Personal scrapbook of Constable Thomas McIntyreGreen fabric bound scrapbook with an embossed image of a child in a boat with reeds and ducks on both sides on the front cover belonging to Constable Thomas McIntyre containing newspaper cuttings from various publications between 1877 - 1880 and various loose cuttings.Embossed on front cover: Album Mr Thos McIntyre Faulkner St St Kildathomas mcintyre, kelly gang, ned kelly, scrapbook

Cream coloured foolscap music book. Text: James Lyon - Dance of the Dew Fairy, Pianoforte. Picture below text is in shades of green, pond with reeds and water lilies. Other tunes by the same composer are listed below the illustration. Price is 1/-

GIZYCKI, Andrzej Roman Witold, AKA GIZYCKI de GOZDAWA, Andrew Roman Witold, Service number: 37505, served in Royal Corps of Australian Electrical and Mechanical Engineers, 7RAR, 1967Painting in Gold Metal Frame ( Oil ) streched canvas depicting Soldier in the reeds combat camoflage and rifle.Australian Army Badge Rank (SLR ) Raeme Badge & 2 YG on hat same artist of soldier in other painting of Ziggy. Same Frame.soldier, raeme, ziggy, gizycki

Photo of foot-bridge over the Wannon crossing. c1920-Photo shows 2 women one seated, one standing on a wooden foot-bridge; both are wearing overcoats, one is wearing a hat. The bridge has post & wire fence on one side. Bush in background is thick so too reeds & rushes.structures, bridges

Oil on canvas. Painted at Art Historian, Bernard Smith's dam beside Karingal Drive in Eltham, Victoria. Rich, green shrubs and eucalyptus trees surround the water, reeds grow in the dam. The surrounding landscape is reflected in the water. Sloping land and bush fill the background.

Circular tapa cloth on masonite backing board, with edges sewn with plant fibre. Scene painted on cloth depicts huts with palm trees by the side of a creek. The creek is edged by a sandy verge and reeds. In the creek are fish traps. The image is painted in black and dark ochre dyes.

Carved wooden face mask with hollow eyes, nose and mouth. Decorated with ochre, yellow, black and white pigment. Top and back of mask is formed with plant serials, woven twine and reeds form the frame and mane down the centre and back of the mask. Hessian inside the mask.

The Finn Koren CollectionThe Finn Koren Collection.B5 size booklet with brick red cover. Program for the Grand Youth Concert held at Melbourne Concert Hall in 1992. Williamstown High School participated in the event through the soul band The Wet Reeds and also several students were part of the Combined Secondary School Concert Band.williamstown high school, music, performances, 1992, grand youth concert, the wet reeds, aicha brogan, jamila brogan, naomi cordell, tong lee, johnny wong

© Anna Lanyon , Carmel Wallace 2004. Apart from any fair dealing for the purposes of private study, research, criticism or review permitted under the Copyright Act, no text, image or part thereof may be reproduced, stored in a retrieval system, or transmitted in any form, without prior written permission from the authors.This suite of etchings explores the natural and social history of Fawthrop Lagoon, an ancient intertidal lagoon that lies at the heart of Portland on the far south-west coast of Victoria, Australia. The work records and interprets essential moments in the life of the lagoon, the plants, birds, insects, water-creatures and humans who have lived and continue to live around its shores. White card backing with white torn looking inner frame. Centre is print in the colours red and green with the word '21-ST' stamped into the print. Looks like reeds and grass in the green section and a photograph of a pillar concrete type structure with the words 'EVASSER FITTED' stamped into the leg lengthways.A/P 'Lagoon' P5 Carmel Wallacefawthrop lagoon, portland, victoria, australia, plants, birds, insects, water, creatures, humans

David Wood, Spirit of place 2021, galvanised wrought iron, 375 x 300 x 300 cm. Bayside City Council Art and Heritage Collection. Commissioned 2021public art, sculpture, reeds, spirit of place, david wood, elsternwick park, phragmites australis

The quarry was part of John Butler Maling's property. He was one of the original settlers of the area and farmed the area between Weybridge Street and Whitehorse Road. Clay was quarried from part of this area and used to make the bricks used in the construction of his home, known as 'Ancyra'. This is still extant at the corner of Weybridge and James Streets. Maling grazed cows and used the quarry as a water source. He was the uncle of John Butler Maling, Mayor of Camberwell. He was married to Kate Conlon in 1882. They had 3 children: Silas Young, Alick and Zillah. Maling was born in c1829 in Shepreth, Cambridgeshire; he died in Surrey Hills on 9 October 1912 and is buried in Box Hill Cemetery - CE-*-0586. Mrs Kate Maling (born c1859 in Co Meath, Ireland) died at the property on 8 March 1921. She is buried in Brighton General Cemetery. Probate was valued at over 10,000 pounds and included other properties in Sandringham, Hawthorn and Macedon. At the time of her death the Surrey Hills property was described as being 23 acres with 2 brick houses, 1 cow, 2 heifers and 40 fowls or chickens. The property was subdivided after her death. The property was subdivided into 110 house blocks in c1923 - see Maling's Estate subdivision flyer on the State Library of Victoria's website. This shows that the Grovedale Park site had been acquired by Camberwell Council by this time. An attached newspaper clipping documents prices realised for a cross-section of blocks. The MMBW map of 1925, also on the SLV website, shows the outline of the clayhole / quarry. The quarry was filled in after several drownings or near drownings and the land is now occupied by a park and playground, known as Grovedale Road Park, maintained by the City of Boroondara. Beckett Park is sited on horizon to the left beyond the trees. This documents the landscape prior to close settlement and is material to early building and farming in the Surrey Hills area.Black and white photo of the quarry between Grovedale Road and James Street taken in the 1920s and looking south. In the foreground is an area of water with reeds in the LH corner. Beyond on the high banks there are single storey houses in the background and (?) some light poles. An object that looks like a tank on posts is in a cutting on the far bank.quarries, grovedale road, james street, clay quarries, farming, kate conlon, kate maling, john butler maling, ancyra

Photograph. Harry Biggs Collection. 1 black & white photo. Shops with their ornate roofs above the buildings. Commercial signs are John Lay & Sons Chemists, Chemist. Reeds Fruit Juice Squash, Toppa Ice Cream. A very ornate light is above a shop. A car is parked in front of the chemist - (possibly a Chev.)place, building, commercial, harry biggs collection, shops high st. eaglehawk, john lay & sons chemist

Some Introductory Remarks on the Proposed national Park Area in Parishes of Mandurang and Sandhurst printed on white A4 paper. Same as 8626.446 b with two front pages and the bottoms of some pages missing. An extra page at the end is titled POACEAE of the Bendigo Area. It lists grasses and reeds with their common names and scientific names.bendigo, parks and gardens, national parks, peter ellis collection, wild flowers

Documentation relating to Sqn Ldr Alan R. Reeds military service in vietnam 1968-69. Includes a ten page printed personal account in a letter to lac S.J. Eather, RAAF Amberley. Two copies of his DDFC Award (USA) and citation and his bio - Air Vice Marshall Alan Reed, AOdocuments, alan reed

Used by the Mah Meri people, Kuala Langat, Selangor (Malaysia), 1936. While Malaysian, this blow-gun is analogous to that used by Indigenous groups from South America with curare. The gun is of bamboo, with a highly polished inner tube of the same. The darts are reeds, made directional by knobs of a tudor wood, with poison made from the ipoh tree and the Strychnos vine The blowpipe examined in this report consists of a long bamboo tube with engraved floral motifs on the outside and a second bamboo tube inside. The mouthpiece is attached to the inner tube and the whole piece can be removed from the outer casing. There is a quiver, filled with darts, a small poisons receptacle, and a single dart and hollow bamboo tube, stored outside the quiver. The objects were donated as a whole to the museum in 1948 by Dr Thomas Edward Marshall. The engravings on the outer case originate from the Mah Meri community in Kuala Langat, Selangor, Malaysia. The floral ‘motif is of a vine with small incisions to reflect the properties/identity of the plant (poisonous/harmful)’. These motifs are generally handed down through the generations and can be used for kinship identification. They are also believed to enhance the performance of the blowpipe. The outer casing is made up of several pieces of bamboo fused together. Broken or damaged blowpipes were not discarded. Broken sections of a pipe could be removed and replaced as required, and the observably different bamboo sections suggest this has taken place at some point. Sap from the perah tree is used to seal or glue the pieces together and the glue is reversible by heating. The Mah Meri created a poison from the ipoh tree for use in hunting. The poison acted swiftly to kill the animal and did not result in secondary poisoning. The way in which the Mah Meri hunted is analogous with other blowpipe hunting practices elsewhere in the world. Blowpipe hunting practices represent a starting point for the introduction of standardised muscle relaxants into surgery during the 20th Century. In parts of South America, plant poisons were used to tip the darts and kill prey. These poisons are known as curare. The crucial ingredient in curare was Chondrodendron tomentosum root. Raw curare formed the basis for Intocostrin, the first standardised, mass produced muscle relaxant. The introduction of muscle relaxants dramatically changed surgery, allowing for more precise surgery and better patient outcomes. Bamboo blowpipes can be found in many museum and heritage collections, particularly those with strong colonial origins or influence. Blowpipes from Borneo seem to be well represented, along with those from Guyana. Blowpipes from Malaysia appear to be less common. More research is required to establish the rarity or representativeness of the blowpipe. Ownership of the blowpipe can be traced back from the museum to Dr Thomas Marshall. It has also been established the blowpipe’s point of origin is among the Mah Meri people of Kuala Langat, near Kuala Lumpur. There is no information regarding the way in which Marshall came into possession of the blowpipe. Provenance cannot be fully established. Despite these difficulties, the blowpipe represents a full set of hunting implements. It is accompanied by a quiver, also decorated with a floral motif, a set of bamboo darts, and a poison receptacle. The quiver also has a waist strap which enabled the owner to strap it to themselves, preventing its loss while hunting. Each object within the set is in good condition, although the inner tubing is beginning to split lengthwise and should not be removed from its outer casing. While the blowpipe and accompanying objects are not of South American origin, the techniques and poisons used are analogous and this object has high interpretative capacity. Hollow bamboo blowpipe with mouthpiece at one end. Two different types of organic fibre have been used at difference points along the shaft to secure different segments of the blowpipe. The item consists of two tubes a thin and unpolished inner tube that has degraded and can no longer be removed, and a polished and decorated outer casing. The outer casing is made up of different sections of polished bamboo, some pieces have developed a deep red hue which is likely the result of prolonged polishing and regular heating over many years, other sections are a lighter yellow indicating that they are newer pieces of bamboo. The entire outer tube is covered in a varied sequence of genomic patterns. The exact meaning of these patterns is unknown however they are passed down through family lineage, the exact family of origin is unknown. Connected to the mouthpiece if it is removed from the inner casing is a piece of cloth with the numbers 2241 written in black ink, their purpose is unknown.curare, malaysia, bamboo

On back of postcard 'Postage one penny without any communication with communication ordinary letters'|This is the before paired photograph used in the 150 year Lakes Entrance 1858-2008 display|The after paired photograph number is 01147.1|Also one 12 x 16 framed photograph used in room display.|Cooper based in Paynesville 1908-1909Sepia giant post card dirt road leading to the first North Arm bridge. Horse facing two bovines on bridge, mud flat with a small jetty, Club Hotel, sand dunes facing Bass Strait. Post and Rail fence on side of road. Shaggy dog in road. Dieback of melaleuca and reeds on mudflats. Lakes Entrance VictoriaCunninghame from the Cutting A.Cooper photo- right hand cornerroads and streets, bridges, fences, animals, room display

The bowl is decorated with a blue transfer print of a bird in reeds. The lid is decorated with the image of two birds sitting on a fence. On the underside of the bowl is the hallmark for Brown Westhead and Moore (BWM & Co) in Staffordshire, England about 1870. The pattern name is Canova. The object is reported to have been used at Greystanes House in Bendigo. The bowl is damaged. See condition report.tui mitchell collection, williams family, greystanes

Sepia toned photograph copied from a postcard showing two sailing boats at the shore of a lake. Shore edged with reeds in front of dense scrub and teatree. Reeves River later Cunninghame Arm Lakes Entrance Victoria.Also a sepia toned copy of photograph of four dwellings near waterway dense bracken fern in foreground, may be early Lakes Entrance waterways

Digital image from the Wal Jack Ballarat Album of No 22, 28, 34 and another tram at Tramway Centre, late 1940's. Murray Views No. 26 city Hall and Sturt St Ballarat Vic.. Has Town Hall, Penfolds', Reeds and Berry Anderson shops in the view between the National Mutual building and the Town Hall. See image i2 for rear of photograph and 8973 for the actual postcard.Yields information about the appearance of Sturt St looking towards the Town Hall and the trams used - late 1940's view.Digital image of a postcard from an album compiled by Wal Jack, loaned to the Museum.Printed on rear - Real Photograph Produced in Australia by Murray Views, Gympie Q" and places for stamp, dividing line and word "postcard"trams, tramways, lydiard st, sturt st, tram 22, tram 28, tram 34

Photo shows No 22, 28, 34, and another tram at Tramway Centre. Penfolds', Reeds and Berry Anderson shops in the view between the National Mutual building and the Town Hall. On the rear in a note to Ken Magor of Newcastle, Wal Jack has written: "Ballarat 1948, Bogie 22 to Gardens via Sturt St west, 4 wheeler 31 to Sebastopol, Bogie 34 to Victoria St, 4 wheelers ? behind to Lydiard St Nth." See item 5311 for a digital image of this view. Yields information about the appearance of Sturt St looking towards the Town Hall and the trams used Postcard black and white, divided back, with a handwritten note on rear.See image 2 for details of the handwritten note by Wal Jack on the rear. tramways, trams, sturt street, tramway centre, tram 22, tram 28, tram 34, town hall

This megaphone's conical shape amplifies the sound from the narrow end and would have been used to signal a warning or give instructions. Its design is similar to an earlier brass fog horn used on a marine vessel, as it has a wide brim that allows it to be free-standing, and a shoulder rope makes it portable and frees up the user's hands. The narrow end is shaped into a mouthpiece. The megaphone may have been used at sea foghorn on a vessel, although it has no reeds for the sound, or used by a leader of a band or a fireman or other similar uses. This megaphone's conical shape is based on the centuries-old ram's horn or horn from other animals, used to amplify sound to make it travel a long distance or be heard above other sounds. It represents a similar instrument made in the 19th century and used as a signal or to give instructions, such as on a vessel at sea, to a lifesaving team, or in a marching band. Megaphone; brass conical shape with an opening at both ends and a join near the wide end. The wide opening has a broad brim and is painted red inside. A brass ring is attached near each opening and a narrow rope is attached to each ring. warrnambool, flagstaff hill maritime museum and village, fog horn, marine equipment, navigation, warning signal, maritime, nautical, fireman, captain, shoulder rope, signal, safety equipment

Coloured picture of a lady & a man in a rowing boat. The lady is wearing a light blue dress and floral hat. Sh is holding a tree branch that is hanging over the water. She has a red rug behind her. The man is wearing white shirt & trousers with a pink belt. There is a blue rug beside him. There is tree and reeds along the edge of the water and open grassland behind them. Printed on front is 'Horner's Penny 'River of Life' Series No 2. 22.1.1910. Written on the back in ink is: M.P. 275. The picture is titled 'Betrothed'.M. P. 275personal effects, greeting cards, malone collection, malone collection, greeting cards, horner's penny stories 'river of life' series no 2

This work was undertaken in 2001 when the artist was undertaking an Honours year at the University of Ballarat Arts Academy (later Federation University). This item is a part of the Federation University School of Business Art Collection. The Federation University Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed Digital Limited Edition Print by Michael Shiell. "The woven form was made at 'Blue Waters' near Creswick. I remember that I went out hoping to make something and I had a few mediocre starts but nothing really inspired was popping for me. Eventually I sat on the bank and started tossing little pebbles into the water. Finally the immediacy and ephemerality of the dissipating ripples struck me. I made the work by twisting and weaving the reeds which lined the banks of 'Blue Waters'. I then floated the rings together and managed to get a couple of quick photos before the work floated away and dissipated." (Michael Shiell)Edition: 1/10art, artwork, michael shiell, shiell, blue water, creswick, school of business collection, available, photography

Four octave portable wood and metal reed organ. The natural keys are wooden with white covers and the accidental keys are black wood. The case contains bellows, reeds and keyboard. The top of the case is made of two hinged sections. The rear section is secured and the front section opens to reveal the keyboard and a music stand. The organ has one wooden knee control attached to the front of the case and two carrying handles on each end of the case. The bottom of the bellows are visible at the bottom of the case attached to the pedals by vertical metal rods. The front and back of the case is decorated with stenciled gold painted design of stylised floral and geometric shapes.musical instruments, reed organs, portable organs

Eva Fisher was a valued member of the AFB and wished to commission a sculpture for the grounds in the front of Paterson Hall. Noted sculptor Ian Bow was commissioned and created Urban Cycle, a seven panel metal sculpture that follows the development of the local area. Prior to receiving the commission, Ian Bow went through a period of temporary vision loss, which gave him insight into how the sculpture could be appreciated by the blind and low vision community. The different stages are: Harmony - Two pelicans amongst reeds. Intrusion - Frog, kookaburra, mice, fish, lizard and butterfly. Expansion - Doors, windows and roofs under tree canopies. Industry - A factory with large chimney blowing smoke. Density - Multiple boxes, some with figures inside, are crowded beneath a bridge and dome. Decay - Boxes with broken doors and unfinished concrete. Renewal - A church with a Calvary cross over roughened surface.Heptagonal cast aluminium sculpture with seven panels arranged around a central metal pole.Thanks to the generosity of Evangeline Annie Fisher this sculpture, entitled 'Urban Cycle', was created by Ian Bow in 1975 and depicts stages of development of a city through the use of tactile forms. Further information is available at Reception. Vision Australia. Blindness, Low Vision, Opportunity.association for the blind, eva fisher, ian bow, sculpture

The Buff-banded Rail is located on mainland Australia. It can also be found in south-east Asia, New Guinea and New Zealand. These birds are often seen individually or in pairs walking through the dense reeds and vegetations of wetlands or crops. This rail has a slow walk and often flicks its tail, which is raised, as they move. They are omnivore scavengers who feed on a large variety of invertebrates, fruit, seeds and vegetables. 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.This specimen is in a standing position on a wooden platform. The Buff-Branded Rail has a pale grey/yellow eyebrow over the black glass eyes and a pale yellow bill. It also has an orange and brown coloured band on its breast. This bird is multicoloured with streaks of chestnut brown, black, white and a faint orange-brown. This specimen has a paper tag tied to its right leg and a grey/back label on the wooden platform.Platform: "Banded Landrail" Paper tag: "National Museum Victoria. Banded Landrail Hypotoenidia w8 427 Philippensis (L)"taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, landrail, buff-banded rail

The Australaisn Bittern is a partly nocturnal bird who resides in costal and sub-coastal locations in south-west mainland Australia, south east Australia and Tasmania. They can be found in wetlands, swamps and among reeds. These birds are mostly brown and yellow in colour and with short legs and a stocky body. The "woomph" sound made by the Bittern late at night is thought to have been the origin of the traditional Aboriginal myth of the Bunyip. The Bunyip, like the Australasian Bittern, was believed to reside in reedy swamps. 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.The Australaisn Bittern is a stocky bird with mainly yellow and brown colouring. This colouring makes the bird difficult to see in the dense, reedy vegetation it resides amongst in shallow freshwater wetlands. When threatened, the Australaisn Bittern will raise its bill skyward in a pose which helps it camouflage. This specimen has streaked yellow-brown feathers, a yellow bill and legs which are a yellow-green colour. It stands on a wooden platform.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, bunyip, myths, australaisn bittern, bittern

The Australaisn Bittern is a partly nocturnal bird who resides in costal and sub-coastal locations in south-west mainland Australia, south east Australia and Tasmania. They can be found in wetlands, swamps and among reeds. These birds are mostly brown and yellow in colour and with short legs and a stocky body. The "woomph" sound made by the Bittern late at night is thought to have been the origin of the traditional Aboriginal myth of the Bunyip. The Bunyip, like the Australasian Bittern, was believed to reside in reedy swamps. 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.The Australaisn Bittern is a stocky bird with mainly yellow and brown colouring. This colouring makes the bird difficult to see in the dense, reedy vegetation where it resides amongst the shallow freshwater wetlands. When threatened, the Australaisn Bittern will raise it's bill skyward in a pose which helps it to camouflage. This specimen has streaked yellow-brown feathers, a yellow bill and legs which are a yellow-green colour. It stands on a wooden platform.Paper tag: ...Bittern... [Catalogu]e, page 3...taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, bunyip, myths, australaisn bittern, bittern