Circa 1920s petrol driven cross saw. It was mainly used cross cutting felled logs The Land on which the Menzies Creek railway station and Museum are built on was once apart of James Hermon's & his son William Hermon's property on which this Drag Saw was used. reference : Jinkers and Whims: A Pictorial History of Timber-Getting By Jack BradshawHistoric - Industrial Timber working petrol driven cross saw - Drag SawLarge, mechanical saw mounted on a steel shaft connected to tin fuel and water containers. The machine has two large spoked wheels, a rotating Crankshaft and an extended arm/rod attached to a crank and flywheel.New Record puffing billy, drag saw, timber cutting, early mechanical equipment, james hermon & sons, menzies creek, 1920s

Steam Locomotive - 1711 Peckett “Sir John Grice” Date built - 1926 Locomotive type ; Cranmore Original owner - Metropolitan Gas Coy., West Melbourne Original gauge - 762mm Withdrawn - 1941 Next owner - Whistle Stop Amusement Park, Frankston Built in 1926 for the West Melbourne site of the Metropolitan Gas Company, and issued to traffic the same year this saddle tank locomotive was named “Sir John Grice” in 1928. It was withdrawn from traffic in 1941 and stored until sold privately in 1962. In 1965 it was sold again and went to the Whistle Stop Amusement Park in Frankston and again stored until bought at auction by the Puffing Billy Preservation Society in 1974 and put on static display in the Steam Museum. Restoration started in 1978 and it was returned to service in 1981 painted light green with yellow lining. It is temporarily renamed “Thomas the Tank Engine” with a fibreglass “Thomas” body cover each time it appears in the “Thomas the Tank Engine” shows at Gembrook station.Historic - Industrial Narrow Gauge Railway - Steam Locomotive used at the Metropolitan Gas Coy., West Melbourne, Victoria, AustraliaSteam Locomotive made of steel, wrought iron Peckettpeckett “sir john grice”, 1711 peckett, puffing billy, steam locomotive, industrial narrow gauge railway, metropolitan gas coy., west melbourne

Original Climax Loco Headlight Lamp made by the Star Lamp company THE HISTORY OF STAR HEADLIGHT & LANTERN COMPANY 1889: On April 20 of 1889, "Star Headlight Company" formed. The company is located on Allen Street in the city of Rochester, New York. There were five original investors. The original founders were Elias C. Glazier, George L. Estes, Allen D. Close, James H. Crouch and George S. Riley. 1914: Name of company changes to "Star Head Light & Lantern Company." 1915: Star Head Light & Lantern Company catalog now lists more than 100 versions lamps and lanterns. Historic - Industrial railway - Forests Commission of Victoria, Timber Logging Climax Locomotive Headlight Lamp Original Climax Loco Headlight Lamp made of metal climax loco headlight lamp, star loco headlight lamp, star head light & lantern company, puffing billy

Metal Horse drawn scoop from Hermon’s nursery at Menzies Creek. The Land on which the Menzies Creek railway station and Museum are built on was once apart of James Hermon's & his son William Hermon's property on which Horse drawn scoops of this type would have been used. Historic - industrial Farm equipment used on the farm of James Hermon & his son William Hermon on which the museum is built Horse drawn scoop from Hermon’s nursery made of Metal West Footscray Engineering Works Pty Ltdpuffing billy, menzies creek, scoop, hermon

This 1952 document provides a historical record of the type of some of the manufacturing jobs at ICI Deer Park, and the pay scales and working conditions for the various jobs.20 page white paper booklet with brown stains and some wrinkling both possibly resulting from water contamination. The document is legible.Filed on Principal Registry Commonwealth Court of Conciliation and Arbitration 22nd September 1952federated ironworkers' association, industrial agreement, ici, icianz, ironworkers', 1952

Newspapercourier, 1985, nurses, strike, industrial, action

Wilfred Clarence Busse was born in Chiltern, Victoria in 1898. His family first arrived in this region during the gold rush era, purchasing a piece of land adjacent to the Murray River. The spectacular scenery and rich history of the area is said to have inspired Busse in his writing. He attended Wesley College in his school days, before going on to study law at the University of Melbourne. After graduating from university, Busse would go on to become a barrister, but he is best known as a writer of fiction, publishing two novels: 'The Blue Beyond: A Romance of the Early Days in South Eastern Australia' and 'The Golden Plague: A Romance in the Early Fifties'. Busse died in 1960. This particular object is dated 1895, three years before Busse was born. It can thus be assumed that it was awarded to a relative of his, possibly his father in relation to their land by the Murray River. This object is significant as it is associated with Wilfred Clarence Busse, a celebrated author and barrister who grew up in the locality of Chiltern. It is also a medal awarded by the Royal Agricultural Society of Victoria, a society that has held social and industrial significance since it was founded in the nineteenth century. Small, circular medal - made of either bronze or brass metal - depicting an agricultural background behind a female figure in a toga holding a wreath. Back side: The Royal Agricultural Society of Victoria / Busse & Son / 1895wilfred clarence busse, w.c. busse, busse, gold rush, gold rush chiltern, busse author, the royal agricultural society of victoria, "the golden plague: a romance of the early fifties., "the blue beyond, rasv, medal, agricultural medal

Slawa built the umbrella using existing and modified umbrella parts purchased from manufacturers and other sources with the idea to develop a more practical umbrella. At the time Slawa was a student studying sculpture at the Akademie der Bildenden Kunste Wien (Academy of Visual Arts). She spent many months developing the prototypes in secret before she applied for and received a patent on 19 September 1929. The patent documentation for Flirt noted that although foldable umbrellas with telescopic shafts were not new, the inventor's umbrella was a significant improvement as it was smaller and more practical as the folding mechanism had been considerably simplified. The umbrella was included in the Inventors’ pavilion at the Vienna Spring Fair in 1931. In a contemporary newspaper report it was described as ‘the magic umbrella of the sculptress’. After the design was granted a patent, it was contracted to the firm Basch and Braun, which authorized its manufacture under licence by the largest Austrian umbrella manufacturer in Austria Bruder Wuster and a German firm Kortenbrach und Rauh. It was called Flirt. In the first year of production sales reached 10,000. This number increased steadily each year as sales spread throughout Europe and the Flirt umbrella was still being produced in the post-war period. Slawa was paid royalties till 1938, the year that she left Vienna and fled to Switzerland. In 1939 with pressure from the Nazis she sold her rights to the company Bruder Wuster. Ann Carew 2016The umbrella prototypes have national and international aesthetic significance as examples of technological innovation in industrial design. The archive has national and international scientific and research potential – detailed records concerning the development of the design, patent and its manufacture are held in the studio. The archive demonstrates the links between the realms of fine art, industrial design and manufacturing in Vienna in the early twentieth century. The sale of Slawa Horowitz-Duldig’s rights to the umbrella under duress from the Nazis makes this archive historically significant. The provenance is excellent, and the prototypes and accompanying documentation have national and international interpretative potential. Ann Carew 2016Three handmade compact foldable umbrella prototypes. The prototypes have black silk covers, a metal shaft, handle, ribs and ferrule. The shaft has a telescopic mechanism. The top and the end of the handle are metal disks. The related documents, designs, patent documentation, a hand written record of her inspiration for the design, and other archival material are also held in the Studio’s Collection.

Painter, printmaker and sculptor Rick Amor is one of Australia's most distinguished senior artists. He was a good friend of the late George Baldessin and three times Archibald Prize winner Clifton Pugh, having lived and worked at Pugh's property, Dunmoochin in Cottles Bridge, Nillumbik during the 1980s and 90s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'The Ruin' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. Rick Amor has been an ardent supporter of the Baldessin Press & Studio and a great patron of living artists. In 2014 the Press partnered with Amor and the State Library of Victoria to create The Amor Residency at The Baldessin Press & Studio, which is part of the Library's annual fellowship program. 'The Ruin' was based on a plein air painting done by Rick Amor on a trip to Broken Hill in 2001 and reflects on death and the passing of time so eloquently portrayed by the industrial ruins of NSW. In the tradition of a Piranesi, the work emphasises the transience of life and the triumph of time. Black and white drypoint etching in which a small figure, a traveller; located bottom left, points to a large crumbling edifice (building), a stage like space in the background. Ed.14/25baldessin, print, drypoint, amor, 2018 ekphrasis, ruin, etching, ekphrasis2018