For about 40 years the corner of Hargraves and Williamson Streets in Bendigo in rural Victoria had been known for its arresting aroma. From a hole in a window wafted the smell of Gillies Brothers' meat pies.The Gillies window, along with the nearby Shamrock Hotel, ANZ Bank and Post Office, was one of the delights of Bendigo and proof that mass-produced food can still be delicious. Gillies went from strength to strength, surviving listing on the second board and a handover to a younger generation of managers.Gillies had three factories, 10 shops in rural Victoria and Melbourne. Les Gillies, one of three brothers who founded the baking business after the difficult drought years preceding 1950, admits that the company has not always been run along the most modern business methods. Change began with the preparation of a business plan subsidised by the Victorian Department of Industry, Technology and Resources in 1974. Prepared by Cruickshanks, the plan formed the basis of the company's float on the second board. Capital expanded to $4.4 million. In 1988, a second plan was produced by Chris Mason and Associates covering business, marketing, computer utilisation and human resources. This factory for Gillies pies originally opened in the 1950s, but has sadly been closed and abandoned since about 2006.CD Gillies History Photos containig 11 photos of shops, staff and factories in Bendigo.bendigo, business, gillies bros, gillies pies

The British Australasian Tobacco Co. (based in Melbourne and Sydney. The parent company was founded in England, circa 1902). This item "Lucky Hit" was the fore runner of the "Lucky Strike" brand name. The ready rubbed tobacco held within the tin was mainly used by those smokers who rolled their own cigarettes. These smokers would have mainly used their palm and formed a cup then placing their choice of the amount of tobacco to be rolled. This would then be placed on the fine cigarette paper and rolled and sealed (using saliva in the mouth) into the required shape. There were mechanical "roll you own" gadgets on the market but most rural users, especially males used their palms. The quantity of tobacco used to make up the cigarette was up to the individual user. The thinner that the cigarette was rolled the longer and more economical did the supply last. The by -products of this method were nicotine stained fingers and hands. "Chain" smokers were easily identified and could therefore be discriminated against obtaining smoke sensitive employment. The two world wars (1914-18 and1939-45) produced a significant rise in the consumption of cigarette use by men and the eventual overflow to women. Cigarette smoking before the 1900s was seen as rough and uncouth (socially frowned upon), however after the introduction of overseas films (U.K. and U.S.A.) and film stars presenting smoking as socially acceptable the rise of smoking cigarettes, especially roll you own (American western movies) in rural areas was an accepted way of life. Things however started to change in the mid 1900s when medical evidence pointed to the health problems of regular smokers. Governments were now implementing non smoking education material. Restrictions on where and when smoking was permitted and acceptable started to creep into all areas of society whether city or rural. This was the era that highlighted the use of roll your own cigarettes, especially when the costs of "tailor made" cigarettes were taxed at an increasing amount. Roll your own cigarettes also provided an avenue for the consumption of illicit drug use.The significance of this ready rubbed tobacco tin to this rural region is, stems from how much influence that the Western novels and overseas films (portraying rural lifestyles) played in shaping the rural social and working mores of the Kiewa Valley. The post war depression (financially) resulted in more smokers turning away from expensive machine (tailor) made cigarettes to the roll your own, using ready rubbed tobacco. This tobacco tin relays a long ago era, when personal contact, and not something that has been written down by some "unknown", was valued as the true appraisal of a member of the community. This was especially relevant in a small regional area such as the Kiewa Valley. Although social networking was not as fast then as the internet provides now, appearances, manners, fashion and etiquette with first impressions high on the order of evaluating someone in the community. Pointer such as the brand of tobacco smoked was part of the rural assessment method. Up until the demise of the Australian Tobacco Industry, circa 2004, the Kiewa Valley and surrounding district was part of a vibrant producer of tobacco leaves. The remnants of this industry still remain today but the drying sheds (for tobacco leaves) are now used to store hay for the valley's dairy and beef cattle industries. Tins 2,3 and 4 were found (in 2009) at Wallace's Hut on the Bogong High Plains. This tobacco tin is constructed from tin plated thin rolled steel. The lid is attached by two pressed and formed (from the main frame) hinges using the nip and tuck construction method. The lid and outside frame have been gold & silver anodised. Tins 2,3 and 4 have the Union Jack on the front lid. One is too rusty to read. The other two have "A blend containing choice selected Australian grown leaf" in white across the bottom on the red border and above the "2oz net weight when packed". In the centre and on the outside of the lid and surrounded by a reproduction of the "Union Jack" is stamped, "Lucky Hit Tobacco" within these words are also stamped "Ready Rubbed". The bottom of the lid is stamped (in smaller script) "2oz NET WEIGHT WHEN PACKED" and underneath this and on the rim of the lid is "THE BRITISH AUSTRALASIAN TOBACCO CO. PTY. LTD. MELBOURNE" on the inside of the lid and stamped in black print on a gold anodised lid is " NOTICE "(underlined) "Every tin of genuine "Lucky Hit has the name of the Manufacturing Company printed on wax paper lining; also on the band or wrapper with which the tin is sealed. THE BRITISH-AUSTRALIAN TOBACCO CO. PTY. LTD., MELBOURNE" and underneath this and underlined is " None genuine without the band or wrapper" On the hinge side of the lid is "LUCKY HIT READY RUBBED TOBACCO" Tins 2,3 and 4 Vary to the above inscription.roll your own, cigarette tins, smoking accessories, personal effects, tobacco containers, tobacco

The British Australasian Tobacco Co. (based in Melbourne and Sydney. The parent company was founded in England, circa 1902). This item "HAVELOCK" is one of many ready rubbed tobacco tins produced by the British Australasian Tobacco Company.The ready rubbed tobacco held within the tin was mainly used by those smokers who rolled their own cigarettes. These smokers would have mainly used their palm and formed a cup then placing their choice of the amount of tobacco to be rolled. This would then be placed on the fine cigarette paper and rolled and sealed (using saliva in the mouth) into the required shape. There were mechanical "roll you own" gadgets on the market but most rural users, especially males used their palms. The quantity of tobacco used to make up the cigarette was up to the individual user. The thinner that the cigarette was rolled the longer and more economical did the supply last. The by -products of this method were nicotine stained fingers and hands. "Chain" smokers were easily identified and could therefore be discriminated against obtaining smoke sensitive employment. The two world wars (1914-18 and1939-45) produced a significant rise in the consumption of cigarette use by men and the eventual overflow to women. Cigarette smoking before the 1900s was seen as rough and uncouth (socially frowned upon), however after the introduction of overseas films (U.K. and U.S.A.) and film stars presenting smoking as socially acceptable, the rise of smoking cigarettes, especially roll you own (American western movies) in rural areas was an accepted way of life. Things however started to change in the mid 1900s when medical evidence pointed to the health problems of regular smokers. Governments were now implementing non smoking education material. Restrictions on where and when smoking was permitted and acceptable started to creep into all areas of society whether city or rural. This was the era that highlighted the use of roll your own cigarettes, especially when the costs of "tailor made" cigarettes were taxed at an increasing amount. Roll your own cigarettes also provided an avenue for the consumption of illicit drug use.The significance of this ready rubbed tobacco tin to this rural region is, stems from how much influence that the Western novels and overseas films (portraying rural lifestyles) played in shaping the rural social and working mores of the Kiewa Valley. The post war depression (financially) resulted in more smokers turning away from expensive machine (tailor) made cigarettes to the roll your own, using ready rubbed tobacco. This tobacco tin relays a long ago era, when personal contact, and not something that has been written down by some "unknown", was valued as the true appraisal of a member of the community. This was especially relevant in a small regional area such as the Kiewa Valley. Although social networking was not as fast then as the internet provides now, appearances, manners, fashion and etiquette with first impressions high on the order of evaluating someone in the community. Pointer such as the brand of tobacco smoked was part of the rural assessment method. Up until the demise of the Australian Tobacco Industry, circa 2004, the Kiewa Valley and surrounding district was part of a vibrant producer of tobacco leaves. The remnants of this industry still remain today but the drying sheds (for tobacco leaves) are now used to store hay for the valley's dairy and beef cattle industries.This tobacco tin is constructed from tin plated thin rolled steel. The lid is attached by two pressed and formed (from the main frame) hinges using the nip and tuck construction method.The lid and outside frame have had a green "weave" pattern anodised to the metal.On the outside of the lid and at the top left is stamped, in gold coloured letters "HAVELOCK". The bottom of the lid is stamped (in smaller script) "READY RUBBED TOBACCO" and below this in smaller lettering "2oz NET WEIGHT WHEN PACKED". On the rim of the lid is "THE BRITISH AUSTRALASIAN TOBACCO CO. PTY. LTD." Inside of the lid and stamped in black print on a gold anodised lid is "Every tin of genuine HAVELOCK Ready Rubbed Tobacco has the mane Havelock printed on the paper lining, and also on the band or wrapping sealing the tin. On the hinge side of the lid is "HAVELOCK READY RUBBED"roll your own, cigarette tins, smoking accessories, personal effects, tobacco containers

Marong was first incorporated as a road district on 27 August 1861, and became a shire on 23 December 1864. On 1 October 1915, the Borough of Raywood, which was gazetted on 17 January 1865 on 23.31 square kilometres of land 28 kilometres north of Bendigo was united with Marong. On 1 October 1990, the Shire of Marong became a rural city, under the Local Government Act 1989. In a report on 17 February 1994, the Local Government Board recommended that the five councils in the Bendigo region merge to form a "super city", with a population of about 81,000. Marong, Eaglehawk and Huntly had earlier objected to the proposal, and the Board noted a weak no vote against the merger proposal in a referendum in the region; about 70% had voted against, but with a turnout of between 30% and 40% of eligible voters. The three councils filed a writ in the Supreme Court, alleging failure to follow process by the Minister for Local Government, Roger Hallam, but by the time the new "super city" was announced, the writ had not yet been heard, and on 24 March 1994, the Rural City of Marong successfully applied for an injunction blocking the publication of the gazette the following day abolishing the five councils and appointing three commissioners. The government responded by introducing legislation, the City of Greater Bendigo Bill 1994, to Parliament, to effectively override the Supreme Court action, with Hallam saying "the bill would make clear that the Government is determined to achieve its objective for a more efficient municipal structure for the Bendigo region." Marong mayor Robert Hynes described the action as "terribly disappointing", adding, "One way or another, I believe it does mean an end to our fight... it seems the Government are above the law to me." On 6 April 1994, Marong voted to drop the Supreme Court action, effectively in doing so voting itself out of existence, and on 7 April 1994, the Rural City of Marong was abolished, and along with the City of Bendigo, the Borough of Eaglehawk and the Shires of Huntly and Strathfieldsaye, was merged into the newly created City of Greater Bendigo. On 29 April 1994, the Minister confirmed the Bill was not being proceeded with. https://en.wikipedia.org/wiki/Rural_City_of_MarongEight page newspaper style council newsletter providing community updates, news and information. shire of marong, city of greater bendigo amalgamation, councillor phillip eddy, rural city of marong

This book is a 1988 reprint of an 1897 novel by Mary Gaunt (1861-1942). She was an Australian writer of more than 20 novels and many travel books, short stories and magazine articles and achieved international recognition. The wife of Dr H.L. Miller, she lived in Warrnambool from 1894 to 1900. ‘Kirkham’s Find’ was written while she was in Warrnambool and is of particular local interest as it is partly set in an area that can be identified as Allansford. The novel outlines the difficulties faced by a woman in the 19th century if she wished to pursue a career and gives us a good description of 19th century rural Australia. Although it is only a reprint this novel is of some interest as it was written by Mary Gaunt, an Australian writer of considerable importance. As a one-time resident of Warrnambool and a writer using local places and situations in her stories, she has a place in Warrnambool’s history. This is a soft cover book of 340 pages. It has a purple cover with a reproduction of a 19th century painting on the front cover and material about the contents of the book on the back cover. The spine is an orange colour with black and white printing. The book has an introduction by Kylie Tennant, an afterword by Dale Spender and 29 chapters of a novel. mary gaunt, history of warrnambool, women in literature

In rural Australia phone calls were made through the switchboard usually situated at the local post office. This book lists the residents of Kergunyah and their phone numbers. If you want to talk to a neighbour for example, you ask for that person or give the operator their number. The switchboard operator 'puts the caller through'. However some people shared a number and were therefore on a party line eg. in this book 6 people share number 3. The operator would then ring the individual's code, like morse code, eg. 1 long 2 short. Also ref. KVHS 0897 Mt Beauty SwitchboardThis book is a list of residents living at Kergunyah who have a phone and lists their phone numbers. Kergunyah is in the Kiewa Valley. The book also notes some problems with the line eg. 'suspect sheath damage'. Stiff beige cardboard cover bound by black tape "Subscribers' M.D.F. / Record" printed on centre of cover. 7 pages but only written on pages 2 and 3 with residents' names and phone numbers in columns."Kergunyah" on front coverkergunyah, telephone, kiewa valley, switchboard

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

Although these scales cannot be identified against a historical period of Australian development they are therefore placed in a time frame when commercial markings from manufacurers were not important enough to have domestic kitchen items labeled. These cast iron scales were made for domestic and possibly rural areas and not for cities where demand for known branded utensils was more an issue. These scales are very "basic" and not to the level of weighing detail that commercial scales had to be at. These scales do not show any visible markers for accurate measurement. The "near enough is good enough" principle can be related to these scales.These scales are significant as they identify one of the basic preparation items for the weighing of foodstuff before the televising of "cooking" shows (1960s onward). The meals for which quantity measurements are required for domestic cooking is not exact however the use of cup measurements for large dishes is tedious and these scales offer the capacity for a larger mixture and an easier method for the "cook". As the need for accurate measurements of ingrediants for rural domestic meals has in the past been not been critical the requirement of accuracy that these scales do not provide is of no consequence. Domestic kitchens in the Kiewa Valley and the type of meals produced would not have required the accuracy of ingrediants that "modern " international cuisines of the later 1900's require. These kitchen scale were used whenrecipes had the terms "pinch, dollop, squidge and smidgen" were about as accurate as most recipes needed to be.Black cast iron, medium weighing scales, with a two arm cradle. On one side of the cradle is a two half circle holding frame for the retention of the metal container scoop. This light weight steel scoop/dish allows for the weighing of loose grain or similar type material to be contained and held in place for establish its saleable contents. On the other side of the weighing cradle is a flat circular platform to hold various metal disc. All the disks used on this platform have their weight stamped on them. When the produced filled in the scoop balances with the metal weight on the opposite end of the balance match (visual horizontal appraisal) the appropriate quantity required is obtained. This scale does not have any visual markings on the arms to identify a true balance. It is therefore reasonable to assume that these scales were for domestic use only and not for commercial transactions. There are two weights that are useable with these scales, one is stamped "1 lB"(pound) and one stamped "1" and both are made as a solid round piece of cast metal.The smaller disc has a "1 lb" moulded and pressed form within a marked inner circle and a mouled ridge outer circle enclosure. The other weight is slightly larger and has a moulded "1" located on the top within a raised circular edge.domestic kitchen scales, weighing scales, metal scales

This stock horse saddle was probably used in the mid 1900's. This was the period when cattle mustering was at its prime. The movement of cattle was by mounted stock horse only and not by other methods. Northern territory cattle stations in the late 1900's started to use helicopters for "cattle control". In the KIEWA Valley/Bogong High Plains and other rural cattle producing areas required well trained stock horses and stockmen for cattle control. It is only in the later 1900's that motor bikes and four wheeled quad-bikes have taken over, in part, from the mounted stockman.This horse saddle is very significant to the Kiewa Valley because of the early introduction of cattle stations in what initially was regarded as a semi remote location. The maintenance of cattle in the Kiewa Valley is and was an important requirement. A good stock horse saddle as and is important, especially during the period when cattle were grazed on the Bogong High Plains. The mustering and and moving cattle from the valley pastures to the high country was a demanding and dangerous exercise requiring "sure footed" stock horses.The "good" saddle was a vital part of this cattle mustering. A scientific study started in 1947 to study the impact of grazing cattle on the natural Alpine and sub Alpine vegetation found grazing cattle had an adverse affect on the natural Alpine and sub alpine vegetation, and grazing on the plains was stopped by the Victorian Government in 2005.This "camp draft" in the High Plains could take up to six weeks.This all leather "stock horse" saddle shows plenty of wear. It is in "full harness" configaration with stirrups and leg protectors horse, country, leather, gaiters, high, grazing, cattlemen, laces, studs

The Australian Red Cross Society (ARCS) was formed just after the outbreak of the First World War in August 1914, initially as a branch of the British Red Cross Society. Its first president was Lady Helen Munro Ferguson, wife of the then governor-general. Via a network of state branches and division, also presided over by women, the organisation extended its influence throughout the community of Australian women, urban and rural. Mary Gilbert was the first curator of the Orbost Museum, and a local teacher.Mary Gilbert was the Orbost Red Cross Superintendent. She was a long time member of Red Cross.Mary Gilbert was a member of Red Cross for over 40 years. She was a noted Orbost identity.1518.1 is a rectangular brass and blue, white and red enamelled badge. The badge shows a red cross in the centre and the words 'RED CROSS EMERGENCY SERVICE'. The reverse has a pin fastening. 1518.2 is a yearly Red Cross membership card. 1518.1 front- Red Cross Emergency Service 1518.2 - Membership Number -8813 Mary Gilbert, East Gippsland 26/12/1988 red-cross membership-card badge

This album was donated to the Orbost & District Historical Society after the death of Judy Walcott, a long-time member. 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.This album is a useful reference tool.A large photo album with a bright yellow cover and 19 plastic sleeves. It contains photographs, newspaper clippings, brochures , maps and an invitation to the veiling of McKillops Bridge on 8th August 2002. It also contains the history of McKillops Bridge.On inside cover - left hand side - "To Marie with Best Wishes from Judy Walcott 8/8/2005"mckillops-bridge album

MICA7 (Dandenong) with its original crew. From left to right; Rob Ferguson, Paul Livingston, Ron MacIntosh, Peter Ballard, Ian Donaldson, Russel Nelson, Rob Ray, Jeff Allan, Brian Fellows, Eric Shanssema, Don White and Laurie Spelling (MICA coordinator). Laurie Spelling joined the ambulance service in the early 1970s and completed various training courses at the Ambulance Officer's Training Centre. He was employed by the Peninsula Ambulance Service and later qualified as a paramedic and was MICA coordinator. In the period 1999-2003 he was area manager for Rural Ambulance Victoria.Black and white photograph. 12 Ambulance officers with ambulance in background. mica7, laurie spelling, laurence pearce spelling

The Victorian Mounted Rifles was raised in 1885 as the mounted arm of Victoria’s colonial defence forces. Companies were recruited in rural centres across the State, members of country rifle clubs forming a significant component. They were semi-professional: only a small allowance was paid to members. Members were required to provide their own mount. Mounted riflemen were not cavalry, not being equipped with lance or sword. They were trained to fight with rifle and bayonet after dismounting. Horses enabled rapid and far reaching manoeuvrability. Upon Federation, the VMR companies became Australian Light Horse regiments.Rare photograph of mounted Victorian colonial soldier.Black and white photograph of Victorian Mounted Rifles trooper mounted on his horse. His side arm is a Yataghan sword bayonet indicating he would be armed with a Martini-Henry rifle.victorian mounted rifles, vmr, uniform, bayonet, horse, military, colonial

The Victorian Mounted Rifles was raised in 1885 as the mounted arm of Victoria’s colonial defence forces. Companies were recruited in rural centres across the State, members of country rifle clubs forming a significant component. They were semi-professional: only a small allowance was paid to members. Members were required to provide their own mount. Mounted riflemen were not cavalry, not being equipped with lance or sword. The were trained to fight with rifle and bayonet after dismounting. Horses enabled rapid and far reaching manoeuvrability. Upon Federation, the VMR companies became Australian Light Horse regiments.Rare photograph showing the social aspect of pre-Federation militia.Black and white photograph of large group of soldiers of the Victorian Mounted Rifles together with two women and two children. There are tents in the background suggesting the occasion was an open day during an annual encampment.victoria, mounted rifles, colonial, uniform, military

The Victorian Mounted Rifles was raised in 1885 as the mounted arm of Victoria’s colonial defence forces. Companies were recruited in rural centres across the State, members of country rifle clubs forming a significant component. They were semi-professional: only a small allowance was paid to members. Members were required to provide their own mount. Mounted riflemen were not cavalry, not being equipped with lance or sword. The were trained to fight with rifle and bayonet after dismounting. Horses enabled rapid and far reaching manoeuvrability. Upon Federation, the VMR companies became Australian Light Horse regiments.Fine study of pre-Federation soldier showing uniform.Black and white photograph of a soldier of the pre-Federation Victorian Mounted Rifles.victoria, mounted rifles, uniform, military

Coimadai is a rural community located 10km north of Bacchus Marsh. The Coimadai School was opened in 1862. It was at first entirely funded by the local residents in the area. In these early years it was known as the Pyrete School after the nearby creek of that name. The building shown in this 1883 image was constructed in 1872 and replaced an earlier wooden structure. Over time the Coimadai School became a government funded and administered school. A famous pupil to attend the school was John Cain Senior, Premier of Victoria in the 1940s and 1950s, who attended the school for one year in 1893. This school still operates as a state primary school.Small sepia unframed photograph on card with gold border framing photograph. Housed in the album, 'Photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll'. The image is a large group portrait of the pupils of the Coimadai State School and their two male teachers. There are about 60 pupils. The older children are standing in rows and a younger group of pupils is seated on forms or benches in front of them. One teacher stands on the right of the group of pupils and the other is on the left. The School building can be seen in the background.On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE schools, schools coimadai vic., stevenson and mcnicoll 1883 photographs of bacchus marsh and district

This flip top pocket steel ash tray was at the beginning of the social "cleaning up" of cigarette ash and related products. This cigarette waste container was for those occasions when it was polite not to throw the cigarette ash and used up cigarettes "buts" on the ground, or if working in any rural area during a dry fire prone season, when discarding burning cigarette waste could set up a severe "bush" fire. It was also at the beginning of an intensive look at the affects of smoking upon the health of users. Later in the 1900s was a time when medical evidence supported a ground swell of the anti smoking movement which resulted in further restrictions of the use cigarette smoking in public places. Before the anti cigarette smoking revolution, it was both fashionable and manly to either roll your own cigarette or open up a packet of "tailor made's". In the rural and man's man environment the roll your own provided a visual acknowledgement that the user was "true blue" Aussie male and not a city boy. The cycle of use of cigarettes has drastically changed from when this item was first used. Today's society (post 2000) has produced a ground swell of government and non government organisations whose aim is provide a cigarette "ash" free environment and society. This is highlighted in the beginning of the 2000 millennium by a cigarette "Free" Australia campaign, and the pocket flip top personal ash tray as a practical solution for butt litter disposal.This pocket ash tray not only was used when social graces required it to, but also provided a container for any unfinished cigarettes or stogies (cheap half used cigars). In rural areas (open fresh air countryside), where time was always made available for the "smoko" (Australian rest period), at any time, especially after some hard physical work, the ability to have a self contained ashing apparatus, not to offend the gentler folk, was a pre-requisite . The rural environment, in the days of these cigarette ash containers,was one which could range from harsh and unforgiving to mild and relaxing. Smoking could be enjoyed anywhere and at any time without too much "fussing" around. This ash tray was mobile, convenient, unobtrusive and regarded by the user as being considerate to those around. It also eliminated the tell tale evidence that the "no smoking" signs had been ignored. The Kiewa Valley was like many rural ares that found it hard for smokers to come to grips with a governmental "non smoking policy" to indoor recreational and other "confined space" environments. Tin plated mild steel round container with a lid. The opening lid is spring loaded, hinged top, circular and fixed by a clasp, pop- riveted (4) onto the main housing. Opposite the hinge the lid is held closed by a small metal ball fitting tightly to the top wall of the container. The lid is opened by the use of a fingernail positioned at junction of lid to body. This edge is bevelled to allow access. personal effects, tobacco waste products, smoking accessories

This flip top pocket aluminium ash tray was at the beginning of the social "cleaning up" of cigarette ash and related products. This cigarette waste container was for those occasions when it was polite not to throw the cigarette ash and used up cigarettes "buts" on the ground, or if working in any rural area during a dry fire prone season, when discarding burning cigarette waste could set up a severe "bush" fire. It was also at the beginning of an intensive look at the affects of smoking upon the health of users. Later in the 1900s was a time when medical evidence supported a ground swell of the anti smoking movement which resulted in further restrictions of the use cigarette smoking in public places. Before the anti cigarette smoking revolution, it was both fashionable and manly to either roll your own cigarette or open up a packet of "tailor made's". In the rural and man's man environment the roll your own provided a visual acknowledgement that the user was "true blue" Aussie male and not a city boy. The cycle of use of cigarettes has drastically changed from when this item was first used. Today's society (post 2000) has produced a ground swell of government and non government organisations whose aim is provide a cigarette "ash" free environment and society. This is highlighted in the beginning of the 2000 millennium by a cigarette "Free" Australia campaign, and the pocket flip top personal ash tray as a practical solution for butt litter disposal.This light weight aluminium pocket ash tray not only was used when social graces required it to, but also provided a container for any unfinished cigarettes or stogies (cheap half used cigars). In rural areas (open fresh air countryside), where time was always made available for the "smoko" (Australian rest period), at any time, especially after some hard physical work, the ability to have a self contained ashing apparatus, not to offend the gentler folk, was a pre-requisite . The rural environment, in the days of these cigarette ash containers,was one which could range from harsh and unforgiving to mild and relaxing. Smoking could be enjoyed anywhere and at any time without too much "fussing" around. This ash tray was mobile, convenient, unobtrusive and regarded by the user as being considerate to those around. It also eliminated the tell tale evidence that the "no smoking" signs had been ignored. The Kiewa Valley was like many rural ares that found it hard for smokers to come to grips with a governmental "non smoking policy" to indoor recreational and other "confined space" environments. The covered lid reduces odors and eliminates ashes from being blown around.Aluminium round container with a lid. The opening lid is spring loaded, hinged top, circular and fixed by a clasp, pop- riveted (4) onto the main housing. Opposite the hinge the lid is held closed by a small metal ball fitting tightly to the top wall of the container. The lid is opened by the use of a fingernail positioned at junction of lid to body. This edge is bevelled to allow access.personal effects, tobacco waste products, smoking accessories, tobacco

The Wangaratta Historical Society Inc. (WHS) was established in 1959 and moved into its present home in the 1970s. Wangaratta in North East Victoria has a population of over 27 thousand people and is situated at the junction of the King and the Ovens Rivers. Agriculture has always been a big part of its history as well as education, health and manufacturing. The museum was originally a fire station built 1895 and included living quarters for its staff. The building is owned by the Rural City of Wangaratta who are great supporters of the WHS The museum was bequeathed 10,000 glass negatives from the late 1800s to the 1950s these were by the Vine & Thelma studios of mostly, portraits, weddings and historical photos. Also owned by the WHS is the Maianne Gibson crazy patchwork quilt made by a Wangaratta woman in the 1890s and now Heritage listed. This Quilt is housed in an specially controlled conditions. The Wangaratta Historical Society Museum was accredited in 2012 under the Museums Accreditation Program.

Ramon (Ray) Francis Honisett (11.04.1931 - 30.08.2019), Fellow RMIT and medallist specialised in philatelic design, marine and military aircraft painting art and was active in the 1960s - 1990s. Ray Honisett used to live in Rye, in the Mornington Peninsula. According to Gavin Fry's book: The painting likely depicts the Lysaght Endeavour loading at Hastings. "The Lysaght Endeavour and its sister ship Lysaght Entreprise were built in Newcastle in 1973 specifically to serve the regional steel industry on the route Port Kembla - Westernport - Adelaide. Even after being lengthened by 17 metres, the two ships had remarkably short working lines, with both being broken up by 1988."Maritime artLarge framed unglazed landscape format painting predominantly green depicting in foreground a merchant vessel, a roll-on roll-off cargo ship moored at a single quayside on a river or river mouth. The middle ground shows a moderate solid jetty leading to large storage sheds at right. The background appears primarily rural with fields and hills in the distance. The location is probably Hastings Western Port in Victoria - notice the forklifts loading rolls of steel produced at the nearby steel rolling mill - the buildings in the distance. You can see the rolls of steel lined up on the hard stand to the right of the ship. The funnel colours suggest the Australian National Line. The frame incorporates a beige fabric slip with gilt edge the actual dark wood frame also with inset banded gilt edge. The back of the painting is covered with brown paper in places damaged. Hangs on a cotton cord threaded between two screw in eyelet hooks.at lower right corner single uc word in black paint : "HONISETT"tankers, marine painting, maritime art, ramon honisett, ray honisett, anl maritime art prize, acta maritime art prize, hastings, western port, victoria, steel, roll on roll off, forklift, mornington peninsula, artwork-paintings

The Country Women’s Association of Australia advances the rights and equity of women, families and communities in Australia through advocacy and empowerment, especially for those living in regional, rural and remote Australia. The Country Women’s Association of Victoria was founded in 1928 and the Warrnambool Branch was founded in 1931. The branch has given assistance through the years to the Red Cross, Baby Health Centres, the Warrnambool Hospital, bush fire relief, mental health and aged care and it has regular displays of country arts and crafts. In 1961 the C.W.A. Centre and Rest Rooms were opened in Kepler Street, Warrnambool. In 2016 the group celebrated the 85th anniversary of its founding.This booklet is of interest to researchers and others wanting a brief outline of the history of the Warrnambool Branch of the Country Women’s Association. This is a small booklet of 12 pages. The front cover is white with black printing and it has a yellow back cover. The booklet has black plastic spiral binding. The pages contain printed information, photocopies of newspaper articles, a knitting pattern and other photocopied material. The booklet has been produced in-house by the Warrnambool Country Women’s Association.‘Looking Back at 85 Years, the History of the Warrnambool Branch of the Country Women’s Association of Victoria Inc. 1931 until 2016 and Still Going Strong.’country women’s association, history of warrnambool

This book traces the one hundered years of the development of the Shire of Whittlesea, from the discovery by Hume and Hovell in 1824 to the time of the centenary in 1975. The intervening years saw the settlement of Vandemonians, Sydney-siders, English, Scots, Irish and Germans, Black Thursday, the building of the Yan Yean Reservoir, the Plenty River flour millls, the timber industry, fruit-growing and export and vineyards. Personalities and pubs, subdivisions, stories of the Findon Hunt Club and various Shires including Epping. History of education and transiton from rural to urban in the south of the Shire. The work is illustrated with maps and photographs. The Shire is now the City of Whittlesea and is an immediate neighbour to the north of the Shire of Nillumbik. shire of whittlesea

This copy of an original photograph created in the early 1900s details the "horse and cart" era when the normal transportation of the day was, in this rural setting, exclusively by horse and cart. The importance of this particular photograph to the subjects can be seen by the formal suits worn by both subjects.The natural bush and grassed backdrop have not been "touched up". The dray behind the horses is barely visible (fog like aperture). The lad , John Cooper was 14 years old when this photograph was taken. Both were in the process of harnessing four horses to "hook up" on the dray behind them. From their attire it looks like a trip to town or "the church".This photograph of life on a rural property in the early 1900 shows the rough and hard (physically) life in rural areas before great mechanical revolution/evolution post World War II. This was a time in the Kiewa Valley when most transportation was by horse drawn carriages and transportation routes where dirt roads with potholes. The significance of a local pioneer "family" encapsulated by this photograph cannot be reproduced as effectively in any other form. This digitised scanned copy of an original photograph of four work horses is on 200gms Fujicolor (Fujifilm) Crystal Archive paper has a silver side on which the image has been printed and a matt reverse side.The darker slightly "blurred" image has had a white frame placed over it at the time of encapsulation to provide the finished photo with a frame. This method highlights and focuses the view into the photograph. It is a clever way to permit the eyes to focus into the image to give it a greater third dimensional aspect. on the reverse side hand written(in pencil) "John Cooper & Paddy Cullen (itinerant worker) on grandfathers place (opposite Nesta Drews place) (orange Grove). "Grandfather emigrated from England with Ryders""orange grove " property, early tawonga life style, john cooper, paddy cullen, harnessing working horses

This stock horse bridle was probably used in the mid 1900's. This was the period when cattle and sheep mustering was at its prime. The movement of cattle and sheep was by mounted stock horse only and not by other methods. Northern territory cattle stations in the late 1900's started to use helicopters for "cattle control". In the KIEWA Valley/Bogong High Plains and other rural cattle/sheep producing areas required well trained stock horses and stockmen for cattle/sheep control. It is only in the later 1900's that motor bikes and four wheeled quad-bikes have taken over, in part, from the mounted stockman.This horse bridle is very significant to the Kiewa Valley because of the early introduction of cattle and sheep stations in what initially was regarded as a semi remote valley location. The maintenance of cattle and sheep in the Kiewa Valley was, and still is an important requirement of livestock management. A good stock horse bridle is important, especially during the period when cattle and sheep were grazed on the Bogong High Plains. The mustering and and moving cattle/sheep from the valley pastures to the high country was a demanding and dangerous exercise requiring "sure footed" stock horses.The "good specialised" bridle was a vital part of this cattle/sheep mustering. A scientific study started in 1947 to study the impact of grazing cattle/sheep on the natural Alpine and sub Alpine vegetation found grazing cattle had an adverse affect on the natural Alpine and sub alpine vegetation, and grazing on the plains was stopped by the Victorian Government in 2005.This "camp draft" on the Bogong High Plains could take up to six weeks.This harness bridle includes "blinders, winklers or blinkers" and would therefore be used on a pack or "working" horse. This bridle has rings on each end of the browband. The bridle is one used by a horse working in a team configuration pulling a heavy cart or wagon. The bridle has ten adjustable straps to allow it to accommodate a variety of horse sizes. See KVHS 0495 for a stock horse saddle.horse, country, leather bridle, gaiters, high country grazing, cattlemen, laces, studs

Located near the NSW border in the far east of Victoria, the Bendoc school served the needs of a rural population which opened the land to grazing at the turn of the century. It opened on September 8 1896. In December 1956 falling attendances forced the Education Department to close it. It is interesting to note that children here sought their secondary education in NSW. The first head teacher) was John M. Cass and the last R R King. In 1953-54 Lower Bendoc operated part-time with Goongerah. In 1955 it regained full-time status, but in 1956 worked part-time with Tubbut. Author, Dorothy Hepburn, attended Bendoc State School.This is a useful reference tool on the history of Bendoc.A spiral bound book with a plastic sheet front. The cover is white with black print and a b/w photo of a man sitting on a wooden chair outside a log building . Underneath is written "FROM HUMBLE BEGINNINGS TO FINAL CLOSURE".bendoc-state-school

Looking northwest onto the first bridge at Hurstbridge, 1885. Timber bridge amid rural setting. Two horses graze in an open paddock in the foreground. A house is situated on a rise behind the bridge on a tree lined hill. The area of Hurstbridge was originally known as Hurst’s-bridge after the timber bridge built over the Diamond Creek near Hurst’s station in late 1881/early 1882 on the Hurstbridge-Arthurs Creek Road, Hurstbridge. It was built by John McDonald, of Arthur's Creek and was demolished and replaced in 1917 by a reinforced concrete arch bridge designed by John Monash. Cross Reference Photo No.(s): 1012/1013This 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 image 4 x 5 inch B&W Negshire of eltham pioneers photograph collection, hurstbridge, bridge, diamond creek (river), diamond creek (creek), hurst's bridge

Kilby Lodge (c.1845-c.1922). William Oswin purchased Crown Land Lots 52 & 53 in 1845. These lots ran north from an old bullock track [later Kilby Road] to the Yarra, and east to Burke Road. Oswin purchased a neighbouring Lot in 1851, separated by the bullock track from the rest of the farm. Oswin built ‘Kilby Lodge’ and, with his brother, farmed dairy cattle on the site. Oswin’s descendants owned the farm into the 1890s. New subdivisions of Kilby and neighbouring farms in the 1920s changed the rural nature of north Kew. Housing and large recreation reserves replaced dairy farms and market gardens. This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.A panoramic photograph of Kilby (or Oswin's) Farm in East Kew."Kilby Farm when Oswins owned it. Commenced 1845."kilby farm, kilby lodge, william oswin, dorothy rogers, kew east

Mary Margaret Baird, born circa 1834, was the daughter of John and Elizabeth Logan, of Butterdean, Berwickshire. In 1860 in Victoria, she married Matthew Hamilton Baird, a well-known pastoralist and grazier, the owner of Mt Bute Station near Linton, as well as other rural and metropolitan properties. Margaret Baird lived at Mt Bute in the 1860s and early 1870s, after which it is understood she lived mostly in Melbourne. She died in 1910 at 'Waratah', Clendon Road, Toorak. Margaret and Matthew Hamilton Baird had nine children born between 1861 and 1877, not all of whom survived to adulthood. They are both buried in the Linton cemetery.Framed, hand-coloured/modified photograph of Margaret Baird. Portrait shows a lady in an elaborate gown, seated at a small, round table, her hands on a book. Two other books also on table. Large, draped window to RHS of sitter shows glimpse of garden. (Backdrop appears to be painted rather than photographed.) Lady wears a ring on her 3rd left finger, and a brooch at her neck. Hair neatly parted and coiled.mary margaret baird, mathew hamilton baird, mt bute station

Vol. 10, No. 4, Sep-Oct 2005 CONTENTS Short story In Shadows by Bill Collopy 3 Discovery of the rural by Clive Dickson 7 Wagga based artists by Thomas A. Middlemost 10 Short Story by Emilie Anita Teear 12 Gallipoli : A Turkish view Photography at Bundoora Homestead 13 Musicians who answered the call 16 Book reviews 18 Australian landscape Conference 2005 by Kate Herd 20 Threads that bind the CSA and CWA 22 Music at Wellers Restaurant 23 Music reviews 24 The Snakes in Eden by John Jenkins 27 Artin' About 29 Wining & Dining 30 Listings 32"Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 32 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, art streams magazine, silos, australian landscape conference 2005, bill collopy, bundoora homestead, click here to add keywords, clive dickson, emilie anita teear, gallipoli, john jenkins, kate herd, the snakes in eden, thomas a. middlemost, wagga based artists