The images held within the National Vietnam Veterans Museum make up the Gibbons Collection.A black and white photograph of the Australian Army Landing Craft 'Vernon Sturdie' moving into the congested Saigon-Long Binh dock to unload American tanks and other vital war equipment for the South Vietnamese Army. The docks area was constantly cluttered with shipping unloading war materials.photograph, australialanding craft vernon sturdie, saigon, long binh, south vietnam army, gibbons collection catalogue, denis gibbons, photographer, vietnam war

This bellows was used at the Warrnambool Racecourse by Master Farrier, Brian Chapman (1931-2017), during the 1970s but its history before then is still being investigated. The bellows have continued to be used from 1978 at Flagstaff Hill's blacksmith's workshop. Even today, in 2021, this same bellows are used by a volunteer blacksmith as he demonstrate the skills and tells of the importance of the blacksmith trade to colonial Australia. This 1860s double-action bellows is a typical form of blacksmith's or shipsmith's bellows. The end is forge-fitted with an iron nozzle or tube, called a tuyere or Tue iron, which concentrates the air to fan the fire or furnace. Tuyeres were traditionally made of cow horn. The double-action design of this bellows efficiently moves air both in and out of the chambers in the one movement of the long handle. The bellows was manufactured by John C. Onions of Birmingham, England, between 1862 and 1875. The stamp with the text, Gold Medal 1862, was also used on the business’ advertising. In 1875 the company was registered and began using the name John C. Onions Limited. JOHN C. ONIONS - John C. (Collingwood) Onions (1841-1904) was the son of a bellows maker of the same name. Onions (born 1841) and his wife Helen married in 1867 and they named one of their children John Collingwood Onions (1868-1913), as was the family tradition. He was well known as a Birmingham manufacturer of patented bellows and other forge-related equipment. He sold to the wholesale and retail markets for both local and overseas customers, including the British colonies. An 1862 advertisement points out that John C. Onions was a “Bellows manufacturer and contractor to Her Majesty’s Honourable Board of Ordinance” and His Imperial Majesty the Emperor of the French [Napoleon Bonaparte]”. The advertisement includes a sketched portrait of the Emperor Napoleon III, and an Imperial Autograph Letter dated May 23, 1854, from Napoleon, Palace of the Tulleries to Mr J C Onions of Bradford Street, Birmingham. In 1863 the company registered a patent on portable forges. In 1871 there were eight employees. John C. Onions Limited became a registered company in 1875. In 1876 an advertisements included that the company were smiths for hearths and tools in general and showed a row of six medallions including one with “Napoleon III, Emperor” and his portrait, and another “ _ _ _ 1862 MEDAL”. Their advertising motto was “For Excellence of Quality”. In 1885 the company merged with William Allday and Sons to become Allday and Onions. This mid-19th century bellows has local historical significance as it were once used by blacksmiths at the Warrnambool Racecourse in the annual racing event that continues today. This bellows is significant as a working example of equipment used in the 1800 and 1900s in the trace of blacksmiths and other metal working smiths. The bellows is technologically significant as it shows the progress from simple bellows to the double-action bellows, a time saving and efficient improvement. The manufacturer John C. Onions is historically significant as a family business that began in the 1600s and continued up until the 1980s.Bellows; large, oval, mechanical double-action smith’s bellows, manually operated, in working condition. The paddles of wood that form the top, middle sections and base of the bellows have flexible leather pieces attached firmly between them, forming airtight double lungs. Cut-outs in the panels allow the bellows to fill with air then force it out. A long handle is connected to pump the bellows and control the quantity and force of the air. The blasts of air are forced through the metal nozzle or tuyere at the end of the bellows and into the forge’s fire. Inscriptions are impressed into the wood on the upper paddle or board of the bellows. There are three circular stamps containing text. Text impressed in the wooden upper paddle of the bellows has been assumed to read “JOHN C. ONIONS, PATENTEES & MANUFACTURERS, BIRMINGHAM””?” “EXTRA” “AWARDED FOR EXCELLENCE OF QUALITY”, made from the following readable text :- “JOHN C ONIONS“ “PATENT - - - & MAN - - - - - - - - -“, “BIR - - - - HAM“, “ _ ERA - - - - “- XTRA-“, “- - - - - - - FOR EXCELL-“ “OF - - - - ITY” Text in the stamp “ - - ECE - - “, “ - - - - - / 1862 / MEDAL”, “- ITY” flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, john collingwood onions, john c onions, allday and onions, bellows, smith’s bellows, 19th century bellows, double-action bellows, double-acting bellows, double lung bellows, double chamber bellows, blacksmith tools, blacksmith trade, blacksmith craft, blacksmith equipment, forging equipment, john c onions patented double-action bellows, brian chapman, warrnambool racecourse, blacksmith, shipsmith, iron smith, mechanical bellows

In 1857, tanner John Pearson purchased three and a half acres of land in Little Eltham, at the western end of Pitt Street, with a 70-foot frontage to Maria Street (Main Road) and stretching down to the Diamond Creek for £100. He contracted Benjamin Oliver Wallis to build house for him. Wallis, a mason by trade who originated from the Cornish village of Newlyn, migrated to Melbourne in 1853 and was shortly engaged by Richard Warren to build the Eltham Hotel, which opened in 1854. When Warren fell into financial difficulty in 1858, Wallis purchased the hotel. That same year, Pearson constructed a tannery below the house with access to the water in the Diamond Creek. When Pearson became bankrupt in 1867, Wallis similarly acquired the house from Pearson’s creditors in 1868 and lived there until his death in 1896. For some of this time the house was in the name of Wallis’s son Richard but following his death in 1888, ownership reverted to his father. It was purchased by retired teacher Richard Gilsenen in 1899. Gilsenen was made acting head teacher at the Eltham State School in 1906 following the sudden death of head teacher John Brown. In the 1950s the house was bought by retired engineer Dr Alfred Fitzpatrick and his wife Claire who made various modifications to house goats and poultry as well as structural modifications to the house. In the early 1970s, Eltham Shire Councillors Frank Maas and Don Maling proposed an extended communities’ activities program be set up and the Commonwealth Grants Commission was approached for financial assistance. In 1974 a $50,000 Commonwealth Grant was received by the Shire Council to acquire the Fitzpatrick property as part of the planning to establish an extended communities’ activities program. The Fitzpatricks moved next door and Claire taught at the new Living and Learning Centre, which began in 1975, one of the first community education centres in Victoria. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p59 It’s a centre for sharing knowledge and friendship and it stands on the former hub of Eltham’s original township near Pitt Street. The Eltham Living and Learning Centre, with around 2000 participants a year, began in 1975 as one of the first Community Education Centres in Victoria. Classes ranging from macramé to wine making to environmental living have enriched the lives of thousands of people through the generosity of tutors sharing their skills free of charge. The centre’s heart is the brick cottage, built in 1858 by tanner John Pearson. He bought the three and a half acre (1.4ha) allotment fronting Maria Street (now Main Road) and stretching down to the Diamond Creek. The allotment formed part of a 316 acre (127.8ha) subdivision, owned by Josiah Holloway, called Little Eltham, north of the original Eltham Reserve.1 The allotment then passed through the hands of several speculators before it was sold to Pearson for £100 in 1857. Mr Pearson’s children attended the Eltham Primary School from 1864 to 1867. But creditors took possession of the property when his tannery folded in 1867. It was then sold to publican Benjamin Wallis, who owned the Eltham Hotel at the corner of Pitt Street and Main Road. In 1899 the property was bought by Richard Gilsenan, who became acting head teacher of the Eltham Primary State School in 1906. In the 1950s, retired engineer Dr Alfred Fitzpatrick and his wife Claire bought the property, and made structural changes. Claire, a journalist and community campaigner, modified and built pens for goats and poultry, a stable, a garage and planted fruit trees and a vegetable garden. In the early 1970s a young woman called Carina Hack approached Gwen Wesson at the Diamond Valley Learning Centre (Victoria’s first Community Education Centre) about starting a community centre. Following Wesson’s suggestion, Hack spoke to Shire President Alistair Knox ‘one bleak rainy afternoon, sipping hot drinks and discussing life’.2 Eltham Shire Councillors Frank Maas and Don Maling proposed a community activities program and the council received a $50,000 Commonwealth Government Grant for this venture.3 The Fitzpatricks sold their property to the council and moved next door and Claire taught at the new centre, which Hack named. Eltham obviously wanted such a centre as Hack recalls. ‘During the next two months we had about 50 volunteers working day, night and weekends, scrubbing down, plastering and painting walls, replacing floors, repairing fences, recycling furniture, sewing curtains and cushions, donating furniture, toys, equipment, clean-ing and gardening…’4 The first enrolment day saw a queue stretching up the driveway nearly to the gate and the first sessions attracted 270 people a week. Soon the outbuildings were converted into pottery studios and a large workshop. From 1979 the Eltham Art and Craft Market was held in the centre’s grounds and the Friends of the Centre ran it from 1980. A former program coordinator, Margaret Johnson, remembers enrolment day in the late 1970s and 1980s, when hundreds of people would queue – and some even camped overnight! Overnighters were greeted in the morning with fresh tea and toast. Another tradition was The Enrolment Day Cake with Recipe, given to volunteers. ‘One happy Enrolment Day fell on February 14 and let’s just say that St Valentine found some willing participants, paying $2 for a kiss.’5 Meanwhile the participants’ children could play at the Council Eltham Lower Park house in Hohnes Road, later in Susan Street. But the centre has had difficulties too. In 1990 a fire destroyed the stable and the police suspected arson. However the pavilion was built in its place.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, benjamin oliver wallis, claire fitzpatrick, don maling, dr alfred fitzpatrick, eltham living and learning centre, frank maas, john pearson, richard gilsenen, tannery