These type of tobacco pouches were used mostly by the outdoor/outback type of male. They were a product of an earlier period in time when males in the outback were considered "red back" adventurers. This pouch is more of a statement than a useful tobacco pouch. It comes from a younger time in bush folk law when the outback appearances was in fashion and before the "new age" male emerged(circa early 1900s).This tobacco pouch was admired in the outback scene and spoke of adventure and "the wild". It was a time when travel in the outback was, in the top end of Australia especially, considered unsafe and "frontier" type adventure filled environment. It was a time when colloquially speaking 'men were men', in other words tough and resourceful, and could tackle anything. This attitude was more so in isolated country areas such as in the Kiewa Valley before "the sensitive new age" male evolved. The pouch presents the early presentation of the outback male as rugged, independent and resourceful. The Kiewa Valley and the tobacco fields, especially during the construction stages of the Hydro Electricity Scheme, was the right environment for such a display.This tobacco pouch is the bottom or main containment pouch for rubbed tobacco leaf to be smoked either as "roll your own" cigarettes or in a pipe. The pouch is of crocodile skin and is light brown on one side and darker brown on the other. The pocket is fashioned with the top section curved to allow fingers to remove the top cover, see KVHS 0059(2). The pocket has fine, but strong stitching holding the bottom and sides together. It is made of relatively medium thick hide and the crocodile markings are both outside and inside. See KVHS 00059(2) for insert pouchThe markings are crocodile in shape.loose tobacco, pipe smoking, rural smoking, red neck workers.

These type of tobacco pouches were used mostly by the outdoor/outback type of male. They were a product of an earlier period in time when males in the outback were considered "red back" adventurers. This pouch is more of a statement than a useful tobacco pouch. It comes from a younger time in bush folk law when the outback appearances was in fashion and before the "new age" male emerged(circa early 1900s).This tobacco pouch was admired in the outback scene and spoke of adventure and "the wild". It was a time when travel in the outback was, in the top end of Australia especially, considered unsafe and "frontier" type adventure filled environment. It was a time when colloquially speaking 'men were men', in other words tough and resourceful, and could tackle anything. This attitude was more so in isolated country areas such as in the Kiewa Valley before "the sensitive new age" male was evolved. The pouch presents the early presentation of the outback male as rugged, independent and resourceful. The Kiewa Valley and the tobacco fields, especially during the construction stages of the Hydro Electricity Scheme, was the right environment for such a display.This tobacco pouch is the bottom or main containment pouch for rubbed tobacco leaf to be smoked either as "roll you own" cigarettes or in a pipe. The pouch is of crocodile skin and is light brown on one side and darker brown on the other. The pocket is fashioned with the top section curved to allow fingers to remove the top cover, see KVHS 0059(2). The pocket has fine , but strong stitching holding the bottom and sides together. It is made of relatively medium thick hide and the crocodile markings are both outside and inside. See KVHS 00059(01) for main pouchCrocodile markings (not hand made)loose tobacco, pipe smoking, rural smoking, rural red neck workers., tobacco

A 1933 Cohn Brother's calendar for December. The Calendar has a photograph of men on a horse riding through the outback as it burns. The calendar itself is glued onto the main pagebendigo, history, cohn brothers

Australian Woolsheds: pp.251, Large volume profusely illustrated with over 200 black and white photographs of woolsheds, with dust jacket depicting shears outside a shearing shed. non-fictionAustralian vernacular architecture which illustrates the hardships and practicalities of Australian outback life.australian woolsheds, farming, shearing, shearing sheds, woolsheds, achitectual features, australian illustration

Tells the story of ANZAC volunteers from Western Australia and makes a connection between the difficulties of Australian outback life and the legend of Anzac.240 pages, illus. Paperback.world war i, western australia, anzac

C.W.A.See KVHS 0891 Clare Roper KVHS 0891 Stockman's Hall of Fame represents the Pioneers of Australian Outback and commenced in 1974J. Roper and Miss M. Egan were members of the CWA state council in 1965-1966 See KVHS 0891 The C.W.A. still exists in Mt Beauty / Tawonga in the Kiewa Valley (2024). They volunteer as caterers and assist during times of natural disasters.The booklets consist of 1. CWA State Council and other papers 2. Booklets for 'Acting' (Drama) and Plays 3. Booklets of Songs (with music) and Song Parts 4. The CWA Journal 1949 (x2), 1950, 1958 5. 14 newspapers of 'Stockman's Hall of Fame' Sept. 1992 to Dec. 1996clare roper, country women's association, stockman's hall of fame

Collection of stories covering his life, travels, views on many subjects, and yarns about the Australian outback; includes stories on treatment of Aborigines.Hardback with dustcover; 190 p; illustratedISBN: 0582714311alan marshall

The Australian Stockman's Hall of Fame is a museum located in Longreach, Queensland, Australia, which pays tribute to pioneers of the Australian outback. The centre is also dedicated to Australian stockmen who have shown bravery and courage. Registered in 1974. On July 28th 1985 the foundation stone of the Australian Stockman's Hall of Fame and Outback Heritage Centre was laid. Hoofs and Horns magazine was established by R.M.Williams in 1944 and ceased in 2005. It was aimed at cattlemen and horsemen.'The Roper family's ancestors settled in the beautiful Kiewa Valley, Victoria over a century ago and started breeding Hereford cattle and horses.' This is their interest in Hoofs and Horns but the Hall of Fame is interested in 'John Roper, who came to Australia in 1843 at the age of 23 years and joined Leichhardt's expedition ...'2 papers - Hoofs and Horns, July 1985, Page 88 and page 90 printed with photos and map. The article has the title: 'The Australian Stockman's Hall of Fame' 2 papers - Title The Roper Family compiled by Wilma Davies (nee Roper) and Mr Mike Cummings. Members of the Hall of Fame.. australian stockman's hall of flame, hoofs and horns magazine, cattlemen and horsemen, the roper family

Colour photograph. Children in costume. Hessian sack. Jeans. Boots. Kiandra. Center of the outback with dragons so go slow. Sweeney's general store and universal emporium. Painted scenery. Church. Gravel Hill Primary School. 1988 Production 'The Wallaby Track''.photo, group, children in costume

Advertising Poster for use in Tramcars printed on heavy cardboard advertising Queensland Rail "Spirit of the outback' with an image of the train and a windmill along with QR Traveltrain logo. Has the title "Discover one of the last great Frontiers" Image file is a small version of the large pdf file, on file as hte5567i.pdftrams, tramways, posters, queensland, advertisements, railways

This oil sketch by Donald Laycock is for "Terra Australis", a large (20' X 8') outback desert scene commissioned by Robin Boyd for the Australian Pavilion at Expo 1970. Robin Boyd was the Exhibit Architect of the Australian Pavilions at Expo '70 in Osaka and Expo '67 in Montreal. It is not known what happened to "Terra Australis" after Expo '70.Red toned abstract composition."DL 69" in bottom right corner. Sketch for Terra Australis Exhibition '70" written on canvas around the frame on the rear.donald laycock, expo 70, osaka, robin boyd, walsh st artwork, ohm2022, ohm2022_32

RFDS was begun by Reverend John Flynn as an aerial Medical Service out of Cloncurry, Queensland in 1928. By 1934 it had expanded across outback Australia. Cobb and Co. was a stagecoach line transporting diggers between the gold fields. There were many coach lines but there names were generalised to "Cobb and Co. It operated between 1853 and 1924.Two small blue and white flag for Cobb & Co. - Royal flying Doctor service 1963 coach run souvenir. The flag has a map of Australia, a horse drawn coach with two men driving, the emblem of the flying doctors and the route from Melbourne to Port Douglas.cobb & co., flying doctors, coach run

The Ruyton Reporter (formerly known as Ruyton Reports) captures the essential Ruyton Girls' School experience for the broader school community. It has been produced since 1986.The record has strong historic significance as it pertains to one of the oldest girls' school in Victoria, Australia. Ruyton was founded in 1878 in the Bulleen Road, Kew, home of newly widowed Mrs Charlotte Anderson (now High Street South). Thus, the record can be used as a reference example for research into Victorian school history. It also gives insight into the types of activities and events undertaken at Ruyton Girls' School during the period of its production. The record's significance is further enhanced by its exceptionally well-documented provenance, having remained the property of Ruyton Girls' School since its production.Colour publication printed on paper with staple binding. 24 pages.Front Page: 2/14/8 / PRINT POST APPROVED PP 341999 000226 / R / RECTE ET FIDE LITER / THE RUYTON REPORTER / SUMMER 2003 / outback and beyond / STOP PRESS: / a year to celebrate / Ruyton makes / sporting history / the ties that bind / authors at Ruyton / Year 10's Inaugural Dreamtime Culture Tour /ruyton girls' school, ruyton, school, students, newsletter, ruyton reports, ruyton news, kew, victoria, melbourne, girls school

Book. ALEC H CHISHOLM COLLECTION. 268 page hardcover book. A story of the Australian outback by William Hatfield. Published in 1932 by Angus & Robertson Ltd. Sydney and printed by Halstead Printing Co. Sydney. Catalogue sticker ''2208 HAT'' on spine. Handwritten in ink on flyleaf ''To A. H. Chisholm of bird fame with my sincerest wishes William Hatfield Xmas 1932''William Hatfieldbooks, collections, australiana, alec h chisholm collection, william hatfield, australian outback

Piers Bateman was a local artist, held in very high esteem by his peers and community. He was born in Perth in 1947, moving to Eltham in 1955 as a young child with his family. In 1966 Bateman moved to London for eighteen months to develop his craft. In 1969 he settled in St Andrews, where he built a studio. The St Andrews locale is said to have been a strong influence on his work. Bateman’s talent was such that he was promoted and mentored by such ilk as Charles Blackman, Clifton Pugh and Arthur Boyd, among others. Bateman’s work is an intimate dialogue with the environment, renowned for his paintings of the outback, wilderness frontiers and the sea. He spent a year in the mid-seventies sailing the Greek Islands and the French canals to Amsterdam. In 1980 Bateman and Marcus Skipper embarked on a trans-Australian venture to the red centre and across northern Australia from Cairns to Broome. In the mid-eighties Bateman returned to the Mediterranean, before returning to the Australian outback in the late-eighties. His international career continued on an upwards trajectory between the Australian outback and European seas, providing a unique contrast throughout the course of his career. Bateman's work questions our relationship with the natural world, and in particular, reconciling our colonial heritage with our indigenous past. This line of questioning and his genuine response to place is the key to Piers Bateman’s work, for which he is lauded and celebrated. On September 4th 2015, Piers Bateman died in a boating accident on the NSW coast line. Piers Bateman was an instinctive painter whose inspiration came from nature. He reworked and scraped off the paint, moving it around until forms and colours of the landscape took shape. Although Bateman lived in Spain and Italy, his time in Europe made him aware of the contrast between the two continents and the bright clear light that defined the Australian landscape. At the time of this work, Bateman was living in St. Andrews, but travelled regularly to New South Wales and South Australia on painting trips. The ‘Grass Tree’ Xanthorrhoea johnsonii (commonly known as ‘blackboy’) is indigenous to these areas. It is a uniquely Australian, slow growing plant with twenty-eight species growing within Australia. Old examples of this tree are survivors of many wild fires, which can cause their blackened trunk, of one to two metres, branch into two or more heads. These heads consist of thick, rough corky bark, surrounded by long, wiry leaves and flowers that produce seed capsules with hard black seeds. The tree’s ability to be one of the first to flower after a wild fire ensures a food source for many insects and birds.Oil on canvas painting. Detail of three grass trees resting on the side of a mountain/hill. Green and gold palette throughout depicting the colours and light of the Australian landscape. Hand written, low right in capitals: 'BATEMAN'bateman, grass trees, xanthorrhoea johnsonii, landscape

Mulga, is an Acacia shrub or small tree native to arid outback areas of Australia. It is light, easy to carve and has strength and durability It is commonly used for turned objects or small decorative items. The wood is dark brown with yellow bands and polishes well. Traditional uses included spears, clubs and boomerangs. George Reed was a draftsman who lived in Bentleigh , City of Moorabbin in mid 20th CGeorge Reed was a draftsman who lived in Bentleigh , City of Moorabbin in mid 20th C and used this Mulga wood bowl in his officeA souvenir Mulga wood bowl with metal aeroplane on the lidearly settlers, market gardeners, wood carvers, souvenirs, mulga wood, acacia trees, boomerangs, vases, post world war 2 estates, bentleigh, mckinnon, highett, cheltenham,south australia, victoria,reed george, reed gladys, clark judy,

The Flying Dogtor fell into an underground river and was swept away by the current. At the same time his plane was set loose by Crafty Carson Carpetbag and was circling wildly without a pilot, high in the outback sky. Meanwhile, back at the Dogtor's base, the Hilltop Hospital, his poor nurse Sister Spaniel, was driven almost frantic trying to cope alone with a strange epidemic of spots that was sweeping the bush. She desperately needed The Flying Dogtor.The Flying Dogtor" series was broadcast on Australian Television Network (later becoming the Seven Network) between February and April 1964 (see item D254 for schedule).Typewritten, carbon copy, foolscap, 3 pagesthe flying dogtor, robin boyd, crawford productions, manuscript

As part of the Crelebration of the Year of the Outback, McKillop's Bridge in the Deddick Valley was hung with nineteen banners made by individuals and groups of East Gippsland. Banners containing thousands of messages of hope and optimism for the future of rural communities were suspended from he bridge in the Snowy River National Park, in front of a three hundred strong crowd that had assembled. Sister Helen Barnes from the Sisters of St Joseph Order, founded by Mary McKillop, initiated the project. This event was a significant event in local history and this item is a contemporary recording of it.A D.V.D. titled, Unveiling Hope. On the front is a coloured photograph of McKillop's Bridge in the Deddick Valley.mckillop's-bridge banners-of-hope

These wooden trees for riding stocks are a concept that was brought to early colonial days from "mother" England. Gentle folk of wealth and status used these trees from early 1800's to keep and maintain their riding boots in their correct form. This form of maintaining the tall riding boot structure was maintained in Australia by the rural "elite" both on cattle properties and smaller cattle stations in the early 1900's. Good riding boots were a status symbol in rural and outback Australia. The riding stocks "wooden trees" are very significant in the Kiewa Valley because they were used by members of some of the original grazing cattle families to settle there. Both cattle and sheep properties occupied large areas of the Kiewa Valley and they also herded their flock and herd on the Bogong High Plains region. These stocks and boots were worn by Fred Roper whose great grand daughter donated them to KVHS. Therefore these boots and stocks would date from 1880's to 1920's and are a good representation of the style of boots worn during this period. This pair of wooden stocks for riding boots trees has been manufactured to a very high standard. Each of the four boot tree parts fit snugly together and maintain their form, and that of the boot that they occupy. The groove channels and foot forms (tongue and groove) are exact and once snapped together become very solid. There is a brass ring, attached by a small brass "peg" on each of the thin "sliding" middle uprights. See KVHS 0177 - Riding boots.On top "L" (for left boot), "R" (for right boot)horse. country. leather. gaiters. high plains. grazing. cattlemen. laces. studs. stocks. roper family. bogong high plains.

Historically this item would have been used by gold miners, rabbit shooters, mobile "Rag and Bone" traders and other mobile(in caravans and/or horse drawn cart) traders of various small goods and haberdashery. Although marked as not to be used as trade, the isolation and sometimes difficult terrain rules out using larger and more delicate scales. In the early 1900s rough roads and severe weather conditions forced traders to be more flexible in trading with weights and measures. The "close enough is good enough" doctrine was the Australian outback rule of thumb.The significance of this item in the Kiewa Valley during this period demonstrates the slower acceptance of accurate trading measure using the country side principle "my hand shake is my bond". In the Kiewa Valley small quantity commercial undertakings e.g. gold mining, fur pelts and rabbit meat trade did not require bulk weight type scales. Commerce in rural production e.g. fruit and vegetables involved more farmers and their staff in a barter and/or "in kind" payments. This was more so in the depression years 1929 to late 1930s. Self sufficiency was to a large extent more attainable in this region than in the city/ large country town environment. The Australian "fair go" ethical approach to life and commerce was very much ingrained in those living in country regions, like Kiewa Valley as is demonstrated by the not so accurate hand balance, spring loaded scales.This brass "faced" portable Pocket Balance ( Fish Scales) has front plate made from thin pressed brass. The mild steel spring mechanism enclosed by black painted medium gauge steel cover( three quarters cylindrical). Front scale face and rear spring casing fastened by three rivets. Spring loaded marker blade is located in the centre of the front plate. A steel " finger holder" ring is attached at the top of the scale unit from one of two pre drilled holes. The top is for holding the scale upright and the bottom for a hook to dangle the item to be weighed from the bottom. See item KVHS 0223 for similar scales"THE BILLY BALANCE" and at the bottom "MADE IN GERMANY"antique pocket balance, scales, mobile weights, vintage appliances

Historically this item would have been used by gold miners, rabbit shooters, mobile "Rag and Bone" traders and other mobile(in caravans and/or horse drawn cart) traders of various small goods and haberdashery. Although marked as not to be used as trade, the isolation and sometimes difficult terrain rules out using larger and more delicate scales. In the early 1900s rough roads and severe weather conditions forced traders to be more flexible in trading with weights and measures. The "close enough is good enough" doctrine was the Australian outback rule of thumb. The significance of this item in the Kiewa Valley during this period demonstrates the slower acceptance of accurate trading measure using the country side principle "my hand shake is my bond". In the Kiewa Valley small quantity commercial undertakings e.g. gold mining, fur pelts and rabbit meat trade did not require bulk weight type scales. Commerce in rural production e.g. fruit and vegetables involved more farmers and their staff in a barter and/or "in kind" payments. This was more so in the depression years 1929 to late 1930s. Self sufficiency was to a large extent more attainable in this region than in the city/ large country town environment. The Australian "fair go" ethical approach to life and commerce was very much ingrained in those living in country regions, like Kiewa Valley as is demonstrated by the not so accurate hand balance, spring loaded scales. Portable Pocket Balance with front plate made from brass. Spring mechanism enclosed by black painted medium gauge steel cover( three quarters cylindrical). Front scale face and rear spring casing fastened by three rivets. Spring loaded marker blade is located in the centre of the front plate. See item KVHS 0224 for a similar scales.Front plate marked: at top "Not legal for use in trade", below this in larger print "Pocket Balance", under and to the right in smaller print "lbs" under this graded marks, first marked with a Zero, then every second mark in ascending order up to 25. At the bottom of the front plate is marked "Made in Germany"antique pocket balance, scales, mobile weights, vintage appliances

Kenneth JACK AM MBE RWS, (5 October 1924 – 10 June 2006) Australian watercolour artist Kenneth Jack who specialised in painting the images of an almost forgotten outback life; old mine workings, abandoned ghost towns, decaying farm buildings. He became a professional painter at the age of 39 after giving up his job as senior instructor at the Caulfield Institute of Technology. In 1977 he was elected to The Royal Watercolour Society and in 1982 was awarded the MBE, and the Order of Australia (AM) followed in 1987. Framed three block lino print showing the volcanic plains of Victoria around Stony Rises. It is Number 6 in the Volcanic Plains of Victoria series. Donated through the Australian Gifts Programme by Katherine Littlewood.31/40artwork, artist, kenneth jack, printmaking, volcano, mt porndon, mount porndon, linocuts

Kenneth JACK AM MBE RWS, (5 October 1924 – 10 June 2006) Australian watercolour artist Kenneth Jack who specialised in painting the images of an almost forgotten outback life; old mine workings, abandoned ghost towns, decaying farm buildings. He became a professional painter at the age of 39 after giving up his job as senior instructor at the Caulfield Institute of Technology. In 1977 he was elected to The Royal Watercolour Society and in 1982 was awarded the MBE, and the Order of Australia (AM) followed in 1987. Framed three block linocut depicting the Glasshouse Mountains in the Australian State Queensland. Donated through the Australian Gifts Programme by Katherine Littlewood.21/32artwork, artist, kenneth jack, printmaking, glasshouse mountains, queensland, available, linocut

This game was advertised as a "new game" in 1909.Board game called Advance Australia. The board is divided in 144 squares with 136 numbered consecutively. The game was played with a pair of dice. The game has its unique form, with shipwrecks, lost in the outback, hazardous landings and high seas being some features. The leather tumbler and dice are with the game. Also, with the game there are two newspaper articles, one by David Horsfall the other by Leighton Rawlings giving a detailed description of the game. From the map details it is reasonable to guess the game was produced early 1900s. Chad Valley series of gamesgame, boardgame, early federation

Photo of Reso party at Alice Springs camp . / Tour of central Australia and NT Circa May 13- June 13 1947 / photos of Ant hills and termite mounds abound in the Australian outback. (Note -'Reso' appears to be 'Victorian National Resources George Pethard Collection including references to Taraxale Brewing Company Pty Ltd /hard covered 29x19mm photographic album bound with black string / black and white Photographs of Alice Springs , NT and surrounding area .Last Development).photograph, landscape, australiana, george pethard /taraxale brewing company pty ltd /victorian national resources development ')

James Wigley (1917-1999) is an Australian painter known for his sensitive depictions of aboriginal camp scenes and desert landscapes. He served in the army in WW2. On his discharge he built himself a stone house at Warrandtye where he lived for some years before moving to Port Hedland in 1957, where he studied the "aboriginal and half-caste" life for which his work is perhaps best known. He returned to the Eltham and Warrandyte districts from time to time between making many tours into outback Australia.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital imagesepp, shire of eltham pioneers photograph collection, james wigley, aboriginal australians, painters, warrandyte, drawing, figures

This certificate was presented at the East Gippsland Shire Council Australia Day celebrations on 26.1.2003. The veiling of McKillops bridge was a 'Year of the Outback' event. The event was organised by Orbost resident, Sr Helen Barnes RSJ. to show solidarity with rural people. The local community transformed the bridge into "a symbol of communal love and hope", when its sides were draped with hundreds of personal messages. McKillop's Bridge, located high in the Snowy Mountains, is named after George McKillop, a pioneering explorer of the area. The bridge is a vital link for isolated farming communities living beyond the Bonang highway. The Veiling of McKillops Bridge was a significant community event.A large framed certificate. An Australia Day Community Event certificate for January 2003. The frame is silver The certificate has white, green and blue print on a blue background.presented to "Veiling of McKillops Bridge on frame corner AMS by East Gippsland Shie Council signed by Cr P. Bommer (mayor)mckillops-bridge-veiling east-gippsland-shire-council-australia-day