Boyd designed the exhibition for the opening of the Australian Chancery in Washington DC held in June 1969. He designed six cylindrical clear acrylic display cases. One of these exhibits used an anamorphic optical illusion, using compressed images which had normal proportions when viewed through a lens of the half-cylindrical display cases. The bookends (item F157) were designed as a small scale model for the Chancery exhibition. Placing the disc (item F158) underneath the adjacent two half-cylindrical bookends (item F157) demonstrates how the bookends behave as a lens.Photocopy of a image on a transparencyaustralian chancery, robin boyd

An aerial photo of the Somme Swamp in France during World War One. There are coordinates or numbers in some areas. Also labelled are the railway line and Canal du Nor and Limberlost Wood. Was with 11 other photos of World War One that had been mounted on board for display at Legacy House at some stage. When they were taken off display they were put in the archive cabinets. The founding legatees all served in World War One so these photos would have been of significant places for them. (see 01888 to 01899)Photos from World War One that would have been significant to the founding legatees.Sepia photo of the Somme battlefield in France during World War One.world war one, france, somme

Hall designed by H G French erected by E Cowlishew, seated 350, lit with acetylene light, opened with a grand ball 26 September 1907. Later altered, bio-box added to show films. Hall was drastically altered in 1962, demolished 1998. New Civic Centre and library built on site.|This is the before paired photograph used in the 150 year Lakes Entrance 1858-2008 display.|The after paired photograph Number 02401.1 Also one 12 x 16 framed photograph used in room display.Black and white photograph of the timber Mechanics Hall. Building has gable roof, four ventilators and chimney, foyer at end of building has gable roof, steps leading to doors of foyer and main building. Many windows. Lakes Entrance VictoriaMechanics Hallhalls, room display, historic buildings

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 Thylacine or Tasmanian Tiger, was a large nocturnal carnivorous marsupial now believed to be extinct that was native to both Australia and New Guinea. The Thylacine is believed to have first appeared over two million years ago with documentation of the species appearing on rock-art that have been dated as far back as 1,000BC. 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. The Burke Museum Thylacine is of great historic, scientific and cultural significance as Australia's most notable example of a species made extinct within living memory. Poignant images of the last known thylacine linger in national consciousness and remain an evocative symbol of the impact of humankind on the natural environment. The Burke Museum thylacine has immense social significance not only for its ability to tell a story to present and future generations, but also for embodying the mythic tiger that lives on elusively, we hope, in the Tasmanian wilderness. Attempts to clone the thylacine from material held in museums attest to the passion that this iconic animal evokes in the scientific as well as mainstream community. Medium sized lean female thylacine with four stocky legs and a stiff tail. The fur is short and coarse and in a light brown-yellow colour with 15 dark brown stripes across the width of the body. The head is long and narrow with two small pointy ears and a large jaw with up to 30 visible teeth.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, thylacine, tasmanian tiger, rare

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 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

1099.1 - photocopy of an article in The Courier, Ballarat Tuesday Feb. 9 1988, page 17 of the house that contained Ballarat ESCo tram No. 12 in the Tuesday Heritage Column of the newspaper. Contains a photograph of the house containing the tramcar. Newspaper Clipping details the former occupiers, the Rayner family, the construction of the extensions around the tramcar, family use, family history and some details of the family members and other local history. The copy of the newspaper Clipping has numerous pin holes in the corner and the rust marks due to use on a display on Tram No. 12 in a display board in the depot from about 1991 to 1998. From a copy made from the newspaper Clipping collection held by Alan Bradley. 1099.2 - copy made March 1999 of the same Clipping for record purposes and to have a good copy. (2 copies held). Also has a review by John Hindle of the "Storming St. Kilda by Tram", presented by TheatreWorks aboard a special tram for St. Kilda, from the Herald Newspaper dated 15/3/1988. Collected by Alan Bradley.trams, tramways, nerrina, rayner family, theatre, esco

The Chart displays unit colour patches worn by members of the Australian military forces during world war 2. the Australian Military forces consisted of the 2nd Australian Imperial Forces and the Permanent Military ForcesDuring the world wars and the years in between, Australian soldiers wore cloth patches of various shapes and colours on their upper sleeves to indicate to which unit or formation they belonged. The use of colour patches was discontinued in 1949 when the British system of embroidered shoulder titles, formation signs and lanyards was adopted. In July 1987 colour patches were reintroduced in order to foster the Army’s heritage and are now worn on the right side of the puggaree on the slouch hat. Coloured Print of Colour Patches of the Australian Military Forces World War TwoNumbered Colour Patches and descriptions of each patch 1 to 630

AWAS uniform belonging to Cpl Irene Driscoll Items were put together to show an Australian Women’s Army Service Uniform. A hat belonging to Mrs M Crowley (Cat No 1268) is part of the display..1 Shirt, polyester, light khaki, long sleeves with Corporal stripes on each arm .2 Tie, khaki. .3 Skirt, Service Dress, khaki, winter. .4 Jacket, Service Dress, khaki, winter, 2 x Rising Sun lapel badges, 2 x “AWAS” shoulder badges, 2 x Corporal Stripes on right sleeve, 2 x colour patches, rectangular blue & white with purple surround, metal buttons..1) “A.G.C.F Vic 1982 size 40/81” .3) “V.83 made in AUSTRALIA 1942” .4) “N 381 made in AUSTRALIA 1942, size 10”ausraliam womens army service, uniforms - army

Team photograph, Greensborough Football Club 1947. This photograph was displayed at the GFC Hall of Fame in 2016. Black and white jumpers were in use due to a shortage of green jumpers after World Ward 2. This photograph is a record of the team - players and support staff - involved in the 1900 season.Group photograph of football team, players and support staff. Players are identified on mount of photogreensborough football club, diamond valley football league

The Andrew Ross Museum was offically opened on 27th March 1993 as part of heritage week. A book launch of "Reminscences of Andrew Ross" was also launched. A set of photographs taken illustrate the displays in place at the time.Colour photographactivities, andrew ross museum, garnet burges, mary ryan, heritage week

The Andrew Ross Museum was offically opened on 27th March 1993 as part of heritage week. A book launch of "Reminscences of Andrew Ross" was also launched. A set of photographs taken illustrate the displays in place at the time.Colour photographactivities, andrew ross museum, heritage week

The Andrew Ross Museum was offically opened on 27th March 1993 as part of heritage week. A book launch of "Reminscences of Andrew Ross" was also launched. A set of photographs taken illustrate the displays in place at the time.Colour photographactivities, andrew ross museum, heritage week

The Andrew Ross Museum was offically opened on 27th March 1993 as part of heritage week. A book launch of "Reminscences of Andrew Ross" was also launched. A set of photographs taken illustrate the displays in place at the time.Colour photographactivities, andrew ross museum, heritage week

The Andrew Ross Museum was offically opened on 27th March 1993 as part of heritage week. A book launch of "Reminscences of Andrew Ross" was also launched. A set of photographs taken illustrate the displays in place at the time.Colour photographactivities, andrew ross museum, heritage week

The Andrew Ross Museum was offically opened on 27th March 1993 as part of heritage week. A book launch of "Reminscences of Andrew Ross" was also launched. A set of photographs taken illustrate the displays in place at the time.Colour photographactivities, andrew ross museum, heritage week

The Andrew Ross Museum was offically opened on 27th March 1993 as part of heritage week. A book launch of "Reminscences of Andrew Ross" was also launched. A set of photographs taken illustrate the displays in place at the time.Colour photographactivities, andrew ross museum, heritage week

The Andrew Ross Museum was offically opened on 27th March 1993 as part of heritage week. A book launch of "Reminscences of Andrew Ross" was also launched. A set of photographs taken illustrate the displays in place at the time.Colour photographactivities, andrew ross museum, heritage week

Carriage Sign - Puffing Billy Museum Advertising This board was used to advertise the Menzies Creek Museum after it opened in 1970. This particular sign was displayed inside, on the end of the Puffing Billy NBH type carriages. Historic - Puffing Billy Railway - Carriage Sign - Puffing Billy Museum Advertising fitted to NBH carriages.Carriage Sign - Puffing Billy Museum Advertising metal signVisit the Puffing Billy Steam Museum you can see - Steam Locomotives - Working Exhibits - Early Rolling Stock - Souvenirs available the museum is located at Menzies Creek & opens every Sunday 11am to 5pmpuffing billy, puffing billy museum, carriage sign

Depicts a dog with owner working sheep in pen at official opening of National Wool Museum held on the 21st December 1988. (Contact: Kevin Boyle, editor, Weekly Times, for permission for any further display).sheep dogs, national wool museum, photographs

A uniform code of signals for working winches in mines was established in 1887. Signs displaying the signals had to be placed in clear view of the engine driver and at each level of the mine. The signals were various numbers of bells.A metal sign with a black background and red and white printing. There three sections, the top one is white text, Signals for Winding, numbered 1 to 10 and 15 down the sign, with instructions next to each number. The next section is red text, Firing Signals, with two lines numbers and writing. The third section is white text, Interplat Signals with signals to raise or lower cage to various levels.code of signals, underground minning

This book summarises aspects of museum practice, and gives guidelines on a range of topics from initial decisions about the purpose of a museum, the development and cataloguing of collections, their display and storage, to the use of the museum by researchers and school groups.127p.; ill.; 24 cmmuseums - handbooks, manuals etc., western australian museum, manuals, cataloguing, storage, exhibition

Provides a history note on T class tramcar No. 180, the builder (Duncan and Fraser), alterations, use and retention by the TMSV. Gives the specifications and Data on the tram. Built for the MBCTT. The tram is on display at the Melbourne Tram Museum. Yields a brief history of Tram T 180Single page, spirit duplicated foolscap sheet, Research Note - "Tram T 180. Dated 18/4/1966, written by Keith Kings. Stapled to item 6502. Has the TMSV Heading on the sheet.tramcars, tramways, history, mbctt, t class, tram 180

Photograph of a street sign in Baria Thanking the Royal Australian Forces in destroying the 45th North VN Regiment on Aug 18'66 War Long TanOn the back of the photgraph reads Vietnam 1966/67 1st APC Squadron 3 Cavalry Reg. "This is a sign that was erected in local village Baria. Somewhat exaggerated considering Aust Task Force made across North VN Reg many more times in following years. I often wonder of the safety of those who put it up. The VC would not have been happy to see such a bold display of appreciation. John (Bilco) Trebilco."photograph, long tan, the royal australian forces