The scarf was worn by Eileen Capocchi, a member of the Eureka Youth League Choir who sang at the Youth Carnival for Peace and Friendship and donated the item. The planned event had been targeted by Prime Minister Menzies as a Communist Party activity. The Commonwealth Government pressured local Sydney Councils to deny the organisers a venue. These attempts failed. The event combined sporting, athletic and musical events at a football stadium. In later years it was the subject of two documentary films. The scarf is of historic and social significance because of its association with the Peace Carnival for Peace and Friendship of 1952 and the Eureka Youth League. The scarves were worn by all participants and by Eureka Youth League members in subsequent years. The scarf records some of the musical and sporting events organised by the Eureka Youth League in most major Australian cities.Brown and yellow square rayon machine edged scarf made for the 1952 Youth Carnival for Peace and Friendship in Sydney. Central portion shows a peace dove, pink heath, flannel flower and wattle. Perimeter shows a saxophonist, ballet dancer, high jumper, hurdler, cyclist and volleyball net. "Youth Carnival for Peace and Friendship" white script on 3cm brown banner repeated 4 times around perimeter.eileen capocchi, eureka youth league choir, youth carnival for peace and friendship, eureka youth league, 1952

The Morepork is a small brown and white spotted owl found in New Zealand, Tasmania and Norfolk Island. It is known by around twenty different names which are all onomatopoeic which emulate the birds distinctive two-pitched call. They are mostly nocturnal and carnivorous (eating insects and small vertebrates). They reside in habitats with trees, they sleep in roosts and hunt mainly in the evenings and early morning. Females are slightly bigger than males. This species attains full plumage in its third or fourth year. They can turn their heads 270 degrees." In Māori tradition the morepork was seen as a watchful guardian. It belonged to the spirit world as it is a bird of the night. Although the more-pork or ruru call was thought to be a good sign, the high pitched, piercing, ‘yelp’ call was thought to be an ominous forewarning of bad news or events." (NZ Department of Conservation). This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Morepork (also known as a Masked Owl) is covered in brown and white plumage on its head and body. The white feathers delineate its round yellow eyes. Its belly and back are brown and white with the white feathering appearing spotted. He sits on a wooden perch with his head turned to the left. A swing tag is attached to its leg.11 / Masked Owl / See Catalogue, page 3 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, ruru, spotted owl, tasmanian spotted owl, morepork, mopoke, new zealand owls, new zealand birds, tasmanian owls, tasmanian birds, norfolk island owls, norfolk island birds

The Morepork is a small brown and white spotted owl found in New Zealand, Tasmania and Norfolk Island. It is known by around twenty different names which are all onomatopoeic which emulate the birds distinctive two-pitched call. They are mostly nocturnal and carnivorous (eating insects and small vertebrates). They reside in habitats with trees, they sleep in roosts and hunt mainly in the evenings and early morning. Females are slightly bigger than males. This species attains full plumage in its third or fourth year. They can turn their heads 270 degrees." In Māori tradition the morepork was seen as a watchful guardian. It belonged to the spirit world as it is a bird of the night. Although the more-pork or ruru call was thought to be a good sign, the high pitched, piercing, ‘yelp’ call was thought to be an ominous forewarning of bad news or events." (NZ Department of Conservation). This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Morepork (also known as the Masked Owl) is covered in brown and white plumage on its head and body. The white feathers delineate its round yellow eyes. Its belly and back are brown and white with the white feathering appearing spotted. This Morepork specimen sits on a wooden perch with his head turned to the left. A swing tag is attached to its left leg.Swing tag: 10 / Masked Owl / See Catalogue, page 3 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, ruru, spotted owl, tasmanian spotted owl, morepork, mopoke, new zealand owls, new zealand birds, tasmanian owls, tasmanian birds, norfolk island owls, norfolk island birds

The Great Spotted Woodpecker is found throughout Europe and Asia. They are generally solitary birds and do not migrate unless found in northern climates. They are omnivorous and can extend their tongue when feeding on insects, insect larvae, and seeds, among other things. They generally only stay with the same mating partner for one season and are extremely territorial. The Great Spotted Woodpecker generally has red eyes and a deep red lower belly. The males have a red nape, whereas the females do not. They have a white upper chest and white and black head, back, tail feathers, and wings. Juveniles are less vibrant in colour and their undertails and lower bellies are a dirty pink or brown. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Great Spotted Woodpecker specimen is a juvenile female. The undertail is a faint pink while the head and neck is black and white. The tail feathers and wings are a faded grey-brown and the underbelly is white. This specimen is standing on a wooden mount with a swing tag attached to its leg.Swing tag: 2e(?). / Great-Spotted Woodpecker / Catalogue page, 66 / Metal tag: 4304 / torn swing tag: (?)s ma(?)- / q. / Nord- Deu(?)- / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, great spotted woodpecker, woodpecker

A dapper young man - George Anderson. Trim Moustache, white shirt and tie, brown coat and waistcoat.Studio Photograph of the young George AndersonPhotographer A Marks & co. Elgin Street, Carlton.local history, photography, photographs, slides, film, george anderson, sepia photograph, mrs emma anderson jacobs

A photo and newspaper clippings from a book compiled about the Legacy children's residence called Stanhope. Elizabeth Brown was a resident at Stanhope after her father died in 1953 and she came to Melbourne from Seymour to compete further studies at Toorak Teachers College. She was chosen to present a bouquet to Princess Alexandra at the Royal Ball. Elizabeth wore a pink taffeta gown and was accompanied by a Legacy boy, Julian Hyde. One colour photo and two black and white photos taken at Stanhope prior to the event. More photos of this event have been found as slides and are catalogued separately. Stanhope was supervised by Matron Dorothy (Dorrie) Vines from the time it opened in 1946 until she retired in December 1966. It is likely she compiled this notebook as she is referred to as 'self' in one photo. Individual pages of photos or newspaper clippings have been added separately. Items 01817 to 01827. Blamey House (purchased 1947) , Stanhope (purchased 1945) and Harelands (purchased 1950) were residences run by Melbourne Legacy to take care of children whose fathers were servicemen, and who may have been left orphans, or whose mother may have been unable to care for them herself, or they needed to stay in Melbourne for further education. Harelands accommodated boys and girls under the age of 14, Blamey House looked after boys over 14, and Stanhope looked after girls over 14. The children were cared for until they were old enough to become independent. A record of a Legacy girl being chosen to participate at an important event. Colour photo of Elizabeth Brown preparing to meet Princess Alexandra, and 2 black and white photos and newspaper clippings about the event.stanhope, residences, royal visit

The bluelight outfit was offered to members of the armed services in an attempt to prevent venereal disease. Around 60,000 Australian soldiers had contracted venereal disease by the end of the First World War. (http://www.canberratimes.com.au/act-news/secret-wwi-history-of-australian-soldiers-with-venereal-disease-20141022-119wan.html, accessed 21 August 2017) Australia colloquial language defines a Blue Light clinic as a venereal disease clinic.A cardboard box with two tubes of ointment - an anti-Venereal Disease outfit supplied to Australian Armed Services Tube number one is filled with brown contents known as 'No. 1 ointment BROWN' and has a long, tapered opening, with black pastic lid. Tube number two is filled with a thick white ointment 'No. 2 ointment WHITE', with a normal opening and metal lid. The tubes contained 3 percent Argyrol Jelly for gonorrhea and 33% Calomel Ointment (Mercury-Chloride) for syphilis prophylaxis.Inside box: Directions for Use Before Connection 1. Rub head and shaft of Penis with half the tube of No. 2 Ointment, White. 2. Always wear a sheath After Connection 1. Pass water IMMEDIATELY 2. Wash thoroughly Penis and Scrotum with soap and water. 3. Inject the whole of the contents of the Tube of No. 1. Oitnment, Brown, into pipe and massage back 2 inches. 4. Rub remainder of tube No. 2 Ointment, White, on head and shaft of Penis and Scrotum 5. Hold urine some hours after treatment 6. Report at V.D. Prevention Depot (Blue Light Depot) as soon as possible. 7. Having read directions and understood them, destroy by tearing up or by burning.blue light outfit, veneral disease, vd, armed services, gonorrhea, syphilis, disease, medical

Photo shows bumper bars painted white when the headlights were half blocked during the "brown out".A Mercury Wireless Patrol car and crew in 1944. Left to right: J O'Connor 9186. G Cracknell 9395 (driver). W Crowley 9315, A Coventry 9320.police vehicles; transport branch; wireless patrol; motor police branch; motor traffic section; ford mercury car

Three black and white photographs of James and Edna (nee Crockroft) Brown, their children Gwenneth and Donald and Edna's parents Charles and Annie Crockroft, includes Cockroft's grocers truck and Browns 1928 Erskine car dates c.1950 and earlier.Roll of 35mm colour negative film, 5 of 7 stripsKodak CP 100 5094annie florence cockcroft, annie florence green, car, charles burgess cockroft, donald charles brown, edna lily brown, edna lily cockcroft, grocers, gwenneth edna brown, james donald brown, vehicles

Three black and white photographs of James and Edna (nee Crockroft) Brown, their children Gwenneth and Donald and Edna's parents Charles and Annie Crockroft, includes Cockroft's grocers truck and Browns 1928 Erskine car dates c.1950 and earlier.Roll of 35mm colour negative film, 5 of 7 stripsKodak CP 100 5094annie florence cockcroft, annie florence green, car, charles burgess cockroft, donald charles brown, edna lily brown, edna lily cockcroft, grocers, gwenneth edna brown, james donald brown, vehicles

The co-operative was registered in 1919 as the Graziers Co-op Shearing Company Limited. It changed its name in September 1948 to Grazcos Co-operative Ltd. In 1981 the co-operative merged with Farmers & Graziers Co-op Ltd to form Farmers Grazcos Co-op Ltd. This item is part of a collection of Annual Reports from Grazcos dated from 1949 - 1980.Booklet featuring faded brown and white illustration of shearers at work, with brown and white text.front: GRAZCOS / 1964 / FORTY-FIFTH ANNUAL REPORTagricultural co-operative, agricultural wholesaling, annual reports, rural life, rural industry, business, corporate body

Photo Herbert Booker FIELD as a Senior Cadet prior to WWI, he had 4 years in Senior Cadets. Herbert enlisted in the AIF on 26.6.1917 age 18 years in the 25th Reinforcements 14th Bn No 7596, embarked for England 21.11.1917, disembark 5.1.1918, attends 4th Div Signal School, embarks for France 29.7.1918 to reinforce 13th Bn, RTA 1.11.1919, discharged from the AIF 14.1.1920. He enlists in the CMF on 3.5.1939 No V1629, appointed Lt 3.12.1937, transfers to the 2nd AIF 10.9.1942 as VX104280, joins the Interim Army 1.7.1947 till 7.6.1948, appointment terminated with the rank of Lt Col. Awarded the "Efficiency Decoration"Frame, brown stained timber with gold inner edge also decorated with copper wire. Timber mount with glass. Photo, black & white of a soldier in uniform, half portrait of H B FIELD. He is in his Cadets uniform. Handwritten in blue ink on brown paper on back of frame: “Mrs J E McCrystal” In Red ink: “Prior to enlisting WWI Senior Cadets 2nd Lt 67B. 1st AIF HB FIELD PTE 7596 13th Aust Inf Btn. 2nd AIF VX104280 HQ 8th Command Quartermaster General (not in notes) On white label: "H B FIELD As a Senior Cadet prior to WWI. No 7596 13th Batt AIF' No VX104280 2nd AIF. Donated by Mrs J E McCrystal"photography-photographs, frame accessories, cadets, 67th

Group of Salvation Army personnel standing in front of pipe organ in St. Matthew's Church in 1968. Captain & Mrs. Noel Clegg Back Don Reeve, Dennis Tyler,2 Guests, Alf Perry,2 Guests, John White In front of backrow Amy Collins, Cynthia Perry, Eileen Esky, Phyllis Folkes, ?, ?, V White, Gwen Reeve In front of them, guest, Margory Brown, Eileen Clarke, Jenny Biggs, Una Watson, Anita Brown, guest, ?, Janet Tyler Front Ruby SymesMr Capt Noel Clegg, S/Lindsay BrownBlack & white photo of a group of male & female singers in front of a pipe organ. Songsters in St. Matthew's Stawell, pre-Petersham trip 1968.stawell religion

Matron Freeman and the MDNS Trained Nurses are wearing long grey coats and white pith helmets, which display a red Maltese cross.The Pith helmets are held on with a white veil. The two Bicycles with nursing bags attached to handlebars show the transport used by MDNS at that time.. Nurses - Back - L-R - O'Sullivan, Deans, Warren, Amess, Pat Lee and Jane with bicycle Front - L-R - Blanche Wilson, Matron Janie Freeman, Peake and Brown. In February 1885, 50 years after Melbourne was founded, it was recognized that nursing care was needed for the sick poor in inner Melbourne. The Melbourne District Nursing Society (MDNS) was founded with one Trained nurse (Nurse), and a second employed six months later. This was the first such service in Australia. They worked in the now CBD, ie from Spencer Street to Spring Street and from Victoria Parade to Flinders Street. From its inception the Society was at the forefront of health care. They provided high quality nursing care; educated their patients in the curing and prevention of disease; teaching the importance of cleanliness and good nutrition, both by verbal instruction and demonstration, even supplying soup and milk when needed. At that time they walked the streets and lane ways amid the slums of inner Melbourne carrying their nursing bag containing lotion ointments, powders, liniment, bandages, dressings, a case of spirits, and the Nurse's own clean apron. They loaned equipment, such as earthenware hot water bottles, splints, urinals, bed pans, bed cradles, feeding mugs, and air-cushions as well as providing clean bed linen and nightdresses as necessary. Trained Midwives began home births in August 1893 taking midwifery bundles and providing clothes for the babe as needed. This was arduous work, particularly in the heat of summer. Permission to use bicycles was given to the Nurses in 1898 and the Society decided to purchase their own in 1903. A business man offered ‘new free wheel’ bicycles at £13 each which included maintenance for one year. Bells and wooden frames were added, at a cost of £5 per frame, so the Nurses could carry extra equipment. Nurses’ bags were strapped to the handlebars. Soup was made for those in need 2-3 times a week and if patients could not arrange to have it collected the soup was delivered by the Nurses on their bicycles. The use of bicycles caused a change in uniform, with white pith helmets, and veils covering them and tied under their chin, now being used. In 1913 a Nurse had her Board and residence, uniforms, bicycles and laundry expensive provided and was paid £50 a year for her first six months. At the end of a year her salary is increased by £5, and later she earned £60 a year. Over the years the Nurses complained their veils became wet in the rain and asked for a change of uniform but this did not occur until 1921. Bicycles continued to be used in inner areas until 1945. From its inception the Society was at the forefront of health care and liaised with Doctors. They provided high quality nursing care to a range of people, often in destitute situations, some lying on rags on the floor as they had no bed, others with just a bed and maybe a thin blanket, a chair and nothing else. Their ages ranged from babes, children, adults to the elderly. The Nurses gave medications as ordered, dressed wounds e.g. to the injured, and surgical cases, and to those with leg ulcers; attended to patients with ‘surgical ailments’ such as ‘hip disease’; gave care to those with acute illnesses such as bronchitis, pleurisy, pneumonia, measles, and scarlet fever, as well as those with chronic illnesses such as consumption (tuberculosis), heart disease, arthritis, cancer, debility, neuritis and paralysis. They educated their patients, and their Carers, in the curing and prevention of disease; teaching the importance of hygiene, cleanliness, ventilation and good nutrition. They taught them, by verbal instruction and demonstration, how to make poultices, to make and apply bandages, apply medical appliances such as splints.Sepia photograph on brown card mount with 'Kirk Studio' on bottom right of the card. The photograph shows Matron Freeman and nine Melbourne District Nursing Society (MDNS) Trained nurses, (Nurses), with bicycles. The back row of six Nurses are standing and the Nurses either end are holding bicycles which have leather oblong nursing bags attached to the handlebars with two straps. The front row are seated. All are wearing the MDNS uniform of long dark coats and white helmets, with white scarves covering them and tied under their chins. A Maltese cross can be seen in the centre of the helmets. Both bicycles have two large wire spoked wheels at either end of the black V shape bicycle frame; a rubber tyre runs around the outside of each wheel. The metal handlebars are a horizontal configuration and are attached with a central column into a black vertical column at the front of the V shape bicycle frame which has 'fork shaped' thin metal pierces running down either side of the wheel attaching the frame to the central hub of the wheel. The rear wheel is attached the same way to a central column at the rear of the frame which runs up to V shape solid seat. At the bottom of the V of the frame a pedal is attached with a rotating arm on either side of the bicycle and on the right side the rotating arm is attached to a sprocket which has a chain running around it back to a smaller sprocket on the hub of the back wheel. The chain has a thin metal guard over it. There are narrow thin metal mud guards running a short distance above the top of each wheel.Photographer's embossed stampmdns, melbourne district nursing society, mdns uniforms, mdns transport, mdns matron, rdns, royal district nursing service, nurse blanche wilson, nurse pat lee, nurse deans, nurse o'sullivan, nurse warren, nurse amess, nurse peak, nurse brown, matron janie freeman

Grey Butcherbirds live in wooded habitats, including suburban areas, from the north of Western Australia, across different parts of the top of the country, through to mid-eastern Queensland, and then south along the eastern side of the country all the way down to Tasmania. They have a 'lovely, lilting song', and are fiercely protective of their nests and chicks, swooping at presumed attackers with enough strength to sometimes draw blood. Adult Grey Butcher Birds are typically a light grey colour with dark heads and white underparts. The brown colouring on this animal suggests that it is a young bird, with its grey adult feathers coming in. This bird appears thinner than most Grey Butcher Birds, but it is unclear if this is because of its age or because of inaccurate taxidermy. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. This specimen is particularly special in the Burke Museum Collection as it is part of a male/female pair (see Relationships). Many birds in the collection were originally donated in male/female pairs, but at least one specimen has been lost, leaving these as one of the few surviving sets.This Grey Butcher Bird (likely female, based on size) has a light grey and brown bill with a sharp hook. The majority of the feathers on its back and tail are an olive-brown colour. The feathers of its underparts, the patches on either side of its bill, and two stripes coming up either side of its neck are a yellow-white colour. There are some light grey feathers coming through in small patches, particularly across the back, the top of the underparts, and along the upper half of the legs. The eyes are brown. The bird stands on a brown, wooden perch with a circular bar, curved stand, and circular base. It has an identification tag tied around its right leg.18a. / Collared Crow. Shrike / See Catalogue; Page 10. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, australian birds, butcher bird, butcherbird, grey butcher bird, collared crow-shrike, australian butcherbird, tasmanian butcherbird, tasmania, bird pair

The Nankeen Kestrel, a small type of falcon, can be found all over Australia, usually in grassland or farmland areas. This falcon is carnivorous and hunts all manner of small prey including mice, lizards, insects, and other birds. When hunting, Nankeen Kestrels can be seen hovering in the air searching for prey. Nankeen Kestrels are generally monogamous, staying with the same breeding partner for multiple seasons. The Nankeen Kestrel is known for its reddish-brown feathers, spotted with a distinctive black pattern on its back, and have black-tipped wings and tail band, a stark contrast to its white chest. Females tend to be larger, and males will have a grey head and neck area. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This female Nankeen Kestrel is relatively small and slender. It is mostly reddish-brown, streaked with darker coloured areas. The tips of the wings and tail feathers are tipped in black. The chest is white with streaks of reddish-brown. The areas around its eyes, beak, and feet are a bright yellow. This specimen stands upon a wooden platform and has an identification tag tied around its leg.Swing-tag: 19. / Unnamed / Catalogue page, 5 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, nankeen kestrel, falcon

Brown with white band and white striped sleeves

The Red-Necked Grebe is a medium sized bird with a long neck and pointed bill. During the non-breeding months, this bird has grey, white and brown plumage. During the breeding seasons, the Red-necked Grebe has a rusty red coloured fore-neck and breast with a black bill and white cheeks. This species can be located in freshwater lakes of the northern hemisphere. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.A Red-Necked Grebe of medium size stylised in a standing position with the face positioned forward. The bird stands on a wooden pedestal with two tags around its legs. One tag is paper and documents cataloguing information and the second is metal and lists the number 4403. This Red-Necked Grebe has pale feathers of white, grey and browns typical of this species in the non-breeding months. The face is positioned towards the front and the small eyes are made from dark glass.On metal tag 4403. On paper tag "32. Red-Necked Grebe.Catalogue, page, 43"taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, red-necked grebe

The Red-Necked Grebe is a medium sized bird with a long neck and pointed bill. During the non-breeding months, this bird has grey, white and brown plumage. During the breeding seasons, the Red-necked Grebe has a rusty red coloured fore-neck and breast with a black bill and white cheeks. This species can be located in freshwater lakes of the northern hemisphere. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.A Red-Necked Grebe of medium size stylised in a standing position with the face positioned forward. The bird stands on a wooden pedestal with two tags around its legs. One tag is paper and documents cataloguing information and the second is metal and lists the number 4492. This Red-Necked Grebe has pale feathers of white, grey and browns typical of this species in the non-breeding months. The face is positioned towards the front and the small eyes are made from dark glass.Paper tag: 32a Red-necked Grebe Catalogue, Page, 43. Metal tag: 4492taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, red-necked grebe

Brown and white petrified coral.coral

Unused card for responding to an invitation to a civic charity dinner dance hosted by the City of St Kilda (Mayor Clarrie King) at St Kilda Town Hall on 26 June 1981. White card printed in browncity of st kilda, civic dinners, st kilda mayor c. j. king

Copy of original photograph which shows pupils at Linton State School standing and kneeling in rows outside the school building. A sign at the front reads "Linton School No 880 5-11-24".On reverse: "Given by Joan Brown as part of research into Megee family. Doris Megee is in 3rd row from top, 4th from left, on LHS of white blotch".linton state school no. 880, doris megee

An RDNS Sister had previously visited Mrs. Crook in her home and assessed the nursing care she required. Following the Sister's instructions, the Home Health Aide in this photograph, Robin Brown, is assisting Mrs. Crook from her lounge chair onto her walking frame. Mrs. Crook's son, Robert is also assisting his mother. Home Health Aides were employed and trained by Royal District Nursing Service (RDNS) from 1980. They wore a RDNS royal blue uniform, which has a white trim and RDNS badge applied to the left hand side, and a dark blue cardigan. In 1980, a Home Health Aide ‘Pilot study’, funded by the Federal Government, the Brotherhood of St. Laurence and RDNS, with the program written and taught by RDNS Principal Nurse Educator. Pat (Paddy) Rowley, was evaluated as successful. Following this Pilot study, Home Health Aides were employed by RDNS, and after instruction in the RDNS Education department, joined RDNS Centres and worked under the supervision of the RDNS Trained nurses (Sisters). The Sister assessed each patient, then introduced and supervised the Health Aide in the patient procedure required. The Sister wrote out clear, concise procedural instructions on a work card which the Health Aide followed each visit. If the Health Aide noticed any change in the patient’s condition, this was reported immediately and the Sister visited. The Sister made routine visits to the patient for review at least monthly. On the left of this black and white photograph is Royal District Nursing Service, Home Health Aide, Robin Brown, who has dark shoulder length hair and is wearing a dark cardigan over her dark coloured uniform which has white piping at the edge. To her right is Mrs. Crook who is sitting froward in her lounge chair. A walking frame, which has a material bag hanging from the front bar, is in front of her. Robin Brown has her left hand on Mrs Crook's back and her right hand under her arm. Mrs. Crook has curly white hair; is wearing glasses which are resting partly down her nose, and is wearing a light coloured cardigan over her dark dress. Part of a necklace of pearls can be seen hanging over her dress. She is smiling and looking at the camera. She has her right hand on the upper part of the right wing of the walking frame and her left hand is on the top hand grip section on the left wing of the frame. To her right, her son, Robert, who is squatted down by the chair, has short dark hair and is wearing a checked shirt. He is holding the left wing of the walking frame with his left hand and his right arm is extended with his hand on his mother's back. Closed floral curtains are seen in the rear of the photograph.Photographer's stamprdns, royal district nursing service, home health aide, home health aide uniform, patient care, mrs crook, mr robert crook, home health aide robin brown

Brown painted horse with white mane and white feet.toys, general

Known for its distinctive ‘boo-book’ sound which gives it its name, the Southern Boobook owl inhabits a variety of environments, including woodland, rural, open desert and dense forest. It is found on mainland Australia as well as Tasmania and other costal islands. Some similar species can be located in New Zealand, New Guinea and Indonesia. Young Boobooks’ plumage is mostly off white, and there are slight variations in subspecies based on location - the Cape York rainforest owls are a larger, darker brown bird while the Tasmanian Boobooks are smaller and often have more white flecks on their plumage. Southern Boobooks hunt and eat nocturnally and, like most owls, their diet consists of smaller animals including smaller mammals and insects. While elements of this particular specimen are representative of the actual bird, the form and structuring of this specimen’s neck area appears to be somewhat out of shape in comparison to images of the actual bird, which present a distinct head structure. The eyes on this specimen are also problematic, as they are solely black - not aligning with accurate representations of this species that have a distinct golden yellow outer ring in their eyes around a large black pupil. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.One of the most commonly found Australian species of owl, the Southern Boobook, or Mopoke as it is also known, is also Australia’s smallest owl. With a coating of dark chocolate brown coloured plumage on its wings, dorsal area, continuing onto the top of the head and around its eyes, the owl’s breast plumage is flecked with hazelnut brown and white feathers. Its chin and nose areas are a soft creamy white, and the owl’s beak is a darker grey. Traditionally, the eyes are yellow as are the legs and taloned feet. This particular specimen stands upon a wooden perch and an identifying tag hangs from its right leg.Swing-tag appears to read: '39. Boobook Owl / Catalogue page 53.' The 2 digit number at the beginning of the label could also be '3a'. taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, southern boobook, mopoke, australia, boobook, nocturnal, ninox novaeseelandiae, owl

Rules of Golf 1988.Thomastown Golf Club was a social club formed in 1976. This is part of the Robert (Bob) Jones collection of Club memorabilia.Small book with brown and white cover..thomastown golf club, bob jones, golf - rules