8HP Blackstone Lamps Start Oil Engine engine number 71076 Engine Details Maximum operating RPM of 240. Fitted with a 3'9" Flywheel Tested on the 6th of November 1908. Shipped to Cluter buck South Australia for installation on concrete base. Recovered and restored during the 80's in South Australia Purchased privately in 2013 in Tailem Bend South Australia and transported to Victoria. Currently on loan to the Puffing Billy Museum at Menzies Creek as an operating exhibit. Blackstone & Co. was a farm implement maker at Stamford, Lincolnshire, United Kingdom. In 1896 they built lamp start oil engines. The Lamp or hot-bulb engine (also hotbulb or heavy-oil engine) is a type of internal combustion engine. It is an engine in which fuel is ignited by being brought into contact with a red-hot metal surface inside a bulb, followed by the introduction of air (oxygen) compressed into the hot-bulb chamber by the rising piston. There is some ignition when the fuel is introduced, but it quickly uses up the available oxygen in the bulb. Vigorous ignition takes place only when sufficient oxygen is supplied to the hot-bulb chamber on the compression stroke of the engine. Most hot-bulb engines were produced as one-cylinder, low-speed two-stroke crankcase scavenged units Historic - Industrial - single cylinder, horizontal, 4 stroke, hot-bulb ignition oil engine Blackstone 8HP Oil Engine made from steel, wrought iron and brassOval Plate with Black Stones and Clutter Buck Brass Plaque engine number 71076blackstone, oil engine, clutter buck, black stone, puffing billy, hit and miss, engine, blackstone & co

Ordered by Langwill Bros., & Davies Ltd Melbourne Used for saw milling, dam constructions and log haulingFoden Traction Engine This engine is a compound traction engine built by Foden Ltd of Sandbach England in 1914 – builders number 4525. This was ordered by Langwill Bros and Davies Ltd of Melbourne and was used by Mr F Orr on his farm at Bullarto South Victoria. On the farm it was used for many agricultural purposes and was used at times as a stationary engine to run a wooden thrashing machine. The unit was last used on the farm in 1947 and put aside on the farm with a “museum” of other old agricultural tractors and machinery. Mr Orr gave us the engine as an exhibit for the Menzies Creek Museum of Puffing Billy in the 1960s. At that stage he was an elderly gentleman of 97 years and maintained a great interest in his farm which had been in his family’s hands for three generations at that stage. His grandfather had cut the farm from the bush. The traction engine in its youth was used to go around other farms in the district and went as far away as the Wimmera and Mallee farms thrashing crops of wheat, barley and oats. It towed the wooden thrashing machine behind it on its trips to these farms on hire to the farmers. Foden Compound Traction Engine Built by Foden Ltd., Sandback, England in 1914 to the order of Langwill Bros., & Davies Ltd., Melbourne, it was used on a farm for sawmilling, dam constructions and log hauling. Donated by F. Orr of Bullarto South, Victoria. Foden Compound Traction Engine - made of Steel (Painted)Foden foden, traction engine, steam, puffing billy

Carriage Sign - Puffing Billy Museum Advertising This board was used to advertise the Menzies Creek Museum after it opened in 1970. This particular sign was displayed inside, on the end of the Puffing Billy NBH type carriages. Historic - Puffing Billy Railway - Carriage Sign - Puffing Billy Museum Advertising fitted to NBH carriages.Carriage Sign - Puffing Billy Museum Advertising metal signVisit the Puffing Billy Steam Museum you can see - Steam Locomotives - Working Exhibits - Early Rolling Stock - Souvenirs available the museum is located at Menzies Creek & opens every Sunday 11am to 5pmpuffing billy, puffing billy museum, carriage sign

G42 Garratt Steam Locomotive Traffic and train loadings on Victoria's narrow gauge railways reached their peak during the 1920s. To assist in handling the longer, heavier trains, the Victorian Railways ordered two larger, more powerful Beyer Garratt locomotives. These were delivered in 1926 and were numbered G41 and G42. They were sent to work on the Colac–Beech Forest–Crowes line and the Moe–Walhalla line respectively. After the line from Moe closed in 1954, G42 was sent to Colac, where it worked with its mate, G41, until closure of that line in mid-1962. G41 had been in poor condition and was scrapped, whereas a brighter future awaited G42. The Victorian Railways offered G42 to the Puffing Billy Preservation Society, for display as a static exhibit in the Menzies Creek Museum. Over time, a plan evolved to restore G42 to operation, a goal that was eventually achieved by the launch of G42 back into traffic in April 2004. G42 now continues to operate as a restored member of the Puffing Billy Railway's locomotive fleet. No. originally constructed: 2 No. in service: 1 (No. 42) Boiler pressure: (lb/sq. in) 180 Boiler heating surface: 1268 sq ft (117.8 m2) Tractive effort: (85%) 26,860 lbs (12.18 t) Driving wheel diameter: 36" (91.44 cm) Max axle load: 9t 5cwt Length Overall: 51' 7" (15.72m) Height Overall: 10' 8" (3.28m) Date of manufacture: 1926 Manufacturer: Beyer Peacock Place of manufacture: Manchester UK Locomotive Type: Garratt Coal capacity: 70 cwt Cylinder diameter: 13" (33.02 cm) Cylinder stroke: 18" (45.72 cm) Wheel arrangement: 2-6-0+0-6-2 Roadworthy weight: 69t Water capacity: 1680 gal (7,637.43 l) Beyer Peacock - Garratt Locomotives Register Works Number - 6268 / 1926 Gauge/Railway/Class - 2'6"/Victorian Government Rlys/G Type - 2-6-0+0-6-2 No. G42 Notes - Australia G42 Built in 1926 and painted all-over black, this Garratt locomotive was issued to the Moe to Walhalla line where it remained—other than for overhauls—until the line closed in 1954. After an overhaul at Newport Workshops, it was issued to the Colac to Crowes line and remained there until that line closed in 1962 when it was returned to Newport Workshops for storage. In 1964 it was sold to the Puffing Billy Preservation Society and removed from the V.R. register 3 months later. It arrived at Belgrave in 1968 and was hauled to Menzies Creek for static display in the museum. 1986 saw the commencement of restoration the Belgrave workshops and has been restored to its 1946 to 1954 condition with raised cab roof, raised marker lamps, steel cow-catchers and all-over black livery. It was returned to service on April 18, 2004. Service History : Jun 1926 - Moe - initial allocation of a new locomotive Jun 1926 - Oct 1954 Moe Oct 1954 - Jan 1955 Workshops Jun 1955 - May 1962 Colac Jul 1962 - Dec 1965 Workshops - Stored Jan 1968 - Feb 1968 Belgrave - Stored Feb 1968 - 1982 - Menzies Creek Steam Museum 1982 - 2004 - Under restoration Apr 2004 - Belgrave - In active service at Puffing Billy Railway BelgraveHistoric - Victorian Railways - Narrow Gauge - Garratt Steam Locomotive - G42 Victorian Heritage Register (VHR) Number H2187 G42 Garratt Steam Locomotive made of steel, iron and wrought iron with brass fittings - the Locomotive is in Active Service - Belgrave Station G42puffing billy, narrow gauge, garratt, g42, steam locomotive, beyer peacock, victorian railways

This scanned copy was made of the original water colour which was painted in Camp 13, and presented to AWAS. Officer Elva Hurrell attached to the Garrison at POW. Camp 13.A4 Photograph on 150 gram per sq. metre paper. Folder with documents pertaining to Courage to Care touring exhibit hosted at Tatura Museum in 1998.Italian Fountain, P.W. Camp, Murchison. 1943, and W.J. Salter 1945.murchison pow camp 13, camp artwork, italian pows, photography, photograph, slides, film

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Hiroshima Peace Memorial Museum 1951-3, Hiroshima, Japan. (Architect: Kenzo Tange.)3japan, slide

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Hiroshima Peace Memorial Museum 1951-3, Hiroshima, Japan. (Architect: Kenzo Tange.)4japan research trip, slide

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Hiroshima Peace Memorial Museum 1951-3, Hiroshima, Japan. (Architect: Kenzo Tange.)7japan research trip, slide

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Hiroshima Peace Memorial Museum 1951-3, Hiroshima, Japan. (Architect: Kenzo Tange.)12 / B (Handwritten) / Encircled 11 (Handwritten)japan, slide

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Hiroshima Peace Memorial Museum 1951-3, Hiroshima, Japan. (Architect: Kenzo Tange.)5japan research trip, slide

THE CANNON HAS BEEN RESTORED AND IS EXHIBITED IN THIS MUSEUM IN RIVETT H. BLAND ROOMBLACK & WHITE PHOTOGRAPH THE OLD CANNON GUN DATED 1847 HAS CROWN STAMPED ON IT - PROBABLY BRITISH SAID MR.J.R. BLAIR WHO PRESENTED THE PHOTOGRAPH OF THE CANNON. THE CANNON HAS BEEN PHOTOGRAPHED IN A SHADOW AND IS INDISTINCT. PHOTOGRAPH TAKEN FROM GUN OVERLOOKING THE SPORTS FIELD.local history, photography, photographs, civic mementos

Karl Duldig carved this marble sculpture of a mask in the Vienna Kunstgewerbeschule (School of Applied Arts) in 1921. His teacher, Anton Hanak, the Professor of Sculpture at the School, encouraged him to carve directly into the stone. It was an accomplished work for the 19 year-old student and was selected by Hanak to represent the students of the School at the Deutschen Gewerbeschau (German Applied Art exhibition) in Munich in 1922, an early accolade for the young artist. The sculpture and another Kneeling Nude were reproduced in the journal Deustche Kunst and Dekoration in 1923-24 in an article on the Hanak-Klasse. In 2011 Mask was exhibited in the National Gallery of Victoria exhibition Vienna: Art and Design. The sculpture is one of ten substantial sculptures in marble and stone, and a larger group terracotta sculptures and masks, portrait busts and small stone sculptures created by Karl Duldig in Vienna that are held in the Museum collection. These art works are complemented by an archive of contemporary documents including letters, photographs, documents and ephemera. In 1938 Duldig’s Viennese sculptures were sent to Paris in 1938 for a proposed exhibition, and were hidden in Paris by Slawa Duldig’s sister Rella, throughout the Second World War, and arrived in Australia post-war over 5 decades. Karl Duldig was a student of the Kunstgewerbeschule from 1921 until 1925, and then attended the Akademie Der Bildenden Künste (Academy of Fine Arts) from 1929 until 1933. He was accepted into the Professor Josef Mullner’s “Meisterschule” at the Academy of Fine Arts from 1929 until 1933. His teacher at the Kunstgwerebeschule was Austria’s foremost contemporary sculptor Anton Hanak, and he was a formative influence on Duldig’s work. Hanak had been a member of Viennese Secession, and worked with Josef Hoffman on architectural commissions prior to the First World War. Hanak shared both his love of the expressive quality of materials and a humanist vision with his students. Various writers have written about Duldig’s interest in masks. His interest may have been stimulated by his classical education, the Greek and Roman antiquities in the Kunsthistoriches Museum in Vienna, or the ethnological collections in Vienna’s Museum of Ethnology (now known as the Weltmuseum). The mask was a motif explored by expressionist and cubist artists whose work was exhibited at the Vienna Secession. Duldig would have been familiar with the psychological investigations of the neurologist and founder of psychoanalysis Sigmund Freud, who established his practice in Vienna. In the Duldig Studio library, Duldig’s keen interest in the arts of a myriad of visual cultures is apparent. Of particular note are two well-thumbed copies Rudolf Utzinger’s, Masken, published by Ernst Wasmuth in Berlin in 1923, depicting masks from around the world. It is likely that a multitude of influences were at play. Slawa Duldig also worked with this motif, and also carved a smaller mask in Salzburg marble as well as a remarkable mask in clay, and these are held in the collection. Ann Carew 2016The Mask has national and international aesthetic significance. It is one of the earliest works by Karl Duldig in the Studio collection, and is a subject that he would continue to explore throughout his working life. The sculpture demonstrates a high degree of technical skill and mastery at an early age. It is evidence of Duldig’s engagement with the art of his peers during this period – the mask is a motif that inspired contemporary expressionist and cubist artists. It also demonstrates his interests in portraiture, human psychology, and the creation of identity and transformation of personalities. The Mask also provides an important link to the studio practice in the Vienna Kunstgwerbeschule, the teaching of Anton Hanak, and the program of international art exhibitions in Europe during the period. It is also of historical significance: the story of its survival and eventual recovery provides a counterpoint to the story of the Nazis’ confiscation of art during the Second World War. Ann Carew 2016Carving in Salzburg Marble. Holes for eyes and mouth cut through the block. Highly polished finish at front contrasting with rough finish at back and stylised curled hair. Marble base separate (75 x 275 x 198, wt 9000) and added later by artist. Karl Duldig 1921 incised on back

This sculpture is a bronze cast of Karl Duldig’s 1956 terracotta sculpture titled 'Moses'. The terracotta sculpture won the 1956 Victorian Sculptor of the Year award, an honor given by the Victorian Society of Sculptors. The National Gallery of Victoria purchased the original terracotta sculpture for the Gallery’s collection in 1956. In 1979 the NGV allowed Karl to cast the original terracotta sculpture in bronze (to a limited edition of 5). The National Gallery of Victoria holds one of these casts and one is in Duldig Studio collection. The original terracotta sculpture was exhibited in 1956 at the Olympic Arts Exhibition in Wilson Hall at the University of Melbourne. Two other works by Karl were also exhibited, a sandstone titled 'Adam and Eve' and a work titled 'Fountain'. The catalogue for the Olympic exhibition, which promoted modernism across a variety of disciplines, noted that Australia’s post war immigration program had given ‘further momentum to the modernist cause’. The identification of émigré artists, such as Karl Duldig, with the acceptance of modernism in Australia became a major theme in any discussion of art and design in the post war period. Ann Carew 2016The subject Moses and the tablets of law is an important theme in the history of art. For example the National Gallery of Victoria collection includes paintings on this topic by the Australian Aboriginal artist, Queenie McKenzie (1991), prints by the Russian-French modernist artist, Marc Chagall (1956), and a painting by 19th century British academic painter, John Rogers Herbert (1870s). Michelangelo’s sculpture of Moses is perhaps the most famous sculptural interpretation of the subject. In Karl’s hands we have a modern interpretation of the theme. His simplification and abstraction of form and attention to surface modeling is masterly. The figure has an emotional intensity and despite its relatively small scale, a ‘forceful monumentality’. The sculpture is aesthetically significant for its craftsmanship, expressive qualities and modernity. It is historically significant because of its associations with the 1956 Olympic Arts Festival. The Duldig Studio’s bronze cast of the sculpture was exhibited in the exhibition '1956: Melbourne, modernity and the XVI Olympiad, Museum of Modern Art at Heide.' Apart from the formal qualities of a work like Moses, its relevance as a motif in Judaism and Christian faiths ensures its place as a work of spiritual significance. Ann Carew 2016Bronze cast from terracotta sculpture. Depicts Moses as in Exodus 32 when he returns from Sinai with the tablets of the law to find his people worshipping the golden calf, in his fury he holds the tablets aloft above his head before crashing them down on the ground.

This bowl is part of a series completed in 1994 on the subject of the sin of 'Vanity' / A smug looking woman flirts coquettishly with a manservant who helps her to put on her shoes / The people depicted on the bowl are dressed in 18th century costumes / The court of Marie Antoinette of France is evoked / The blue and white drawing is in the style of 18th century woodblock prints and was drawn freehand / The bowl is signed and dated on the base / The technique is traditional tin glaze (majolica, maiolica or delft) / Coloured oxides were painted onto a clear glaze which had been opacified with tin oxide, and then fired at 900 degrees / The bowl was exhibited at Christine Abrahams Gallery, Melbourne in 1994 / A bowl from the 'Vanity' series is held in the Collection of the Queen Victoria Museum and Art Gallery in Launceston, Tasmania. Copeland's parents are John and Betty Hipwell, one of the founding members of Potters Cottage (an influential ceramic collective that grew out of Nillumbik) / Copeland grew up surrounded by this artform. Reg Preston (another founding member of Potter's Cottage) introduced her to the Majolica technique which has influenced her ceramic work to this day / This bowl is characteristic of Copeland's speciality and mastery of the Majolica technique. This bowl is hand painted with an image of a couple flirting (man-left side and woman-centre) in 18th century French dress / Decorative circle and polka dot pattern along the rim and underside of the bowl / The bowl is predominantly painted in cobalt blue and orange colour using the Majolica (maiolica or delft) technique; a traditional tinglaze method of application. Coloured oxides are painted onto a clear glaze which has been opacified with tin oxide / The bowl is then fired at 900 degrees.Underside has in colbalt blue artist signature and date / 'A. Copeland . 1.9.1994'.copeland, earthenware, majolica, potters cottage, vanity, bowl, eighteen century, french, marie antoinette

Vipoo Srivilasa works predominantly in ceramics, creating unique contemporary porcelain sculptures, vessels and figures to transmit a universal message of cross-cultural experience. His works explore similarities between the cultures of homeland, Thailand and his adoptive home, Australia. His work is both a playful, and at times a political, blend of historical figurative and decorative art practices with contemporary culture. For more than 20 years, Vipoo has exhibited both internationally and throughout Australia, including Museum of Fine Arts, Boston; Saatchi Gallery, London; Ayala Museum, Philippines; Yingge Ceramics Museum, Taiwan; Nanjing Arts Institute, China and the National Gallery of Thailand. His work is held in national and international collections including the National Gallery of Australia, the Art Gallery of South Australia, GOMA, and the Craft Council, UK.

People in the industry would come in for sales at the Wool Museum and not pay to see the exhibits. Turnstiles were installed to stop entrance. The tokens were sold on ground floor and turnstiles installed outside the exhibit upstairs. The token had to be inserted into the turnstiles to gain entrance to the exhibit.93 Large child tokens 67 Large adult tokens 6 Large guest tokens 17 Large concession tokens 55 Small adult tokens 36 Small child tokens 15 Small guest tokens 34 Small family tokens Gold and bronze in colour

Guinness World Record certificate with envelope, backing card and two information sheets presented to the National Wool Museum in 2015 as part of the Shaun The Sheep Pom Pom Parade exhibition. As part of the exhibition the National Wool Museum joined with Pyrenees Presents Inc to attempt to set a record for the most number of handmade pom pom sheep exhibited. The challenge was set prior to and during the exhibition, with and end date of October 11, 2015.Navy blue envelope with an address sticker at front centre and Guinness World Records logo on right centre. Perforated horizontal opening at back with text OFFICIALLY AMAZING at top part and Guinness website address on bottom left corner. 2 x letters of record confirmation and information from Guinness World Records, featuring their logo at top right corner. Plain white cardboard backing support for certificate. Official Guinness World Records certificate. Navy blue border, background watermark of Guinness World Records text. Official metallic stamp at bottom right corner.guinness world records, shaun the sheep, pom pom parade

Part of the NWM Woolbroker's Office exhibit until late 1990's.wool sales wool brokering, dennys, lascelles, austin & co elders limited, wool sales, wool brokering

Photograph of "Stanbury Royal Reserve" from the Stanbury Stud Farm, Ceres, Victoria, bred and exhibited by RE Wettenhall.Photograph of "Stanbury Royal Reserve" from the Stanbury Stud Farm.awards - sheep corriedale sheep sheep breeding - history export - live sheep, stanbury corriedale stud, wettenhall, mr rupert e., awards - sheep, corriedale sheep, sheep breeding - history, export - live sheep

Photograph of Darcy Wettenhall and ram "Stanbury Royal Reserve" from the Stanbury Stud Farm, Ceres, Victoria, bred and exhibited by RE Wettenhall.Photograph of Darcy Wettenhall and ram "Stanbury Royal Reserve" from the Stanbury Stud Farm.awards - sheep corriedale sheep sheep breeding - history export - live sheep, stanbury corriedale stud, wettenhall, mr darcy, awards - sheep, corriedale sheep, sheep breeding - history, export - live sheep

Photograph of ram "Stanbury Royal Commmand" from the Stanbury Stud Farm, Ceres, Victoria, bred and exhibited by RE Wettenhall.Photograph of ram "Stanbury Royal Commmand" from the Stanbury Stud Farm, Ceres, Victoria, bred and exhibited by R.E. Wettenhall.awards - sheep corriedale sheep, stanbury corriedale stud, wettenhall, mr rupert e., awards - sheep, corriedale sheep

Photograph of Mrs Janet Wettenhalll and ram "Stanbury Royal Replica" from the Stanbury Stud Farm, Ceres, Victoria, bred and exhibited by RE Wettenhall.Stanbury Royal Replica (Rew. 65.260.273) Senior & Grand Champion ram & Supreme Champion Corriedale/....../Est R E Wettenhall, Stanbury, Ceres, Victoria Pastoral Review Photoawards - sheep corriedale sheep sheep breeding - history export - live sheep agricultural shows, stanbury corriedale stud, wettenhall, mr rupert e. wettenhall, mrs janet, victoria, awards - sheep, corriedale sheep, sheep breeding - history, export - live sheep, agricultural shows

Dennys, Lascelles Limited Annual Report August 1962. Part of the NWM Woolbroker's Office exhibit until late 1990's.wool stores wool brokering, dennys, lascelles limited, wool stores, wool brokering