Report of the Magdal-Cum-Moonlight Mn for 1914, 1915 & 1916. by Chas. G Gibson Yellow card Front and rear Cover with colour picture by unknown artist, black plastic spineThe Great Boulder Proprietary Gold Mines Limited Magdala-Cum-Moonlight God Mine Stawell 1916 By Chas. G Gibson Art Work by Unknown Artiststawell gold mining

A black and white photograph of an unknown group of people at The Marysville Chalet.A black and white photograph of an unknown group of people at The Marysville Chalet.Front - Aunty Flosie Nichols (nee Bennet.)/ (Mum's aunt-sister was Minnie Sully)/ Mum (Irene Day nee Sully) Dot/ Aunty Thelma (Sully mums sister in law, married/ Matthew Sully/ Barb.marysville, victoria, australia, the marysville chalet, guest house, poontawan, steavenson hotel, albert harrison, margaret harrison, elise ackerman, ralph ackerman, john van ranglerooy, joe keithard, kathy keithard, louisa goding, accommodation, photograph

Donor unknownSepia coloured photograph, unframed, mounted on cardboard. Subject: man with umbrella. Subject unknownWritten on back of mount: "Rushton - Photo - Pakenham"

A black and white portrait of an unknown man taken by John William Lindt.A black and white portrait of an unknown man taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A black and white portrait of an unknown man taken by John William Lindt.A black and white portrait of an unknown man taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A black and white portrait of an unknown woman taken by John William Lindt.A black and white portrait of an unknown woman taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A black and white portrait of an unknown woman taken by John William Lindt.A black and white portrait of an unknown woman taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A digital copy of a hand written letter thanking Mrs Dickinson for an unknown gift she sent after a couple stayed at Marysville House. Marysville House was built in the late 1920s by Arthur Dickinson.A digital copy of a hand written letter thanking Mrs Dickinson for an unknown gift she sent after a couple stayed at Marysville House. Marysville House was built in the late 1920s by Arthur Dickinson.marysville, victoria, australia, marysville house, arthur james dickinson, grace dickinson, arnold spooner, eileen marie spooner, eileen marie dickinson, grace sweetland, eric dowdle, elsie may denton, elsie may dickinson, peter dickinson, linda dickinson, 2009 black saturday bushfires, letter

A black and white photograph of an unknown group of people at The Marysville Chalet taken in 1950.A black and white photograph of an unknown group of people at The Marysville Chalet taken in 1950.marysville, victoria, australia, the marysville chalet, guest house, poontawan, steavenson hotel, albert harrison, margaret harrison, elise ackerman, ralph ackerman, john van ranglerooy, joe keithard, kathy keithard, louisa goding, accommodation, photograph

A black and white photograph of an unknown group of people at Cumberland House in March, 1951.A black and white photograph of an unknown group of people at Cumberland House in March, 1951."Cumberland House"/ Marysville/ Victoria/ March 11th 1951marysville, victoria, australia, cumberland house, the cumberland, cumberland guest house, accommodation, photograph

Used in Victorian psychiatric hospital between 1848 and1950. Clements Tonic contained herbs, vitamins and minerals and was used to improve general well-being. This bottle is rectangular in shape with tapered corners, giving the bottle 8 flat sides and is made from brown glass. The name of the product is molded down the length of the bottle. This bottle always remains the property of CLEMENTE' TONIC Limited

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

This typewriter case allowed the Olivetti typewriter to be securely and free from contaminants to be totally mobile. The Olivetti typewriter company was founded in Italy in 1908 and became a leader in portable dependable typewriters.This particular typewriter contained is a Olivetti Lettera 22, oblique front stroke and portable manufactured after 1950. During the 1950s and 1960s was a time when British and European manufactured goods were still purchased by many Australian consumers. After the 1970s however, there was a shift, mainly in the cities, to Japanese made goods. The invasion of Japanese manufactured goods was relatively slower, especially in rural areas. The demand for long lasting and dependable merchandise was in the rural area still the most important criteria. The ease of setting up this typewriter and its compact mobility was its major benefit to trades people and travelling professionals, e.g. rural doctors, other medical professionals, accountants, lawyers and educators. This item(carrying case) facilitated the growing numbers of professional nomads requiring a relatively light office stationery package e.g. travelling novelist, writer, businessman and academics. This typewriter needed no electrical or battery power to operate it therefore the inside compartment did not require additional storage pockets . Outback Australia, where at this point in time, good available electrical power reticulation and battery power, was a scarce and therefore could not be totally measured as a highly efficient office environment. The protective carrying bag provided the only mobile way to operate in some business and home locations.Although this typewriter cover and its typewriter was purchased from a business in Penrith, Sydney, N.S.W., it is significant that it travelled easily to the Kiewa Valley, demonstrating the mobility of certain sections of the community. This typewriter cover protected the expensive typewriter it contained which was designed by an Italian industrial designer, Marcello Nizzoli, in line with the art deco style of the 1930s and the colour and flexibility of the vibrant 1950s. The underlying theme of manufacturing in the 1950s was to produce equipment that was more efficient than what was inherited from the earlier period of 20th century. Improvements were made to this Olivetti typewriter by Giuseppe Beccio by reducing the number of parts made from 3,000 to 2,000. Protection of such a typewriter was of an utmost necessity. The need for mobile expensive typewriters waned as less expensive typewriters became available. This was the major principle of the Japanese manufacturing juggernauts of the post World War II. Efficiency and low cost material was becoming prime factors in the success of rural industries from the 1960s. Competition from overseas producers was starting to affect rural industries and the removal of the large range of tariff protection, especially rural products, required not only a shift of farm management but a more efficient cost savings modus operandi.This is a semi hard cover (cloth over cardboard on inside, plastic over cardboard on outside), camel coloured outside and tartan cloth covered pattern inside the typewriter case. the case can be opened up by "unzipping" the top from the bottom halves of the case. For carrying purposes the case has two plastic covering metal handles with brass fittings. There are two stitched on brown reinforcement straps encompassing both sides of the case. The two reinforcing straps are brown in colour and a securing strap with a press button at one end to allow an extra securing tongue to keep the cover secure. The top inside of the case has a three quarters long paper compartment (flap style). See KVHS 0455 for Olivetti Lettera typewriter.commercial, protective carry bags/cases for mobile office equipment, mechanical typewriter

Before 1908 the words "melting pot" was a term relating to a "crucible" with a meaning of "a pot in which metals and other substances are melted (fused) to provide metal items of varying shapes and uses. From the mid 1900's this term changed and became more related to the "mixing" of social and ethnically diverse populations. The description used here is that of pre 1908. This melting pot was used in the early to late 1900's when produce and hardware shops were too far away from the Kiewa Valley and time was at the essence. The ability to manufacture as many "crucial " items at the home property was the difference between running a successful rural business or not. The isolation of the Kiewa Valley (before the 1950's), hindered the "time down" of machinery and important "widget" replacements. The ability of self sufficiency on properties is still a boon to rural properties as time lost is never really recovered.This melting pot is highly significant to the Kiewa Valley as it provides evidence that the graziers and cattle stations required to be self sufficient in all aspects of day to day maintenance and replenishment of worn materials requiring to be "manufactured " at the property and lack of replacements from commercially shelved products. This aspect of "survival" in the "bush" can be seen in the "huts" built on the Bogong High Plains to accommodate the seasonal grazing of cattle from the Kiewa Valley.This black melting pot is made of cast iron. The lid is missing. The top rim of the pot has three lips for poring accuracy. The formation of these lips are in a "triangle" formation. The top section of the body has a curve inwards reducing the pot diameter from 270mm at the base to 135mm.at the top. The handle is made from heavy gauge wire which is fastened to the body through two lugs (welded onto the top section of the pot) and fasten through a hole at the top of each lug. The handle has a "U" shape as it goes through the lug hole, ensuring no accidental fixture to any side thus allowing free swiveling from one side to the other . "BH" indented within a diamond shape. Opposite "No 3"camp fire cooking utensils, hot plate, cast iron cooking appliance, drovers kitchen

The harsh summer temperatures and the isolated rural environment(of the 1890's) provided the inventor of the "Coolgardie safe" (Arthur Patrick McCormick) with an idea to cool perishable foods by using water soaked "hessian" cloth to provide the "coolant" for the evaporation process to cool the inside temperature of the "safe". Items such as meat,cream/milk/butter and cool "drinks" are a few perishables that need cool environments , especially in isolated "ice free" locations. Cities during this time period had large "ice works" which delivered block ice to all areas that required a form of refrigeration. These ice blocks where held in early refrigerators to keep perishables cool to cold. This "Coolardie" safe was the next best thing for isolated rural households and travellers/campers/stockmen to provide a cooler environment for foodstuff affected by heat. Ice filled "esky" coolers and ice boxes are a modern day off shoot to the original Coogardie safe however they still rely on ice or frozen coolant bricks for cooling.This "Coogardie" safe is very significant to the Kiewa Valley and the Bogong High Plains because it represents not only the initiative thinking of the early settlers and communities but also the "primitive" solution to an everyday (1800s to 1930s) problem (before gas and electric run refrigerators) of keeping "perishables" at a low temperature and thereby prolonging their "shelf" life. This was before electricity and gas was available to the inhabitants of the Kiewa Valley and Bogong High Plains. Another cooling method for food was to have "water tight" containers dipped into the very cold streams running from the "cooler" alpine mountains and the Bogong High Plains. This however could not be carried out in all situations eg. fast flowing currents and locations away from streams. This "Coolgardie safe" is made from a medium grade steel enclosure and its appearance is of a perforated box with a wire handle and one side (long side) being a hinged "door" with a clasp securing "lock". There are air holes grouped into a small "boxed" pattern. Each "box" is divided by a crossed pattern, dividing the "holed" sections(4) into a diamond configuration of 49 small holes each. There are four sides (long) which have the perforations except for the base which does not. The base has an indentation with a loose "catch" tray to catch water spills. When in use the "box" is covered with a water "soaked" cloth. The wet cloth is used as "coolant" ie. fibers in the cloth hold the water droplets seep out evaporating the area and thereby (in mass) cooling the air inside the container.domestic refrigeration cabinets, coolgardie "safe", insect and vermin proof food containers, electric and gas free cold storage containers

This "lovers" necklace is made from Sterling Silver and was imported into "the Colony" before the Australian Federation was enacted. This was a time when very close "bondage" between Australia and England was shown by the amount of "quality" products that were purchased, and the motto "Best of British" was truly still entwined in all aspects of rural live, from "British" mores and values "inherited from the "colonial days". It was only after World War II (when Britain could not help to defend Australia from the Japanese) that these long held mores were, through generations and generations, that the USA and Asian markets and goods replaced the "old" ties.This ladies silver necklace is very significant to the Kiewa Valley because it demonstrates the "rural" mores and values at a time(1800's to mid 1900's) when the "gap" between city and rural mores was very pronounced. That gap was maintain only through the degree of "isolation" (communication and physical interactions) between the two major types of "communities" and the evolving mores which each of them were going through. The social structure was just as pronounced in rural areas as it was in the cities. Fine jewelry was a "sparkling" affirmation of status and "wealth". The rural sectors had very wealthy sectors before the World Wars, when "Australia" was riding "on the sheep's back", but the increased mineral wealth exports and "big" industry of the cities started to forge ahead.This necklace is made from sterling silver and has four double bar and six lover's knots coupled to a silver chain. There is one silver double bar missing and may have been removed to reduce the length of the necklace. Sterling silver Hallmarks and Makers marks are stamped on the links and the clasp. The meaning of the horizontal twin bars have not yet been interpreted .Hall marks "PWC" and "AA"necklace, jewellery, sterling silver, lovers knot

This "coffee" tin has by the "art deco" appearance its origins in the late 1950's to 1960's. This time period was one of accelerated growth both in the physical (housing) sense and the mental (new ideas and inventions) changes in "attitudes". These occurred more rapidly in cities but had its effects on the rural environment. The drinking of coffee was spurred on by easier distribution of imported food and drinks. Advertising by stronger radio links and then by television brought the variety of foods and drinks to semi isolated rural regions. The accessibility through greater information channels becoming available brought with it unbelievable ranges of goods and foodstuffs. Rural regions still relied on bulk supplies and relatively larger storage containers than those in cities. This "bulk" buying and storage "syndrome" was a lingering result of many years of "drought" periods when road transports met delays from flooded roadways in supplying population centres in the Kiewa Valley. The construction phases in building the SEC Vic Hydro electricity Scheme in the eastern sections of the Victorian Alps brought many changes to the quiet rural regions in the Kiewa Valley. Changes in population and social mores. The influx of a varied , mostly temporary, and "European flavoured cuisine" changes the "cuppa tea only" flavour to the have a "coffee break". The subliminal influence of the "American" films changed those children growing up in the post 1950s from the "English tea" to the "American coffee". This "Americanisation process has influenced not only rural Australia but also other areas throughout the world.This "insignificant" coffee tin is very significant as it demonstrates that the Kiewa Valley was becoming more accessible to reliable coffee supplies and general food items.The container was part of a "set" of containers that included tea, sugar,biscuits,flour, rice and other family condiments. This type of kitchen storage containers was brought about through changing patterns in tea and coffee useage and overall consumption. Household demands for faster "self help" cooking especially beveridges and the greater choice of kitchen "utensils" was brought on by easier access to products due to a lessening of the area's "isolation" by having a reliable (all weather) road system and an ever increasing population growth. The need for travelling goods/merchant supply caravans to service the area became a diminishing factor, as a result of the establishment of grocery stores in Tawonga and Mount Beauty in the supply of previously "hard to get" groceries. This transition was precipitated by the SEC Vic Hydro Scheme of the 1940's to 1960's which increased the valley's population level three fold.This cylindrical tin has a pull/push lid(for easy access to the contents). The container is labelled for "coffee" however it has no commercial manufacturer's label to establish that it was bought with coffee ingredients in it. The majority of the container's external surface has a "metallic" light blue colour with two sets of silver rings confining black (horizontal spotted) rectangles. "COFFEE" within an elongated spherical "art deco" four pointed banner of silver and black colouringkitchen containers, domestic food storage, bulk stocks of dried condiments

This small, slim case was manufactured to contain reading spectacles in a secure but yet "manageable pocket or purse" environment. It was manufactured to contain reading glasses that would not exceed 12mm in thickness. The product was targeting the "professional" reader ie. accountant, lawyer, business and property managers. Because it was made for a "eyesight" specialist to contain "prescription" reading spectacles the quality had to be of a higher level than cheaper "off the shelf" ones. This case was made and used in the late 1800's and early 1900's.This case, for spectacles, holds a significant position in that it points to a time in history when rural Australian families required to travel long distances to obtain professional "eyesight" treatment which, on the whole, were only available in the capital cities (in this case Melbourne). In the pre 1960's, the greater the distance from capital cities for Australian rural folk to seek professional medical, dental, nose ,eye and throat specialists the greater the time involved resulting in the greater expense. This "isolation" brought about increased costs not experienced by city residences. The quality and durability of this case was a pre-requisite for the Kiewa Valley based resident.This slim spring lid spectacle case has a body of light steel over layered by a fine skin dyed(dark brown) leather coating. The inside, of the case, has a 1mm lip opposite the hinged end (to secure the reading spectacles within the case). The inside is fully covered by a "royal" purple felt (to provide the spectacles with a scratch free enclosure).At the outside base in gold lettering "H.B. BISSELL" underneath "EYESIGHT" underneath "SPECIALIST" underneath "BARKLY st", underneath "FOOTSCRAY"personal effects, spectacles, eye fashion, reading glasses

White webbing belt for ammunition with slots every 15mm with black metal clip on one end. Two rows of black stitching on every second slot.On black clip: "1965" on one side. ".30INMK1 - QV62" on other side.webbing, belts, ammunition

.1) Blue pennant with HMAS Westralia & Royal Australian Navy logo screened with yellow paint. .2) Navy blue pennant with screened ship motto Cryhavoc & HMAS Kanimbla.flags - military, military history - navy, kanimbla, australia

By the early 1980's, the population of Little Terns visiting Rigby Island in the Gippsland Lakes had fallen to a low level as the species has a very low reproduction rate. ACTV arranged, at short notice, a "Tern watch" which was literally volunteers babysitting the birds. The project was very successful.This was the first ACTV project which actively used volunteers to protect a threatened species. The Little Terns are now off the official list of endangered species. It was among the first of our corporate sponsorships.Cream coloured, t-shirt, with ACTV logo, blue ANZ logo and text "Tern Watch '88" on front.gippsland, anz bank, little tern, tern watch, gippsland lakes, actv, conservation volunteers, endangered species, successful species recovery

Collaboration between ATCV, the local university and corporate and resource manager partners.The arboretum is well grown but is now poorly signed and appears neglected.Large sign-written board next to Ballarat regional Arboretum which is on the slopes above the campus of the University of Ballarat.See photograph attached

Studio portrait of Ted and Mary Molloy nee Cody. They were married at the Catholic Church Ballarat East, Victoria on the 06-09-1922. They honey-mooned in Tasmania.Studio Portrait. Ted Molloy bride-groom, dark single-breasted suit, orange-blossom buttonhole, waistcoat, white bow-tie-gloves, watch-chain. Mary Cody bride, Ankle-length gown with fine-lace overlay. Muslin veil attached with orange-blossom medium-heeled satin-shoes. A large bouquet of fresh daffodils, daisies, freesias, asparagus-fern and a trailer of ribbons. Backdrop: curtain and chair. studio portrait, orange blossom, wedding gown, veil, bouquet, single breasted suit, bride, bride groom

The Court House opened as a court of petty sessions in 1890 and closed as a court in the early 1980s. It is now a 'Place of Deposit' for paper based products, maps, documents and photographs, and the home of the Wycheproof and District Historical Society Inc. The local Craft Group met at the Court House between 1982 and 2010. The Buloke Shire Council oversees the maintenance of the building.The Court House is No H 1656 on the Victorian Heritage Register. It is the one of only two buildings with this listing in Wycheproof, and characteristic of the type of building constructed in the early days of settlement in Wycheproof. The architecture is of aesthetic value and although some restoration work has taken place to maintain the structure, it remains in good condition and with some of the original furnishings intact.Sepia print of the Wycheproof-Court-House. It was constructed during 1889/90 and commissioned on September 23,1890 as a court-of-petty-sessions. A simple form of Court House built of red-face-brick but embellished by stepped brick work in the principal gable and by the traverse veranda with elaborate frieze and gabled pavilions that protect the street facade. The roof is of slate.Nonecourt house, wycheproof heritage 1890, petty sessions, building, red face brick, gabled pavilions

The Terminus Hotel opened in January 1884, coinciding with the opening of the railway. The hotel had a close connection with the railway, catering for travellers and relieving railway workers. In December 1903 the original wooden structure burnt to the ground. The hotel was rebuilt in 1904 in much the same form see Record No 00306. Mr Andrew Kelly of Nullawil took over the enterprise circa 1930 giving it a new look in the 'Art Deco' style of the period. Mr Kelly and family ran a successful hotel business for forty years.Copy of a B&W photograph of the Terminus Hotel, situated in Broadway Wycheproof circa 1930s. Of brick construction, featuring arch entrance doorways and windows. A verandah protects the street facade. The architecture represents the 'Art Deco' period.Nonehotel wycheproof broadway, men clothing, art deco 1930s

This railway station building was erected in 1887 and closed in 1990. Now a new chapter begins with a newly restored station building amd platform that re-opened in October 2010 to be used by the Wycheproof Community.The Wycheproof Railway station constructed by Hossack & Brown in 1887 is Heritage listed and is on the Government Buildings Register. This photo is one of only a few available of the early days of the Station.The complex is historically significant at a State level AHC A.4. The Railway station contains significant detailing such as in the turned timber posts and overall composition. This early photo of Wycheproof railway station, shows a construction of timber with corrugated iron clad roof,in c.1904. Features of the design are the timber verandah posts with decorative elements which include chamfers and supporting diagonal timber brackets. The gabled roof has finials on the east and west ends. Seven people pose on the platform,the staff in uniform of the times.Nilregister, , railways, wycheproof, historic buildings, 1900s

The Book Cabinet was part of the home furnishings of Robert's parents Mr & Mrs Charles Elston of Wycheproof, kindly loaned by Robert to the society for their use. Robert's family gifted the cabinet on his passing. The society dedicated the cabinet in memory of Robert, a former member.Mahogany stain timber four shelf cabinet. Double three hinge timber framed full length doors featuring lead light glazing.In memory of Robert Elston Donated by his familycabinet, timber, lead light