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Orbost & District Historical Society
glass container, first half 20th century
Used as a pickle bottle by Mary Gilbert, local historian and Orbost high school teacher. . Mary Isabelle Gilbert was born in 1905 in Orbost, Australia. She was born to John Gilbert and Annie Cameron Gilbert, and had seven sisters and one brother. Four siblings died at a young age. .She was a teacher historian loved and respected by her family and the wider community.Mary Gilbert, B.E.M. was devoted to Orbost. She taught in Orbost for 40 years. She fostered the Orbost Historical Society and initiated the establishment of the Orbost Museum.Cut glass square shaped bottle with lid (202.2). Square designs with large diamond shape in centre.glass-container gilbert-mary -
Orbost & District Historical Society
Painting - framed, second half 19th century 1860's?
James came to Australia from Plymouth on the ship "Mobile" arriving 16/11/1853 aged 22. he married Alice Roberts on November 27, 1861. With a large young family he moved from Central Victoria to Glengarry in Gippsland where he farmed and set up sawmills at Glengarry and Rosedale. After hearing of land grants at Orbost and investigating the possibilities with Elizabeth, his eldest daughter he selected land at Pumpkin Point, Bete Bolong. The whole family (ten children from 23years - 2years) eventually moved to Orbost around 1885. ( read "From White Knowle to Pumpkin Point" by Hon Peter Nixon A.O.) He had the first saw mill. He convened the meeting that established butter factory foundation and shares and was the first Agricultural Show president,James Nixon was a significant and influential citizen of Orbost's early years.Portrait done in oils of Nixon, James Mr. The portrait is of the bust of Nixon in a tuxedo with blue to grey background. Timber finish frame.nixon-james orbost-bete-bolong pumpkin-point -
Orbost & District Historical Society
Invitation, 1901
Henry James (1860-1932) was an agent and auctioneer. Record secretary of the Snowy River Shipping company. Shire councillor. Foundation member of Butter Factory.Henry James was a prominent Orbost identity who was very much involved in the local community.Invitation to James, H. (Mr) to the opening of Federal Parliament by the Prime Minister Edmund Bartonon 9 May 1901. Framed in wood, white paper with print of the young queen on a horse holding court. Colour invitations shows a young woman with armour and sword dismounting from a white horse in front of an older woman who has a crown in front of her. Several other women look on. The room is hung with heraldic bunting and shields, including one of the Union Jack and one showing the Southern Cross. The older woman is dressed as Britannia, and her shield and trident are at rest beside her.Printed: His Majesty's Ministers of State for the Commonwealth of Australia/ request the honour of the presence of... / in the Exhibition Building, Melbourne, on Thursday, 9th May, to witness/ the Opening of the Parliament of the Commonwealth./ Edmund Barton/ Prime Minister invitation 1901 parliament james-harry federation snowy-river-shipping-company -
Orbost & District Historical Society
plate, Powell, Bishop & Stonier, December 6 1880
Belonged to Mary Gilbert who was a passionate local historian. She was awarded a British Empire medal in recognition of her work for education and the community. Mary Isabelle Gilbert was born in 1905 in Orbost, Australia. She was born to John Gilbert and Annie Cameron Gilbert, and had seven sisters and one brother. Four siblings died at a young age. .She was a teacher historian loved and respected by her family and the wider community.This item is an example of late 19th century English porcelain.Hand-painted Conway plate with illustrations of birds, sunsets, butterflies and sailing ships. Cream background.Back - British coat of arms. 3 logos.plate domestic crockery porcelain conway gilbert-mary -
Orbost & District Historical Society
vase, first half 20th century
Belonged to Mary Gilbert who was a passionate local historian. She was awarded a British Empire medal in recognition of her work for education and the community. . Mary Isabelle Gilbert was born in 1905 in Orbost, Australia. She was born to John Gilbert and Annie Cameron Gilbert, and had seven sisters and one brother. Four siblings died at a young age. .She was a teacher historian loved and respected by her family and the wider community.This item has aesthetic significance. It was owned by Mary Gilbert, a prominent Orbost personality, the first curator of the Orbost Museum. Handmade, tall carved wooden vase painted red. Bush scene painted black with pokerwork.vase ornament-wood gilbert-mary -
Orbost & District Historical Society
first day cover, Connell, Lee, June 1987
The Man from Snowy River" is a poem by Australian bush poet Banjo Paterson. It was first published in The Bulletin, an Australian news magazine, on 26th April 1890. The poem tells the story of a horseback pursuit to recapture the colt of a prizewinning racehorse that escaped from its paddock and is living wild with the brumbies (wild horses) of the mountain ranges. Eventually the brumbies descend a seemingly impassably steep slope, at which point the assembled riders give up the pursuit, except the young hero, who spurs his pony down the "terrible descent" to catch the mob.Two characters mentioned in the early part of the poem are featured in previous Paterson poems; "Clancy of the Overflow" and Harrison from "Old Pardon, Son of Reprieve".The town of Orbost is situated on the Snowy River and the town has always been "the heart of Snowy River country".A first day cover for "The Man From Snowy River" stamps. There is a picture of a saddle in the top left-hand corner. There is a strip 5 stamps on the envelope and it has been stamped at Orbost Post Office. This strip has 5 scenes based on the Banjo Patterson legendary poem by the same name. The stamps include: At The Station, Mountain Bend, The Terrible Descent, At Their Heels and Brought Them Back.first-day-cover man-from-snowy-river stamps philately -
Australian Commando Association - Victoria
Portrait of Queen – young. One of six
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Australian Commando Association - Victoria
Booklet - Sketch Book, Corporal Francis John Papworth, 5:MMMM, 1945 (exact)
Corporal Francis John Papworth (VX66806) served in the 2/4 Australian Commando Squadron in Timor, New Guinea and Borneo, Tarakan during World War II. His pencil drawn images of the Tarakan camp during May 1945 give an insight into the conditions at that time.Brown cardboard, spiral bound 'The Empire Sketch Book' with five pencil drawings on art paper by Corporal F. J. Papworth during his Commando service at Tarakan Hill, Borneo during World War II. Three of the drawings depict the army camp at Tarakan Hill during May 1945; the fourth drawing shows a young boy from Tarakan sitting on an army jeep and the last is a rough sketch of a baby drawn in 1947. Sketch Book of Corporal Francis John Papworth during World War IIOn front cover in handwritten in ink "PIC of Geo-Wallace/INSIDE". On first drawing handwritten in pencil on top righthand corner "TARAKAN HILL/looking NNE from machine shop section of Tarakan Oilfield/May 15 1945". On second drawing handwritten in pencil at bottom righthand corner "TARAKAN HILL looking from BANK pill box right centre -/15 May 45". On third drawing handwritten in pencil at top righthand corner "TARAKAN HILL and DUTCH/MACHINE SHOPS-Looking from KINGS CROSS/The morning of the 4th May 1945-/0745 hrs-/The Quiet before the storm". On fourth drawing handwritten in top in pencil "Salamit - Peace or Peaceful[l] Used as a Greeting/Salamit-/ORONG LAKI LAKI/TARAKAN. BORNEO/19 MAY 45." All four sketches are signed "John Papworth/Tarakan 1945".On fifth sketch handwritten in pencil "Michael/Signed by/2 Feb 1947".book, world war ii, military, sketch, tarakan, borneo, commando, papworth, may 1945, pencil drawings, wwii, world war 2 -
Australian Commando Association - Victoria
Framed photograph, The Krait on Sydney Harbour, Photo taken in 1964
Cdo Assoc Victoria presented it to Exmouth Heavy AA Assoc. This was because the Krait left Exmouth on the successful Opn Jaywick raid on Japanese occupied Singapore Harbour in 1943. Exmouth Heavy AAA has now disbanded and daughter of a foundation member donated it back to the (post-WW2) Vic Cdo Assoc in July 2012.The former Japanese fishing boat, as MV Krait left Exmouth on the successful Opn Jaywick raid on Japanese occupied Singapore harbour in 1943. The vessel was partly restored, and motored into Sydney harbour in 1964 with former Z Special members on board, including the Jaywick operatives Berryman, Carse, Jones and Young. Black wooden frame with gold-painted border. Photo has large white borders. Black and white photograph of the WW2 Krait of Operation Jaywick fame, on Sydney Harbour in 1964 with crew members and four former Jaywick operatives on board - Berryman, Carse, Jones and Young. Legend: October 1972 Presented to EXMOUTH HEAVY ANTI AIRCRAFT ASSOCIATION by the VICTORIAN COMMANDO ASSOCIATION. Four original crew members standing at forward well deck 1964. L to R Moss Berryman, Horrie Young, Ted Carse & Joe Jones. Brass plate on frame: "KRAIT." On back: "Barilyn Images 59 85 4666."japanese fishing boat mv krait exmouth operation jaywick singapore harbour z special berryman carse jones young. -
Australian Commando Association - Victoria
Book, No Turning Back: Top Secret Intelligence Operation in Borneo During World War II Behind Japanese Lines
Twenty-two young New Zealand soldiers were posted to a clandestine intelligence unit in Melbourne called the Allied Intelligence Bureau. Their task was to undertake espionage and sabotage lines of communication, train natives as soldiers for local resistance and set up a radio link back to Australia. This is the account of the experiences of one soldier’s operation in Borneo – and is an account of their divine protection. Soft cover 174 pageSigned by author.ww2, australian special operations, nz special forces in ww2 -
Australian Commando Association - Victoria
Book, My War: An Australian Commando in New Guinea and Borneo 1943 to 1945
Brian Walpole, the author, was a Australian Commando and special operations operative behind enemy lines in New Guinea and Borneo during WW2. Brian was a commando with the Australian 2/3 Independent Company. He went to New Guinea in January 1943 and remained until the fall of the Japanese base at Salamaua in September. He fought on the Bobdubi Ridge. His commanding officer was the well-regarded George Warfe, whose portrait was sketched by war artist Ivor Hele. Brian blazed a trail through the New Guinea jungle which appears on some maps as Walpole’s Track, discovering and naming the ambush site Goodview Junction. Soon afterwards (July 1943) Goodview Junction was the scene of a key campaign victory which contributed to George Warfe being awarded the Military Cross.Brian’s Special Operations training mostly took place at Careening Bay (Western Australia) and Fraser Island (Queensland). He arrived in Borneo at the time of the 9th Division’s landing at Labuan Island, and took part in two SRD operations – Colt and Semut 3. After the surrender, Walpole's work continued as many of the Japanese did not recognise the surrender and continued to fight on. Brian relates how on the 14th of September 1945 while still an operative in SRD he was able to save POWs from certain death and after a firefight arrested 10 Japanese soldiers at Simanggang Borneo. He was alone and had been assisted in the battle by 20 headhunters from the jungles along the Rejang River. One of the people saved was a young nurse in her 20s, Lena Ricketts. ww2, australian special operations, australian commando, new guinea, borneo, world war ii -
Australian Commando Association - Victoria
Book, The Commando: The Life and Death of Cameron Baird, VC, MG
On 22 June 2013, Corporal Cameron Baird was a 2nd Commando Regiment Special Forces soldier when he led his platoon into a known Taliban stronghold to back-up another Australian unit under heavy fire. In the prolonged firefight, Cameron was mortally wounded. In 2014, Cameron's bravery and courage under fire saw him posthumously awarded the 100th Victoria Cross, our highest award possible for bravery in the presence of the enemy. Cameron Baird died how he lived - at the front, giving it his all, without any indecision. He will forever be remembered by his mates and the soldiers he served with in the 2nd Commando Regiment. THE COMMANDO reveals Cameron's life, from young boy and aspiring AFL player, who only missed out on being drafted because of injury, to exemplary soldier and leader. Cameron's story and that of 4RAR and 2nd Commando personifies the courage and character of the men and women who go to war and will show us the good man we have lost. australian special forces, commandos, afghanistan, 2nd commando regiment -
Australian Commando Association - Victoria
Book, The Heroes- the true story of the Krait. Australian WW 2 Raids on Singapore
Softcover and slightly different format from photographsigned by Moss Berryman, Arthur Jones, Ron Morris and Horrie Young- all crew members on MV KRAIT during Operation JAYWICK in 1943 -
Australian Commando Association - Victoria
Book, Peter Young, Commando
330mm * 236mmnon-fiction -
Australian Commando Association - Victoria
Book, Peter Young, World War 1939-45
1950-1960non-fiction -
The Beechworth Burke Museum
Animal specimen - Dusky Moorhen, Trustees of the Australian Museum, 1860-1880
Dusky Moorhens are a medium sized, dark coloured water bird. They are located in the wetlands of eastern and south-western Australia. They can also be found in India, New Guinea, Borneo and Indonesia. These birds have a bright face shield located above the bill; however, the bright colour of this feature grows duller in females and young males during autumn and winter. 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 Dusky Moorhen standing on a wooden platform with a paper tag attached to its left leg. The specimen has a sooty-black plumage with a yellow bill and black/yellow legs/toes. It has remnants of what would have been a reddish-yellow shield on its forehead. "18c Australian Coot. See Catalogue, Page, 35"taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, dusky moorhen, waterbird -
The Beechworth Burke Museum
Animal specimen - White-Necked Heron, Trustees of the Australian Museum, 1860-1880
The White-necked Heron (also known as the Pacific Heron) is commonly found throughout mainland Australia. It resides mainly in locations with freshwater and in tidal areas. These birds are carnivores and mainly eat fish, crustaceans, amphibians and insects. They are also known to feed on young freshwater rats, young ducklings and lizards. 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.The White-Necked Heron has been stylised in a standing position on a wooden platform. The bird has long black legs and a long white neck with black spots decorating the front of the neck. The head is also white and the bill black. The front torso of the bird is cream mixed with brown plumage and the back. The rear and wings are a dark brown. [illegible] Heron / See Catalogue, page 33. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, white-necked heron, heron, pacific heron -
The Beechworth Burke Museum
Animal specimen - White-Neck Heron, Trustees of the Australian Museum, 1860-1880
The White-necked Heron (also known as the Pacific Heron) is commonly found throughout mainland Australia. It resides mainly in locations with freshwater and in tidal areas. These birds are carnivores and mainly eat fish, crustaceans, amphibians and insects. They are also known to feed on young freshwater rats, young ducklings and lizards. 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.The White-Necked Heron has been stylised in a standing position on a wooden platform. It is facing forwards but looking over its left shoulder. The eyes of this specimen are made from yellow glass. The bird has long black legs and a long white neck with black spots decorating the front of the neck. The head is also white and the bill black. The front torso of the bird is cream mixed with brown plumage and the back. The rear and wings are a dark brown.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, white-necked heron, heron, pacific heron -
The Beechworth Burke Museum
Photograph, c.1914
This photograph depicts a soldier, credited on the reverse as Fred Foster. The young man is dressed in military attire and is standing tall with a gun beside him. He is located in the Australian bush and the date of the photograph is unknown. Frederick “Fred” Arthur Foster was nephew to famous Bushranger Edward “Ned” Kelly. He was born on the 15th of March 1889 in Forbes, New South Wales. He was the eldest son of Catherine “Kate” Kelly and William Henry “Bricky” Foster. After the death of his mother in October of 1898 from apparent drowning, Foster (then aged 9) was raised by his grandmother Ellen Kelly (née Quinn) at Eleven Mile Creek in Victoria. On the 29th of June 1915, 26 year old Foster travelled to Melbourne, Victoria and enlisted in the Australian Army. He was a Private in the 17th Infantry Battalion (originally C.Company, 47th battalion). He previously was attached to the 55th Battalion but transferred in 1916. Prior to enlisting in the army, Foster worked as a Bee Keeper and served in the 16th Light Horse regiment at Benalla. Foster had blue eyes, brown hair and was of Presbyterian faith. On the 28th of February 1917, Foster travelled to France aboard SS “Golden Eagle”. He was killed in action in Lagnicourt, France on the 15th of April 1917 at 28 years old. The Battle in Lagnicourt France, on the Western Front, occurred from the 1st of March to the 30th of April of 1917 and was the location of fierce fighting between Germany and the British Empire. Germany became aware of a weakness they had along the Hindenburg Line, one of these weaknesses was located in Lagnicourt which is a small village in Northern France. Therefore, the Germans decided to launch a counter-attack in this area on the 15th of April at dawn. During this fight, German forces captured several batteries of the 1st Australian Division’s artillery but the Australians led a strong counter-attack by four of their battalions and recaptured the village and most of the guns from the German forces. German forces were forced into a premature withdrawal. This battle was not undertaken in typical WW1 “trench” style warfare. Instead, the battle was up on the ground in what was described as “old open style warfare”. In this battle, slightly more than 1000 casualties were Australian, with 300 of these prisoners of war. German forces suffered a loss of over 2300 casualties with 360 taken captive. Foster was one of 43 in his regiment who died, 87 were wounded and 51 reported missing. Foster was buried at location in Lagnicourt and whilst the grave was initially marked, it is now unknown. Foster’s service, alongside those who fell at Lagnicourt, is commemorated at the Australian National Memorial in Villers-Bretonneux, France along with other national Australian memorial sites.Photography played an important part in World War 1. Photographs of men in their military uniforms served as propaganda during the Great War to reassure civilians back at home of the military prowess of their nation and the bravery of their men. It did this while hiding the true horrors which faced the men in battle. These photographs, which includes those taken at home prior to embarking overseas like Fred Foster’s, act as censored memory for those who have lost a loved one at war. It enables families to remember their relatives in their youth and standing proudly rather than having to face the actual danger and horror which faced these men at the front line. The battle of Lagnicourt France was a victory for the European Empire and therefore, men who lost their lives protecting their countries became heroes and were awarded posthumous medals for their service. Photos of soldiers in their uniforms, were undertaken by men like Foster, so their families would be able to retain their memories and likeness before they embarked for war. Many men were killed or horribly wounded so these images were important for reminding families about their sons/ husbands/ brothers/ cousins and friends. This photo is a part of the Burke Museum Kelly album which includes numerous photographs relating to the Kelly Gang. As the son of Kate Kelly and William “Bricky” Foster, Fred Foster is an important part of the Kelly story after the execution of Edward “Ned” Kelly which has information it can impart relating to the history of the family after 1880. Whilst an important element of the Kelly Album, Foster’s photograph is also historically important in its own right for its connection to the Great War and the experiences of a soldier at the Western Front.Original sepia rectangular photograph developed on matte photographic paper, unmounted.Reverse: (Top right corner of reverse:) FRED FOSTER/ (Top centre of reverse:) Kate Kelly's son.kelly album, fred foster, kate kelly, photograph, australian soldier, the kelly gang, australian bush, burke museum, sepia photo, gum trees, family of the kelly gang, world war i, langnicourt, france, great war, 1917, ned kelly, frederick foster, william "bricky" foster, ellen kelly, military history, australian military -
The Beechworth Burke Museum
Photograph, c. 1917
This photograph features a woman and a man, both older, seated together on a bench at Benalla railway station, c.1917. The woman on the left, wearing a hat and face veil is Mrs Kelly (Ellen Quinn Kelly), Ned Kelly’s mother and the man beside her is Ned Griffiths. Born in 1832 in Ireland, Ellen married John ‘Red’ Kelly, an ex-convict who also originated from Ireland, in 1851. She met Kelly after emigrating to Australia with her parents. Ellen and John Kelly had 7 children, the eldest of these is the infamous Bushranger Edward "Ned" Kelly. John Kelly died in 1866. Ellen had 7 children to care for and not much money so she relocated the family to Greta where she had relatives. Ellen remarried in 1874 to a young George King, an American originally from California. The couple married in Benalla and together they had 3 children. Ellen and King's children would later adopt the surname Kelly after George disappeared in 1877. Ellen spent three years in prison for the assault of Constable Fitzpatrick (an incident surrounded by mythology and uncertainty). She later passed away in her early 90s on the 27th of March 1923 at Greta. In this photograph, Albert "Ned" Griffiths wears a hat, full suit, and glasses. He is Ellen Kelly's son-in-law from his marriage to her daughter Grace Kelly. Ned Griffiths was born in 1871 and died in 1939. He married Grace Kelly in 1889 in Benalla and together the couple had nine children.This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Individuals like Ellen Kelly played an essential part in the Kelly story which have been adapted for popular culture. The study of these individuals through their images and records can help researchers to correctly interpret their involvement with Ned Kelly and the Kelly gang.Original sepia rectangular photograph developed on matte photographic paper, mounted on board.Reverse: (Top half of reverse) Mrs Kelly/Mother of Ned Kelly And Mr Ned Griffiths her/ Son in law – husband/ Of Grace Kelly/ (Down right side of lower half of reverse) 855-184-1kelly album, ellen kelly, ned griffiths, photograph, grace kelly, mourning attire, ned kelly, mother, son-in-law, the kelly gang, burke museum, sepia photo, mounted photo, victoria, benalla, australia, 1917, benalla railway station -
The Beechworth Burke Museum
Photograph - Postcard, George Rose, c. 1910
Produced c. 1910 by The Rose Stereograph co. This colourised photographic postcard shows the exterior of the administrative buildings at Mayday Hills mental hospital with three young boys in the foreground. This postcard forms part of the extensive Rose Series. (P. 4689) of postcards being produced by the Rose Stereograph co. which depicted landmarks from across Australia. Despite the early date attributed to this image, according to Walsh dates from this series place the postcards being produced typically between 1920-54. Mayday Hills Hospital, then known as the Beechworth Lunatic Asylum was constructed between 1864-67 designed by The Public Works Department. The hospital is made up of a number of buildings, landscaping, ha-ha, workshops, laundry, administrative facilities and farmland, it was constructed in 'Italianate' style by a team of up to two hundred and fifty workers (Woods p. 122). The asylum was established in response to the need for the regional shire to locally care for those particularly affected by their time working the Ovens goldfield during the Indigo Shire gold rush era where poor living conditions and isolation were significantly affecting the welfare of a great many people through poverty and lack of resources. The gaol and orphan labour systems were not able to effectively support to give housing, rehabilitation and ongoing care for the mentally ill, and transporting to Melbourne by waggon was a time consuming and counter-productive solution when the metro facilities were already overcrowded. According to Woods (A Titan's Field p. 122), between 1901 and 1911 a large percentage (thirty five percent in 1901 and twenty four in 1911) of the Beechworth population were either patients or inmates of Beechworth institutions, Mayday Hills accounted for some six hundred and seventy four patients in 1901, Beechworth's Mayday Hills was chosen as the site of Victoria's newest asylum, at the time, due to the landscape and altitude. The hilltop atmosphere and the native fauna, it was argued, would assist in the cure of the patients kept at the hospital (Wood 1985, 122). The positioning of the hospital had a beneficial effect on the rural town and the large volume of people living at the hospital and contributing to this population growth is counted as reason for the survival of Beechworth as a regional township. Mayday Hills continued to function as a mental hospital up until 1995 when it was sold to LaTrobe university. The building and grounds are listed on the Victorian Heritage Register under criterion A, B, D, E and F. Through the colourisation of the photograph and through the unusual choice of the subject matter being used as a postcard, we can get a good indication of aesthetic interests of the time.Rectangular coloured photograph printed as postcardObverse: Beautiful / Beechworth / (Vic.) / 1800 ft. / above / Sea / Level / - / Asylum / for / insane / (Front / View) / Copyright. / F. / Foxcroft / Photo Reverse: 1997.2454 / Postcard / THIS / SPACE / MAY / BE / USED / FOR / CORRESPONDENCE: / THIS / SPACE / FOR / NAME / AND / ADDRESS / STAMPpostcard, rose series, mayday hills hospital, mayday hills, beechworth lunatic asylum, photographic postcard, george rose, the rose stereograph co., social welfare, welfare services, ovens goldfield, lunatic asylum, the public works department, australian landmark, regional shire, indigo shire council, gold rush, beechworth institution, victorian heritage register -
The Beechworth Burke Museum
Animal specimen - Brown Quail, Trustees of the Australian Museum, 1860-80
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. Like many species of quail, the Brown Quail is often difficult to see, as it inhabits rank, overgrown grassy areas, often in damp, low-lying patches beside wetlands. They are difficult to flush from this cover, preferring to squat among the grass or run quickly off through the vegetation rather than fly off. As is the case with many species that inhabit dense habitats, the Brown Quail may be heard more often than it is seen, with its characteristically mournful two-note call whistle often heard at dawn and dusk. The Brown Quail is found across northern and eastern Australia, from the Kimberley region in Western Australia to Victoria and Tasmania, as well as in south-western Australia. It is also found in Papua New Guinea and Indonesia, and has been introduced to New Zealand. The Brown Quail feeds in the early morning or evening, on the ground, mainly on seeds and green shoots, but also on insects. In some area, quails will readily cross roads and may be seen feeding along roadsides.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 Brown Quail is a small, plump ground-dwelling bird. It is variable in colour, ranging from red brown to grey brown with fine white streaks and black barring above, and chestnut brown below. The eye is red to yellow, the bill black and the legs and feet orange-yellow. In Tasmania, this species is called the Swamp Quail and tends to be larger and darker than mainland birds, with a pale yellow eye. Female Brown Quails are larger and may be more heavily marked with black and paler below than males. Young birds are like adult females, with less distinct markings and a dark brown eye.Label: 33. / Swamp Quail / See Catalogue, page 30 / Mount: 09/taxidermy, quail, brown quail, taxidermy bird, burke museum taxidermy -
The Beechworth Burke Museum
Animal specimen - Diamond Firetail, Trustees of the Australian Museum, 1860-1880
The diamond firetail bird is native to inland southeastern Australia, inhabiting woodland regions. It is often described as one of the most stunningly coloured birds of the finch family. The nest is built by both partners but only the female does the weaving. Both partners incubate the eggs and care for the young. 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. The diamond firetail finch it characterised by the top of its body being ash brown, with crown, forehead and neck grey. The under feathers are white with a crimson rump. There is a black band across its neck which continues down the flank to be dotted with white. The bill and eye ring are coral, and the legs and feet are dark grey. The female is similar to the male although sometimes smaller. 10057 comprises of one male and one female. This specimen stands upon a wooden platform and has an identification tag tied around its legLabel: 41a./ Firetialed Finch / See Catalogue, Page 15. /taxidermy mount, cancel, taxidermy, burke museum, beechworth, australian museum, finch, diamond firetail -
The Beechworth Burke Museum
Animal specimen - Eastern Spinebill, Trustees of the Australian Museum, 1860-1880
The Eastern Spinebill is found along the eastern coast of Australia, from Queensland to South Australia. It lives in wooded areas. It is an insectivore and also eats nectar, which is why its beak is a long slender shape. Females and males have slight aesthetic differences; the males have more distinct markings on the head. The female birds build nests and incubate eggs, but both parent birds will feed the young. The Eastern Spinebill has a bright rust coloured belly and throat, with black wings, crown and tail. Its back is light brown. There is a white stripe on its chest which stretches up underneath its eyes. The eyes are red. This taxidermy specimen is not a good representation of the live bird because it is considerably faded and their feathers are very ruffled. 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.There are two birds on a wooden stand. One has its beak in the air and the catalogue tag attached to its foot (main bird). It has some minor pest damage around its eye. The opposite bird looks straight ahead. The birds are placed next to each other, facing opposite directions. They are faded and have some ruffled feathers. 60a/ Spine Bill / See catalogue, page 18taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, eastern spinebill -
The Beechworth Burke Museum
Animal specimen - Black-faced Cuckoo-shrike, Trustees of the Australian Museum, 1860-1880
The Black-Cuckoo-shrike is common throughout Australia and can be found in wooden habitats with the exception of rainforests. These birds can be located in urban areas and often perch on television aerials. Their diet consists of insects and other invertebrates which they catch in the air while flying, from foliage or on the ground. They may often eat some fruits and seeds. Interestingly, this bird is neither a Cuckoo or a Shrike despite the name. The name derives from their feathers which have similar patterns to the Cuckoos and the shape of their bill which resembles that of the shrike. Today, the Black-faced Cuckoo-shrike has a protected status in Australia, under the National Parks and Wildlife Act, 1974. 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 a young Black-faced Cuckoo-shrike which stands perched on a wooden mount. It has pale grey colouring which is darker on the rear. The wings are tipped with grey-brown feathers and the same colour feathers also appear on the bird's tale. This species is a slender and attractive bird. They have dark limbs and bill and this specimen is provided with two glass eyes which are dark in colouring. The bird has a more creamy pale grey on the throat and stomach. It has a black facial mask which is restricted to an eye stripe. This restriction reveals this particular specimen to be a young Cuckoo-shrike because the elder of these birds have the black colouring on the entirety of their face and neck and not just the eyes. 21a / Black Faced Graculus / See catalogue page 11taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, black-faced cuckoo-shrike, cuckoo, shrike, common birds, australian birds, australian bird -
The Beechworth Burke Museum
Animal specimen - Grey Butcher Bird, Trustees of the Australian Museum, 1860-1880
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 Beechworth Burke Museum
Animal specimen - New Holland Honeyeater, 1860-1880
The New Holland Honeyeater can be found throughout southern Australia, from about Brisbane, Queensland to just north of Perth, Western Australia. They are native to Australia and are named after Australia's first name (new Holland). This specimen is mounted correctly but looks different to the typical images of this bird because it is a younger New Holland Honeyeater and is; therefore, brown in colour instead of the typical black. 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.The Young New Holland Honeyeater is brown in colouring and has grey glass eyes (like this one) while adults are black and white with white eyes. Both have a large yellow wing patch and yellow sides on the tail. It has a small white ear patch, a thin white whisker at the base of the bill. This honeyeater is an active bird, and rarely sits still long enough to give an extended view. Sexes are similar in looks, but females are slightly smaller in size.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, new holland honeyeater, brown, black, yellow, australia, new holland -
The Beechworth Burke Museum
Animal specimen - Regent Honey-Eater, Trustees of the Australian Museum, 1860-1880
The Warty-faced honeyeater Formerly more widely distributed in south-eastern mainland Australia from Rockhampton, Queensland to Adelaide, South Australia, the Regent Honeyeater is now confined to Victoria and New South Wales, and is strongly associated with the western slopes of the Great Dividing Range. The Regent Honeyeater is found in eucalypt forests and woodlands, particularly in blossoming trees and mistletoe. It is also seen in orchards and urban gardens. This species is critically endangered. They are native to Southeastern Australia. Specimen is mounted accurately. Colour around the eyes is red whereas they are yellow normally. 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.The striking Regent Honeyeater (Warty-faced honeyeater) has a black head, neck and upper breast, a lemon yellow back and breast scaled black, with the underparts grading into a white rump, black wings with conspicuous yellow patches, and a black tail edged yellow. In males, the dark eye is surrounded by yellowish warty bare skin. Females are smaller, with a bare yellowish patch under the eye only, and have less black on the throat. Young birds resemble females, but are browner and have a paler bill. The colouring of this particular specimen helps identify it as male.Swing-tag: 56a. / Warty-Faced Honeyeater / See Catalogue, page 18taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian bird, honey-eater, warty-faced honey-eater, regent honeyeater, critically endangered, yellow -
The Beechworth Burke Museum
Animal specimen - White-Winged Chough, Trustees of the Australian Museum, 1860-1880
The White Winged Chough may be found all over Australia's eastern and southern mainland. They live in flocks of up to 20 birds and are extremely sociable. These birds are very territorial and feed primarily on the ground hunting systematically for worms and insects; however, regardless of this territorial nature, they rear their young in a cooperative nesting effort. The White Winged Chough has a distinct swagger about them but they are often mistaken for both magpies and crows. This mistake is due to the overall dark appearance, and their white makings. 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.The White-winged Choughs are large black birds, bigger than Australian Magpies. Male and female Choughs share the same black markings on their bodies and white patches on their wings. The bill is downturned and black in colour. The legs are also black and the specimen stands on a wooden mount. In life, this species has vivid red eyes, but in the case of this particular specimen, the glass eyes are a dark reddish brown.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, white winged chough -
The Beechworth Burke Museum
Photograph, c1999-2000
This photograph taken c1999/2000, depicts the Burke Museum’s granite façade and vestibule entrance. The museum's large red door is closed and there is a white sign is attached to the door. The museum site dates to the 1857 founding of the Beechworth Public Library and Athenaeum by a newly formed Young Men's Association (YMA). In 1863 the museum was dedicated as a memorial to former Beechworth police superintendent (1854-1858) and explorer Robert O’Hara Burke, following Burke’s death from malnutrition on the Burke and Wills expedition in 1861. Funded by the Victorian Government and the Royal Society of Victoria, the officially titled 'Victorian Exploring Expedition' was tasked with being the first European party to traverse Australia from south to north. The Burke Museum holds objects from the famous expedition and explores the multi-layered history of Beechworth and surrounds from the gold rush era to the present.This photograph is historically significant for its depiction of the Burke Museum c1999/2000. The Burke Museum is Australia’s oldest regional museum and part of Beechworth's Historic and Cultural Precinct, one of Australia’s best preserved historic-town sites and a popular tourist destination. Once the government centre for a vast gold fields region, this collection of nationally significant buildings tells the story of how Australia grew and prospered. The frequent use of honey-coloured local granite as a building material, which can be seen in the museum's fabric, gives Beechworth’s historic buildings a distinct and cohesive local character. This photograph captures this distinctive character and may be compared and studied alongside other images of historic buildings in the Burke Museum Photographic Collection.Rectangular colour photograph printed on photographic paper.Reverse: 7031 / Label: Burke Museum / 1999/2000 /burke museum, indigo shire, beechworth athanaeum, beechworth library, beechworth historic building, historic precinct, burke museum exhibition, from the liedertafel to the skating rink, honey-coloured local granite, robert o'hara burke, victorian gold fields, historic towns in victoria, colonial australia, liedertafel, colonial entertainments, beechworth brass band, historic victorian architecture, australia's oldest regional museum, burke and wills expedition, first europeans to cross australia, yound mens associations, beechworth tourism, things to see in beechworth, beechworth historic trail, young men's associations