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, while their young are typically olive-brown. The mix of these two types of colouring on this animal suggests that it is a younger bird. 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 Butcherbird (likely male, based on size) has a bill that is dark grey at the front with a sharp hook but becomes lighter towards the face. The majority of the feathers on its back are light brown with some grey feathers around the lower half. It's crown area is a dark black colour and its tail is a dark grey. The feathers of its underparts and a small patch on either side of the neck are a yellow-white colour. There are also grey feathers coming through on its underparts. 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 left leg.19a / Collared Crow. Shrike / See Catalogue, Page 10 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, australian birds, butcher bird, butcherbird, grey butcherbird, collared crow-shrike, australian butcherbird, tasmanian butcherbird, tasmania, bird pair

From the "Walk-Drive Tour of Linton", p. 22: ". . . this large Victorian house was originally the home of Hubert Adams, the proprietor of the Grenville Standard from about 1895 until 1909. It was subsequently purchased by the Shire of Grenville and was for many years the Shire Engineer's home." The inscription on the front of one of the copies says the photo was taken c. 1890.Photograph of a timber Victorian style house with a corrugated iron roof. The house has two chimneys and wrought iron decoration on the verandah. An unidentified woman and a young girl are standing in the garden at the front. Adams house, afterwards used as Shire Engineer's house, in Grey Street, LintonOn front of both copies: Shire Engineer's House, Grey St. Linton". On front of copy (a): "c. 1890". On back of copy (b): Shire Engineer's House Grey St Linton".houses, buildings, adams house, shire engineer's house

Small grey booklet including the report from the Executive Committee, the Chaplain's report, Treasurer's report and a list of subscriptions for 1882. The report encompasses both the Victorian Seamen's Mission and Sandridge (No. 1) Sailors' Rest.The 1882 annual report outlines all the major activities involving the Mission over the course of the year as well as included names of those involved, participating, making decisions or donating time or money. The Danne family had a long standing involvement in the Mission from the latter decades of the 19th Century onwards. Handwritten in pen on top left hand corner: "Rev N.J. Danne"sandridge, sailors' rest, 1882, annual report, victorian seamen's mission, port melbourne, reverend n.j danne, mission to seafarers, seamen's mission, administrative document-annual report

Collector says: Godfrey Hirst Diamond blankets from the mid-1950s are always delight to find. Some of these were found in the Geelong area but one came back with me from an op shop road trip around Tasmania, another from the St Pauls op shop in Romsey. I love this pattern and find the lemon and grey colourway particularly special. Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Godfrey Hirst Diamond blanket in pink and grey"An All Wool Blanket" /By Godfrey Hirst of Geelong/100% Virgin Woolwool, blanket, blanket fever, diamond blanket, godfrey hirst, geelong

The Grey-headed Woodpecker is a medium-sized woodpecker of the Picidae family, that is sometimes mistaken for the similar-looking Green Woodpecker. The species is known to have a grey face, neck, and underparts, with green wings and back, and underwing feathers that are a dark brown to dark grey-black with white dots. Although this can vary depending on location, with European and Northeast Asian birds having overall paler colours, to mainland Asian birds being darker overall. The species has a distinctive black mustache-like stripe on both sides of the face and the mature males have a red patch on the top of the head. These tree-clinging woodpeckers usually feast on ants, insects, and berries. This specimen differs in appearance from the common Grey-headed Woodpecker as its back feathers appear a dark grey, where in the wild these birds have sometimes quite vibrant green feathers. The eyes of the grey-headed woodpecker are also usually red with black iris, not white with black iris as in this specimen. The beak is also a pale yellowish colour on this bird, whereas commonly the species has a grey upper beak and pale yellow lower beak. 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 male Grey-headed Woodpecker has a bright red head patch and distinctive black mustache-like stripes on both sides of the face, with additional black stripes running from the pale yellowish beak to the inner corner of the eye. The underbelly is a light grey and the back is a slightly darker grey. The underwing feathers are a light rufous-brown with white dots. The specimen is mounted on a sloping vertical wooden cylindrical stick attached to a mount. There are also two paper swing tags, one of which is torn in half.149a. / Unnamed / Catalogue page 60 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, woodpecker, grey-headed woodpecker, gray-headed woodpecker

Sent to Mrs McDonald "Monald" 32 Grey Street Wangaratta from soldier during second world warVictoria's 2/24th Infantry Battalion was raised in Wangaratta in July 1940. They were welcomed with open arms by the local community as they rapidly built up their numbers. The people of Wangaratta adopted the Battalion and they became known as "Wangaratta's Own" because of the time the battalion spent in the town during its formative period prior to deployment overseas. Many of the soldiers maintained life long friendships with the people of Wangaratta. Even though the Battation was disbanded in 1946 members and their families return each year, in November, for a commemorative service at the 2/24th Battalion Memorial Wall at the Wangaratta Cemetery.Cream paper envelope with coloured drawing of small boat and three huts on stilts in water with palm trees and two mountains in background.Top left - AIR MAIL Top right - postage stamp Right side Mrs M acDonald "Monald" 32 Grey Street Wangaratta Victoria Australiaww2, envelope art

This is a photographic record of Matron Beatrice Williams and the Trained nurses, (Sisters), of the District Nursing division of the Melbourne District Nursing Society who worked in the community give nursing care to patient's in their homes. Their uniforms are grey and the Maltese cross on the Sisters hats is red.From its earliest years when Melbourne District Nursing Society (MDNS) began to wear uniforms the chosen colour was grey, though the style changed throughout the years as fashions changed from the late 1800s through to the 1970s. The Trained nurses (Nurses), firstly wore long grey frocks and a white cap with a long white tail hanging from the centre back. When bicycles were introduced in 1903 the headgear changed to a white pith helmet adorned with a red Maltese cross in the centre front. This was held on with a veil going over the hat and tied under the chin. Over the years there were complaints that the veils became wet in the rain and they asked for a change of uniform, but this did not happen until 1921. Later the Nurses complained their skirts became wet when riding their bicycles in the rain and asked, when raining, to be able to wear breeches and gaiters. This was granted provided they wore aprons when attending patients. It was not long before the uniform changed to a shorter length grey frock, red cardigan, grey coat and grey brimmed hat; later changed to a peaked grey hat. In 1966 MDNS were granted Royal patronage. Now as Royal District Nursing Service, RDNS, the uniform was redesigned and colour changed in 1971. By 1972 the Trained nurses (Sisters) were wearing the new winter uniform of a blue/grey skivvie under a V neck tunic style frock made of blue/grey herringbone winter material with the RDNS insignia on the upper left, and a beret of the same material. In summer the uniform became a royal blue V neck tunic style frock, with the RDNS insignia on the upper left, worn over a short sleeve white blouse. A royal blue peaked hat with the RDNS insignia in the centre front was worn at first and then only worn on official occasions. This uniform was worn until changed to a corporate style in the mid 1980s,Black and white photograph of Matron Beatrice Williams wearing a white uniform and veil, with a group of twelve Melbourne District Nursing Society (MDNS) trained nurses (Sisters) wearing their calf length uniforms of grey coats, and grey brimmed hats with pale grey hat band with central Maltese cross, standing in the garden of the MDNS After-Care home.No. 8526 on rear of photographmelbourne district nursing society, mdns, mdns uniforms, rdns, royal district nursing service, mdns matron, miss beatrice mary williams

Grey and white cats purchased in Norway. Brown and white cats purchased in Melbourne.Pair of porcelain small grey and white cats with blue pairs. Pair of porcelain brown and white cats with musical instruments. One with a violin (broken stick), one with a book.china, ornaments, cats

This set of 14 grey and red cushions (items F045-F058) are located on the two daybeds in the front west facing rooms of the Children's Pavilion.Dark grey heavy cotton cover; concealed zip in seam. Insert: feather stuffing in cotton casing. Piping around edgeswalsh st furnishings, robin boyd

This set of 14 grey and red cushions (items F045-F058) are located on the two daybeds in the front west facing rooms of the Children's Pavilion.Dark grey heavy cotton cover; concealed zip in seam. Insert: feather stuffing in cotton casing. Piping around edgeswalsh st furnishings, robin boyd

This set of 14 grey and red cushions (items F045-F058) are located on the two daybeds in the front west facing rooms of the Children's Pavilion.Dark grey heavy cotton cover; concealed zip in seam. Insert: feather stuffing in cotton casing. Piping around edgeswalsh st furnishings, robin boyd

This set of 14 grey and red cushions (items F045-F058) are located on the two daybeds in the front west facing rooms of the Children's Pavilion.Dark grey heavy cotton cover; concealed zip in seam. Insert: down stuffing in cotton casing. Piping around edgeswalsh st furnishings, robin boyd

This set of 14 grey and red cushions (items F045-F058) are located on the two daybeds in the front west facing rooms of the Children's Pavilion.Dark grey heavy cotton cover; concealed zip in seam. Insert: down stuffing in cotton casing. Piping around edgeswalsh st furnishings, robin boyd

The photograph shows SEC Ballarat tram No. 16 westbound to Grey St Sebastopol, in Sturt St at Doveton St with a passenger about to board the tram. In the background is the Tunbridges store. Photo by I K Winney of Sydney, 12/1949.Yields information about tram 16 and Grey St Sebastopol short workings in 1949.Black and white photograph with photographers details on rear."Ballarat No. 16 in Sturt St at Doveton St bound for Grey St Sebastopol, 12/1949, I K Winney"tramcars, sturt st, tram 16, doveton st

Note from collector: Godfrey Hirst Diamond blankets from the mid-1950s are always delight to find. Some of these were found in the Geelong area but one came back with me from an op shop road trip around Tasmania, another from the St Pauls op shop in Romsey. I love this pattern and find the lemon and grey colourway particularly special. It was hard to let go of this one!Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Queen sized diamond blanket , lemon & grey "An All Wool Blanket" /By Godfrey Hirst of Geelong/100% Virgin Woolwool, blanket, blanket fever, godfrey hirst, diamond blanket, geelong

Collector says: Godfrey Hirst Diamond blankets from the mid-1950s are always delight to find. Some of these were found in the Geelong area but one came back with me from an op shop road trip around Tasmania, another from the St Pauls op shop in Romsey. I love this pattern and find the lemon and grey colourway particularly special. Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Godfrey Hirst diamond blanket in pink, grey and lemon"An All Wool Blanket" /By Godfrey Hirst of Geelong/100% Virgin Woolwool, blanket, blanket fever, diamond blanket, godfrey hirst, geelong

John Grey Gorton, Australia's 19th Prime Minister. The Prime Ministers Avenue is a collection of bronze bust portraits of the Prime Ministers of Australia, located at the Ballarat Botanical Gardens in Ballarat, Victoria. The Prime Ministers' portraits are commissioned after the incumbent term of each Prime Minister by the City of Ballarat. The City of Ballarat has taken responsibility for commissioning the busts after funds set aside by politician Richard Armstrong Crouch were exhausted in 2014. Crouch originally donate money to pay for six busts, the first of which was unveiled in 1940. The collection of prime ministers' busts are unique in Australia, representing the only sculptural portrait collection of all past Australian Prime Ministers. The different styles used reflect the unique artistic practices of the selected artists; textures, sizes and features and proportions are used by the artists to interpret the characteristics of each of the subjects.The artwork is of historic and aesthetic significance to the people of BallaratBronze bust cast on granite plinthJohn Grey Gorton Prime Minister 1968-71prime minister, australian pm, john grey gorton

Portrait in pen and ink with grey wash of Tilly Aston, aged seventeen, done by Fred Kneebone. She is shown with long hair tied back, wearing a high buttoned up dress with a brooch at her neck. In 'Memoirs of Tilly Aston', she recalls the portrait being done (p47) and being donated to the Austral Salon, who held a matinee performance to raise funds for her university education.1 unframed pen and ink drawing with grey washFred Kneebone Miss Tilly Aston Blind authoress philanthropist obit 1947 C.M. Dodd 1" white close upartwork, tilly aston, fred kneebone

Sister J. Faust has dressed a wound on the ladies ankle and is applying a blue-line bandage. The photograph is taken in the lady's home. The MDNS uniform at that time was a grey frock, and stiffened brimmed grey felt hat with a light grey band and a red Maltese cross in the centre of the band. The Trained nurses (Nurses) of the Melbourne District Nursing Society (MDNS), from its inception in 1885, provided wound care to their patients, who ranged in age from the very young to the elderly. As research developed better products and dressing materials the methods and medication applied to wounds changed. MDNS received Royal patronage in 1966 and as Royal District Nursing Service (RDNS), the Education department developed programs, such as the Leg Ulcer Management Program, to provide their Trained nurses (Sisters) with methods of best quality care. The Sisters liaised with the patient’s Doctors and hospitals to provide information on the progress of patient’s wounds and to receive any change of wound care from the Doctors. RDNS introduced a Wound Care Specialist program and these Sisters did assessments and provided advice and support to the District Sisters working in the field. Black and white photograph of Melbourne District Nursing Society (MDNS) visiting Sister J. Faust, who is wearing a white gown and a grey brimmed hat over her dark curled hair. Part of her grey uniform frock is seen below the gown. She is applying a light coloured bandage to the right ankle of an elderly female patient. The lady, who has dark curled hair, and is wearing a grey frock, apron, and black cardigan is seen seated side on, on a wooden chair to the right of the Sister. She has her right leg extended and resting on a small low table, her left leg is bent to the floor.. The Sisters open case is seen on a small table to the rear of the lady and a walking stick is to the left against the door frame. A dark curtain hangs in the doorway. A large white wash bowl is seen in the lower left of the photograph. A glass jar with scissor blades into a liquid can be seen on a cabinet to the left of.Sister Faust. To the right of the photograph a partial white covered bed can be seen with a table over it with papers and a magnifying glass. Name of Sister on rear of photograph.wound care, melbourne district nursing society, royal district nursing service, rdns, mdns, sister j. faust

This history was complied for the Stawell Football & Netball Club 1874-2011Black Card Cover with black initials in red circle, above grey print, above white print above logo, below which is The Authors Name.Grey Print: A History of White print: The Stawell Football club Print in Logo: Stawell Football & Netball Club Warriors By H.J. Melbourne stawell sport

Western District Pastoralist who lived at Eildon, Grey St, St KildaSepia photograph on card, mounted, good conditionOn back: John Lang Curie F.R.S 1818-1898 Western District Pastorlist Lived at "Eildon" Grey St St Kilda Donated to Society by Jack Taggart February 1980 (His father worked as a gardner at "Eildon" )

Sent to Mrs McDonald "Monald" 32 Grey Street Wangaratta from a soldier during second world warVictoria's 2/24th Infantry Battalion was raised in Wangaratta in July 1940. They were welcomed with open arms by the local community as they rapidly built up their numbers. The people of Wangaratta adopted the Battalion and they became known as "Wangaratta's Own" because of the time the battalion spent in the town during its formative period prior to deployment overseas. Many of the soldiers maintained life long friendships with the people of Wangaratta. Even though the Battation was disbanded in 1946 members and their families return each year, in November, for a commemorative service at the 2/24th Battalion Memorial Wall at the Wangaratta Cemetery.Cream paper envelope with hand drawing of palm tree and thatched hut with stick figure in centre.Top left - AIR MAIL Top right - postage stamp Middle - AIF Censor stamp Right side Mrs M McDonald "Monald" 32 Grey Street Wangaratta Victoria Australiaww2, envelope art

Sent to Mrs MacDonald "Monald" 32 Grey Street Wangaratta by soldier during second world war.Victoria's 2/24th Infantry Battalion was raised in Wangaratta in July 1940. They were welcomed with open arms by the local community as they rapidly built up their numbers. The people of Wangaratta adopted the Battalion and they became known as "Wangaratta's Own" because of the time the battalion spent in the town during its formative period prior to deployment overseas. Many of the soldiers maintained life long friendships with the people of Wangaratta. Even though the Battation was disbanded in 1946 members and their families return each year, in November, for a commemorative service at the 2/24th Battalion Memorial Wall at the Wangaratta Cemetery.Cream paper envelope with hand drawn scroll with stick figure either side Top left - AIR MAIL Top right - postage stamp Left side - AIF Censor stamp Right side Mrs M MacDonald "Monald" 32 Grey Street Wangaratta Victoria Australiaww2, envelope art

Depiction of a bridge over a creek edged with trees. On left are the branches of a tree with grey-green leaves. The creek fills the lower centre area of the image, painted in pale blue, grey, highlights of white and darker areas of dark blue. The wooden rail bridge curves in an even arch in centre of image. On right is a bank rising from the creek, with large tree with pale grey-green foliage and a tree with darker olive foliage. The background shows what could be hills and the sky is very pale blue. Mounted in a double matt (white on orange), framed under glass in wooden frame with gold details.Front: Phillip Petrie 90 (lower left) (grey paint). Back: "Langley's Bridge" watercolour. 570 x 420 mm $150.00

Colour photograph of Albert St. Sebastopol at the site of the Grey St Loop, looking south. Shows the road layout in 2003. Photo taken by Warren Doubleday on 14/09/2003. Printed on Agfa paper. On rear of each photo in brown felt tip pen, the words "Grey St. Loop site" and "14/9/02".albert st, grey st loop

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

All articles were written by Mr S T Grey for Whittlesea Shire as part of the Shire History as authorised by council. Articles were published as columns in the Whittlesea Post in 1961. Copies of articles which appeared in the Whittlesea Post 1961. All articles were written by Mr S T Grey for Whittlesea Shire as part of the Shire History as authorised by councilwhittlesea council, s.t. grey, whittlesea shire history

WW11 uniform patches all had the grey background. These belonged to Clarence W Curnow VX100151, 2nd AIF. Refer Cat No’s 1444, 1445.2..1) Colour Patch, felt. Rectangular shape, grey background. Dark Blue on the Left and White on the right. .2) Same as 1448.1 Both relate to The Australian Army Service Corps.badges, uniforms, army, curnow

One of a series of illustrated envelopes which once contained letters drawn by a soldier/s and sent to Mrs MacDonald of 32 Grey Street Wangaratta.Victoria's 2/24th Infantry Battalion was raised in Wangaratta in July 1940. They were welcomed with open arms by the local community as they rapidly built up their numbers. The people of Wangaratta adopted the Battalion and they became known as "Wangaratta's Own" because of the time the battalion spent in the town during its formative period prior to deployment overseas. Many of the soldiers maintained life long friendships with the people of Wangaratta. Even though the Battation was disbanded in 1946 members and their families return each year, in November, for a commemorative service at the 2/24th Battalion Memorial Wall at the Wangaratta Cemetery.Cream paper envelope with drawing of war scene - cannon in front of hut and palm trees, ambulance in centre and bomb exploding below aircraft in sky.Top left - AIR MAIL Top right - postage stamp Left side - AIF Censor stamp Right side Mrs M MacDonald "Monald" 32 Grey Street Wangaratta Victoria Australia ww2, envelope art