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

Jan Senbergs was born in Riga, Latvia, in 1939 and came to Australia when he was ten. Senbergs’ work has been characterised by a simple and bold aesthetic. From lush landscapes to barren urban spaces, his body of work signifies an artist who has continually experimented with shape, form and motif, a fundamental humanist vision, a finely-honed sense of the absurd, and a rigorous studio practice spanning printmaking, drawing and painting. Senbergs is Baldessin's exact contemporary. He was also born in Europe and fled his homeland because of the war, arriving in Melbourne in 1950. Like George, Senbergs also worked at the RMIT and in 1973 represented Australia at the Bienal de Sao Paulo. Senbergs first met George when he was living in St. Kilda. George asked if he could screen print his 'Argus' catalogue for a show at the gallery in the Argus building. 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. The bluestone studio was hand built by George, 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.'New Jersey - rust belt' 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 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. 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. This print finds its' origins in the time Senbergs spent at Harvard in America in 1989-90. In the context of Baldessin it explores an industrial urban surreal vision that was common to both artist. The image captures the life force of the city revealing the keen and observant eye of Jan Senbergs. Similar in sensibility to his large scale charcoal drawings of the 1990s, the artwork is not only a record of what the artist sees, but of what interest him. By following the movement of each line the viewer can witness the artist's eye travelling through, over and around each element of the urban landscape. The scale is deceptive with the image bled to the full-size of the sheet of paper like a microcosm of a much bigger whole. sugar lift etching of an urban (cityscape - New Jersey) scene - bridges, roads, buildings, in thick black brushstrokes. The image is busy; full of energy and movement. A bleed print in which the paper barely contains the city scape. In pencil (handwritten): top centre: left '14/25' (edition); centre 'New Jersey-Rustbelt' (title); right 'Jan Senbergs' (signature); print, sugarlift etching, urban landscape, ekphrasis2018, new jersey, line, rust belt

Information booklet produced by the Victorian Farmers Federation about financial assistance for farmers.Information booklet produced by the Victorian Farmers Federation about financial assistance for farmers.agriculture - industrial relations, victorian farmers federation, woods, mr george

Information booklet about the economics of wool grwoing, produced by the Australian Wool Board.Information booklet about the economics of wool grwoing, produced by the Australian Wool Board.agriculture - industrial relations, australian wool board, woods, mr george

Photographic postcard depicting the newly constructed Valley Worsted Mill, c.1923.Photographic postcard, black and white. Depicts an aerial view of the newly constructed textile mill. A chimney stack and many saw toothed roofs can be seen.POST CARD / CORRESPONDENCE ADDRESS ONLY / KODAK / AUSTRALtextile mills, valley worsted mill foster valley mill pty ltd, aerial photography, factory, wool, industrial building

Willcox and Gibbs: Serial No. 158679.|The Willcox& Gibbs Sewing Machine Company was founded in 1857 by James E. A. Gibbs and James Willcox and opened its London Office in 1859 at 135 Regent Street . By 1871 the Company's Chief Office for Europe was at 150 Cheapside, London, this office was later moved (post 1885) to 94 - 96 Wigmore Street, then 37 & 39 Moorgate Street (by 1891 to post 1907) and later 20 Fore Street, London .Right from the initial production the manufacturing of the Company's single thread, chain stitch machine was undertaken by Brown & Sharpe, Rhode Island and this continued up until 1948.|A special hand crank mechanism was produced in England for the European market, but the general design of the Willcox& Gibbs remained essentially the same throughout its production. The only major improvement was in 1875 when the glass tension discs were replaced with an automatic tension device which ensured the machine could not get out of adjustment.|In addition to the domestic hand and treadle machines the company produced a wide range of industrial models.|The Company finally closed in 1973.|This Willcox& Gibbs came complete with its wooden carry case. The machine was made in America in the late 1860's but it has the ornate hand crank produced at Coalbrookdale near Telford, England which was, in Victorian times, renown for producing high quality ornate iron castings. This machine has the glass tension discs which were used on domestic models until 1875. The Willcox& Gibbs badge is located on the rear of the base casting and it also has a deep wooden base.|The cloth plate has various American patent dates, four dating between 1857 & 1860 relating to J. E. A. Gibbs, three dating between 1860 & 1864 relating to Chas H. Willcox (son of James Willcox), the machine was also licensed under five other patents including the infamous Elias Howe patent of 1846.|There are only two English patents one for J. E. A Gibbs and the other for James Willcox.Upright sewing machine. Machine is quite small and set on wooden table. Ornate metal sides and treadle feet. One drawer. Brass name medallion on back.Willcox & Gibb Sewing Machine co, New York.|Other inscriptions are :-|London, Paris|Measures|Thread type|Needle 12 stitches to inch|Brevettees G.D.G.|En France|Eten Delgique|Under Royal Letters|Patent|James Willcox|July 4 - 71 [1871]handcrafts, equipment

Short history of Turner (Aust) in 'The Tool Chest' newsletter November 1996. (3 photocopied pages' Emphasis is on trademarks with illustrations given on marks found on tools.Short history of Turner (Aust)turner industries, stanley works pty ltd, moderne handle co, b.h.p. ltd., titan manufacturing co, australian industrial property organisation, tools

Black and white photograph of above-ground structures of a deep lead gold minegold mining, industrial building, deep lead mine

The Ballarat Trades and Labour Council was formed in May 1882 and known as the Eight Hours Anniversary Committee. The Ballarat Regional Trades and Labour Council has been in existence from 1883 to the present day.The minutes are a core historical source of information from the inception of BTLC, representing the history of unionism in the Ballarat region. The minutes include items relating to industrial campaigns, social justice and of political significance to the region. Hard cover (bound); 12 volumes. Vol 1: 6 April 1883-17 April 1885 - heading Eight Hours Anniversary Committee. Vol 2: 20 April 1885-14 May 1886 - heading Trades Hall and Literary Institute. Vol 3: 11 June 1886-9 November 1888 Vol 4: 14 December 1888-5 December 1890 Vol 5: 19 December-1 April 1898 Vol 6: 6 October-5 March 1909 Vol 7: 19 March 1909-16 February 1912 Vol 8: 1 March 1912-8 March 1917 - Melbourne Trades Hall Directory June 1912 pasted in front. Vol 9: 22 March 1917-8 August 1929 - Melbourne Trades Hall Directory May 1917 pasted in front. Vol 10: 22 August 1929-15 July 1937. Vol 11: 29 July 1937-6 June 1946. Vol 12: 20 June 1946-1 November 1951.ballarat trades and labour council;, btlc, eight hours anniversary committee, unions, ballarat trades hall, trades hall and literary institute