The Museum holds other items (POW) of "Vern Hufer".This is a British pattern peaked cap. It is of black wool. The peak is black leather. It has a red band around the crown and a thin red piece if piping around the top of the brim. Badge - a band of Oak leaves, a Crown at the top with two crossed swords in centre of Oak leaf wreath.Inside the plastic liner is a ticket with this on it:- “A3/92041 CAPT. D.F.V. Hufer” Stamped underneath leather hat band is “B.W.^D. ?04.”vern hufer, ww2, passchendaele barracks trust

This photo is recorded as depicting Dot Bunting, a volunteer cataloguer at the Burke Museum for many years, sitting at a desk writing. Dorothy Bunting was a Beechworth resident who passed away in 2013, and who was responsible for cataloguing 700 books at the Bourke Museum.This photograph is of social significance because it depicts a local person who was of importance to the Beechworth community as well as to the Burke Museum. It also reveals the historical process of Burke Museum's cataloguing using pens and paper, as distinct from modern technology used by the museum in 2021.A colour rectangular photograph printed on paper, with a smaller piece of paper stuck to the back.Obverse: (illegible) Reverse: 8210 dot bunting, bunting, dorothy bunting, beechworth, burke museum, cataloguing, volunteer, books

This tabard is one of a small number that were produced/woven by Japanese master weaver Jun Tomita during the period that he was resident artisan at the Jam Factory in Adelaide. The tabard incorporates Ikat/Kasuri woven central panels. Tomita was born in 1951 in Toyama prefecture, and is based in Kyoto, the textile centre of Japan. The technique he uses kasuri (the Japanese term for ikat) is selectively pre-dying yarns before weaving to create pattern. The other decorative features of this garment are based on Japanese family crest designs (kamon). The pointed shoulders of this garment are reminiscent of the stiffened shoulders of kataginu, the upper part of the kamishimo ensemble that was formal wear for samurai men. Tomita was at the Jam factory from 1976-78 and he has works in numerous public collections, including: - Stanthorpe Art Museum, Art Gallery of South Australia / Australia - Oslo National Gallery / Norway - National Museum of Israel / Israel - Stedelik Museum, Museum of Rotterdam / The Netherlands - Denver Art Museum, St. Louis Art Museum, Long House Foundation - Cooper-Hewitt Museum of Art/USA - Victoria and Albert Museum, UK - Toyama Prefectural Museum of Art, Japan The donor purchased this tabard from an exhibition held at Wool House in Parkville Victoria, which was sponsored by the Australian Wool Board to promote the use of Australian Wool in textiles and fashion at that time, around April/May in 1977. At that time (1976-1977) the donor owned and run a retail/display shop for craft products such as ceramics, artworks and jewellery. The donor subsequently retained this in storage with some other items since the business closed.Double sided reversible tabard featuring woven centrals panels. One side is navy blue with white and blue detail panels, one side is grey with green, brown and cream central panel detail.textile, tabard, japan, art, clothing, weaving, fashion, design, ikat, kasuri

Photo Album, grey decorative front cover with a grey heavy card slip case, 30 leaves of heavy paper, each separated by a semi clear protective sheet. Compiled by Colin Jones with a title sheet "Trams 1883 - 1993" with Colin standing in the front of Brisbane Tramway Co. No. 47 at the Ferny Grove Museum. Bound with end papers. Photos retained by clear photo corners. Features photos by Colin of: Victor Harbor Surabaya Indonesia Melbourne cable trams, Sydney Steam tram in the UK Ballarat Bangkok Semarang Indonesia Adelaide Brisbane Melbourne Sydney Bendigo Launceston Osaka Japan Perth Kyoto Dalian Japan Fukuoka Japan Kanazawa Japan Hong Kong Sendai Kita Kyushu Hobart Lopburi Kobe Hiroshima Tokyo Matsuyama Japan Nagaski Various Museums in Australia. Sample pages only scanned.trams, tramways, melbourne, album, japan, indonesia, australian tramways

Taken on 14 May 1979, this photo depicts Mr Alan J. Dunlop and his wife presenting a 2.86-gram solid gold nugget found in the Beechworth area more than 100 years ago, to the Shire President, Councillor Mrs Valerie Mason. The gold is reported as attached to a small amount of milk quartz mounted onto a tie pin, and was donated to the Burke Museum by the Dunlop family. Alan Dunlop, pictured, was Sir Edward 'Weary' Dunlop's older brother. The tie pin artefact being donated in this photograph is entered into the Victorian Collections, and records that the nugget was found in the Beechworth Goldfields by Mr Fred McIntosh, in the last 1800s. Fred McIntosh, the husband of Elizabeth (Bessie) Dunlop (the sister of Alan & Edward's father, John) had the nugget made into tie pin and presented it to the Dunlop Family. Furthermore, Valerie 'Val' Mason was the first female president of the former Beechworth Shire for two terms and a councillor for nine years. This photograph is of historic significance as it depicts known individuals who have connections to key Australian figures. Alan Dunlop is the brother of famous war doctor Edward 'Weary' Dunlop, and both men are Beechworth locals. The object Alan holds is a tie pin made from gold found by the Dunlops' uncle, and the provenance of the item – from goldfield to family collection to museum collection – provides a recent context with which to interpret the significance of gold-mining on present and future generations, as well as strong research potential on minerals known to be sourced in the area. In conjunction with other photographs in the collection, this photograph visually documents the donation and acquisition of the tie pin artefact into the Burke Museum Collection. In addition, it depicts Valerie ‘Val’ Mason, in her role as the president of the former Beechworth Shire. Val was the first female in this role, which she held for two terms, and was a councillor in the Shire for nine years. This photograph is of social significance as it depicts two well-known and respected Beechworth locals handling a key artefact of significance to the Beechworth Goldfields. It also shows the Burke Museum in 1979, providing research potential for those interested in the history of the development of the museum's collection. Colour rectangular photograph printed on matte photographic paper.Reverse: Polacolor (Registered Trademark symbol) Type 108 / LR / Mrs Valerie Mason / Mr Dunlop (Weary's brother) / Mrs Vivian Payne (erased) / 14-5-1979 A.J. Dunlop & wife with Cr. Mason /L85052P gold, nugget, tie pin, pin, beechworth, burke museum, goldrush, goldfield, dunlop, edward dunlop, weary dunlop, alan dunlop, valerie mason, fred mcintosh, gold mining, donation, museum, collection, president, councillor, shire, female

This gum leaf painting is one of a pair displayed on foil in the same frame. It is typical of many paintings by the self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.An oil painting on gum leaf by the well-known Australian artist Alfred William Eustace. He was a self-taught artist during the 19th and early 20th century and a prominent resident of Chiltern. Oil painting on gum leaf by Alfred William Eustace. A scene of a log cabin on Black Dog Creek Road, Chiltern, with Skeleton Hill in the background. The canvas is a juvenile Red Box (Eucalyptus polyanthemos) leaf. It is one of a pair of Eustace gum leaf paintings mounted on gold foil, under glass in a brown frame. Inscription on back. Labels on back: Rehoused by The Centre for Cultural Materials/ Conservation, University of Melbourne "Oil on Gum Leaf"/ by Alfred William Eustace/ Donor:- Cam & Connie Boadle/ Wales U.K. Crescent/ MUSEUM/ GRADE/ 24 OCT 1998/ CONSERVATION BOARD ALBURY/ PICTURE FRAMERS/ Shop 15 & 16/ AMP Lane,/ Albury, 2640/ Ph: 02 6021 7088black dog creek, chiltern, alfred eustace, skeleton hill, gum leaf, painting, eustace

Correspondence re WW2 camps trail from Cowra, Canberra, Hay, Tatura to Loveday South Australia. Also Loveday Internment Camp Museum Proposal Update, Proposal to establish a museum for the Loveday Internment Camp at the original camp site at Loveday.Clear plastic front, with blue plastic back coming around onto front. Contains 10 plastic sleeves of correspondence and documents. Front cover has title and 3 black and white pictures with 3 rows of barbed wire.Front cover: Loveday Internment Camps, Loveday South Australia; 1941-1946loveday internment camp, loveday museum proposal, rosemary gower

This Merlin specimen is large for the falco columbarius species. It is brown and white in colouring which suggests that this particular specimen is female. This is because male Merlin's are usually blue, black, silver or grey. This species is predominantly found in the Northern Hemisphere. They are small, fast and highly skilled in hunting. The Merlin is generally a solitary bird outside of the mating season when it will socialise with other Merlins. The Merlin will consume smaller birds, mammals and bugs. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This female Merlin has a medium brown back with light brown and white speckled chest. The edges of her wings are dark brown and underneath her tail is white but also patterned in spots of light brown. It's bright yellow eyes are framed by tan coloured feathers and elaborate spotted patterns throughout it's body. Her small hooked beck ranges from orange to dark brown and feet are a faded yellow.Swing tag: 28 / Merlin / Catalogue, page 6 / Other swing tag: 56 / Falco / Cesalon Metal tag: 4033 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, bird, northern hemisphere, falcon, falco columberius, merlin, pigeon hawk

There were hundreds of kilometers of tunnels and the Viet Cong used them for living and sleeping quarters, hospitals, arms factories and storage depots. Diorama of Viet Cong tunnel system over four levels in cut away aspectBrass plaque - Manufactured by members of the North West Sub Branch Education Team. P. Austin, J. Forster, M. Zukowski, G .O'Donovan. Presented to the VVAA Museum by the members of the North West Sub Branch, Melbourne. Vietnam Veteran's Association of Australia.diorama, tunnels, tunnel rats, viet cong, cu chi

Photograph taken for Charles L Tischler when he became the licencee of the Star of the West in 1888. Records show that he was only licencee for 1 year. Photograph of Star of the West hotel when Charles L Tischler was the licencee and was a depot for Cobb and Co and had permission to be open until midnight to service travellers.Albumen coloured photograph of Star of the West Hotel in 1888Written in Pen underneath photograph - Davis Photo - Port Fairy Printed - Star of the West Hotel PORT FAIRY Right bottom corner -C L. Tischler, Propr a red X in Texta Museum number- 62.03.626 crossed out in pen -1888charles l tischler, hotel, licencee

78 rpm radio recordVictor Co of Japan Ltd Yokohama (JVC) #V40256 - Ka-ka Museum Label reads: "Donated by "Harry" H W Smith 1 RAR Assult Pioneer Purchase 1952 Hiro-Japan - "Korean War" Australia United Nations Force"

The curator of the relaunched Ballarat School of Mines Museum was Gael Ramsay. Photograph of a metal plaque located in the Ballarat School of Mines LibraryThe School of MInes and Industries Ballarat Established - 1870 This plaque commemorates the official opening of the E.J.T. Tippett Learning Resource Centre on 4th July, 1986 by His Excellency Dr. Davis McCaughey Governor of Victoria P.R. Shiells K.F. Flecknoe Director Presidentballarat school of mines museum, launch, e.j. tippett library, smb library, e.j.t. tippett learning resource centre, david mccaughey, peter shiells, ken flecknoe

The item as used for school groups who visited the BMM Museum.Replica "Victoria Cross", Court mounted crimson ribbon. A clasp attached to the ribbon holds the "Cross" via a ring. Centre of the cross is a lion over a crown. A scroll under say "For Valour". awards, medals, for valour

One of 11 photographs left in the museum for the Society by an anonymous donor.Black & White photograph of inside the Chapel at the Newhaven Boys HomeOn Back: Altar inside Boys Home 1947newhaven boys home, newhaven boys home chapel, phillip island boys home

One of 11 photographs left in the museum for the Society by an anonymous donor.Black & White postcard of The Nobbies with sea breaking over the rocks in the foreground and Seal Rocks on the horizon far left.Photo shop Series The Nobbies and Seal Rocks Phillip Island 6.3.47.seal rocks phillip island, the nobbies phillip island

One of 11 photographs left in the museum for the Society by an anonymous donor.Black & White postcard of The Blowhole near The Nobbies. Woman sitting at the bottom of the steps top left.Photo Shop Series The Blowhole Phillip Island 6-3-47the blowhole phillip island, the nobbiew blowhole, phillip island coastline

One of 11 photographs left in the museum for the Society by an anonymous donor.Black & White postcard of the Pinnacles at Cape Woolamai. Photo Shop Series The Pinnacles - Cape Woolamai Phillip Island 3/3/47 On back: Rough sea about here. Beautiful trip.the pinnacles, the pinnacles cape woolamai, cape woolamai pinnacles, phillip island coastline

One of 11 photographs left in the museum for the Society by an anonymous donor.Black & White postcard of the Cowes beach with the Cowes Jetty in the background. Shed on the end of the pier and the Cowes Jetty Shed at the beginning of the Jetty. People at the water's edge with two boats in the water.The Rose Series P 10073. The Beach, Cowes, Phillip Island, Vic.cowes beach phillip island, cowes jetty, cowes jetty shed, phillip island beaches

One of 11 photographs left in the museum for the Society by an anonymous donor.Black & White postcard of Thompson Avenue lined with Cypress Trees. Cypress Lined Street at Cowes Hislop Series On Back: Looking down Thompson Avenue toward Beach. Car is outside the Town Hall.thompson avenue cowes, cypress trees in thompson avenue cowes, golden cypress thompson avenue cowes, cowes phillip island

One of 11 photographs left in the museum for the Society by an anonymous donor.Colour postcard of the old Suspension Bridge from San Remo to Newhaven at sunset.Sunset over San Remo Bridge (Bulmer copyright)phillip island suspension bridge, sunset at san remo

One of 11 photographs left in the museum for the Society by an anonymous donor.Black & White postcard of Lover's Walk Cowes. Pathway going over little wooden bridge.Photo Shop Series Lover's Walk 5.3.47. Coweslover's walk cowes, lover's walk cowes phillip island

One of 11 photographs left in the museum for the Society by an anonymous donor.Black & White postcard taken after coming under the San Remo - Newhaven Bridge. Shows Cape Woolamai in the distance.The Rose Series P 706 Cape Woolamai, from Bore Bay, San Remo, Vic. 3.3.47. On back: "Cape Woolamai in background, after coming under San Remo bridge. Cape Woolamai highest point on Phillip Island."cape woolamai, cape woolamai phillip island, bore bay san remo

One of 11 photographs left in the museum for the Society by an anonymous donor.Black & White postcard - image taken from inside Forrest Caves looking out to the sea. Man standing outside on the rocks.Photo Shop Series Forrest Caves Phillip Island 6.3.47. On Back: "Inside the cave"forrest caves phillip island, phillip island coastline