A Legacy ceremony at the Shrine of Remembrance. Photo shows a procession of school children up the steps to lay their wreaths in the Inner Shrine. One of the annual "Anzac Commemoration Ceremony for Students" events, usually held just prior to ANZAC Day. The ceremony provides a valuable opportunity for students to gain an appreciation of the Anzac spirit, the significance of the Shrine and the meaning of Anzac Day. Also 01193.1 shows school children with wreaths approaching the Shrine. And 01193.2 is a group of school girls with wreaths sitting on the steps. See also 01194 which is a close up of the son of soldier wearing his fathers medals, which was the same date. Were in an envelope with other photos and programmes from different School Student ceremonies. Labelled S15 in red pen it was part of an old archive numbering system, that showed there has been efforts in the past to collect, order and save items of Legacy's history.A record of a ceremony for school students at the Shrine.Black and white photo of an Anzac Commemoration Ceremony for students at the Shrine in 1945.Photos are stamped with purple copyright stamp of The Argus with identifying numbers, (U-1671) in pencil. Also 'Anzac Eve 24th April 1945' in pencil.anzac commemoration for students, wreath laying ceremony

Gift to Hilda and Eva Sebire in 1905. Uranium glass is glass which has had uranium, usually in oxide diuranate form, added to a glass mix before melting for coloration. The proportion usually varies from trace levels to about 2% uranium by weight, although some 20th-century pieces were made with up to 25% uranium.[1][2] Uranium or Vaseline glass was once made into tableware and household items, but fell out of widespread use when the availability of uranium to most industries was sharply curtailed during the Cold War in the 1940s to 1990s. Most such objects are now considered antiques or retro-era collectibles, although there has been a minor revival in art glassware. Otherwise, modern uranium glass is now mainly limited to small objects like beads or marbles as scientific or decorative novelties.A pair of ornamental Vaseline or uranium milk glass yellow/green swans.glass, ornaments, swans

A Legacy ceremony at the Shrine of Remembrance. One of the annual "Anzac Commemoration Ceremony for Students" events, usually held just prior to ANZAC Day. The ceremony provides a valuable opportunity for students to gain an appreciation of the Anzac spirit, the significance of the Shrine and the meaning of Anzac Day. 01193.1 shows school children with wreaths approaching the Shrine. 01193.2 is a group of school girls with wreaths sitting on the steps. 01193.3 is the procession of school children up the steps to lay their wreaths in the Inner Shrine. See also 01194 which is a close up of the son of soldier wearing his fathers medals, which was the same date. Were in an envelope with other photos and programmes from different School Student ceremonies. Labelled S15 in red pen it was part of an old archive numbering system, that showed there has been efforts in the past to collect, order and save items of Legacy's history.A record of a ceremony for school students at the Shrine.Black and white photo x 3 of an Anzac Commemoration Ceremony for students at the Shrine in 1945.Photos are stamped with purple copyright stamp of The Argus with identifying numbers, (U-1570, U-1670, U-1671) in pencil. All photos have 'Anzac Eve 24th April 1945' in pencil.anzac commemoration for students, wreath laying ceremony

A Legacy ceremony at the Shrine of Remembrance. One of the annual "Anzac Commemoration Ceremony for Students" events, usually held just prior to ANZAC Day. The ceremony provides a valuable opportunity for students to gain an appreciation of the Anzac spirit, the significance of the Shrine and the meaning of Anzac Day. The year is unknown but barricades and flagpole are similar to the 1945 photos. 01195.1 shows school children playing bugles. 01195.2 and 01195.3 show school girls with floral wreaths sitting on the forecourt. 01195.4 and 01195.5 are aerial views of the crowd and the flagpole, with the Australian flag at half mast, as viewed from the Shrine balcony. Items were in an envelope with other photos and programmes from different School Student ceremonies. Labelled S15 in red pen it was part of an old archive numbering system, that showed there has been efforts in the past to collect, order and save items of Legacy's history.A record of a ceremony for school students at the Shrine.Black and white photo x 5 of an Anzac Commemoration Ceremony for students at the Shrine.Photos are stamped with purple copyright stamp of The Argus with identifying numbers, (M2351, M2469-C, M2469-D, M2469-A) in pencil. anzac commemoration for students, wreath laying ceremony

A drawing done by artist Pat Hanna and sent to friends at Legacy as a postcard. It could be a self portrait or a caricature of another Legatee. It was stored with other items including a letter to Frank (L/- Frank Doolan who was making an attempt to collect items relevant to Legacy's history for an official archive project - see items 01400 to 01403). Pat Hanna was an entertainer, comedian, artist and producer of revues, plays and movies. One of his first revues was performed just after the armistice in France. A popular stage show was 'Diggers' that performed around Australia post-war it was adapted into a film in 1931. He was asked to pose for photographer Jack Cato for the iconic image of a digger shown in 01400. He was born George Patrick Hanna, 18 March 1888 in Whitianga, New Zealand and served in the First World War, was a founding member of Melbourne Legacy and was involved with Legacy for many years.Pat Hanna was a founding member of Melbourne Legacy and an artist and producer. Legacy kept some of his works in the archive.Cartoon drawing of a man with a monocle, signed Pat Hanna on a postcard.Post card is addressed to 'President and Legatees, Legacy Club, Market St, Melbourne' in blue ink. It is postmarked 29 December 1955 in Melbourne and an Australian 3d postage stamp. Also handwritten is 'Cartoon card by Pat Hanna 1955' in blue pen.hanna, founding legatee

“The Squadron’s Most Prestigious Trophy” THE CACTUS STORY Years ago a story was told of a Donkey which lived in the desert. The standard of living was poor, and the main course on the menu when things were tough was cactus. The Donkey accepted the good with the bad, and in bad seasons it was always cactus. One day during his wanderings he came to a high fence. On the other side of the fence was lush grass and all sorts of vegetation and animals in prime condition. The Donkey said to a horse, “things look good in there, how does one get in”. The horse said “go down to the end of this fence, and you will come to a gate, there will be someone at the get, ask to get in”. The Donkey went to the end of the fence, found the gate and asked to get in. The horse at the gate said, “what do you want to come in for, all of us are geldings?”. The Donkey said “if that is the case, it is back to the cactus for me”. It was during the early stages of the great depression of 1929-1932, that this story was simulated to the conditions at the then Royal St. Kilda Yacht Club, when during the yachting season there were very few trophies due to the lack of money. A lot of members were out of work, and each Monday many would front up for the jobs that were offering or those who missed out went back to the dole or as many put it “Back to the Cactus”. The “Cactus Cup” race, to be free of entrance fees, was an idea conceived by H.A. (Toby) Armstrong, soon to be backed by Bert Bryant, Ivor Bowles and Jim Thorpe. It was First sailed March 25, 1922, when 9 yachts on sealed handicaps, raced over a 5 mile rectangular course for a small Trophy donated by Jim E. Thorpe and the winning crew of the yacht Helen, skippered by D.Dowse, entertained at a café after the race by the instigators of the race. The next contest was April 12, 1930, for another small trophy also donated by Jim Thorpe, and the crew of the winning yacht Petrel, skippered by Stan Gamble, later on having to arrange for a mussel supper to the extent of Trophy money at an informal musical evening held in the spar room. From then on races for the Cactus Cup became an annual event. In time the format was changed to result in the crew of the first winning yacht having to collect mussels from the pier on the first Saturday of July, cook and prepare them for a no charge informal supper and entertainment evening held in the spar room, towards which the Club provided a keg of Beer. Member Bob Ellis had a special song for the occasion, “Up at Tumba Bloody Rumba shooting Kanga Bloody Roos”. Jim Thorpe then agreed to purchase a Perpetual Cup to be named the Cactus Cup. As guest of honor at the Cactus Supper Evening, May 1940, a dinner suit function in the Spar room, he presented the Cup along with Replica to Barney Snider who won with Eun-Na-Mara. Soon entries became few, for reason nobody wanted to win because of the penalty of having to collect, cook and prepare the mussels. In the interest of the contest and its revival, it was decided that the crew of the last yacht to finish had to collect, cook and prepare the mussels. On the death of Jim E Thorpe in 1944, the trophy, along with its annual replicas, were then provided for by Ivor Bowles until his death in 1970. In time for reason of pollution, the collecting of mussels from the pier was discontinued, so Otto Meik the new provider decided that the format be changed and be replaced by a supper on the day of the race, consisting of bottle mussels, beer and frankfurts. Following the death of Otto Meik in 1979, with no provider for the trophy of replicas, the Squadron in the early 80’s broke tradition by introducing race entry fees. In 2006 the Cactus Cup Tradition was reinstituted by a donation from J.H. (Bert) Ferris – RMYS historian. The Cactus Cup is now free to enter once again for all. The race is run early and a late afternoon feast of mussels and frankfurts is eaten afterwards.Deep sectioned Silver Cup, 300mm high to lip, tapering to thick plain stem flaring out to stepped footing, has two shaped handles. Silver Lid with Donkey positioned on shaped dome. Overall height 110mm. Cup stands on 145mm high round black base with stepped footing, surrounded with Silver winner inscription band.ROYAL ST. KILDA YACHT CLUB PERPETUAL CACTUS CUP INAUGURATED 1922 INSTIGATED BY H.A. ARMSTRONG ESQ. ORIGINAL CUP PRESENTED BY J.E. THORPE ESQ.cactus cup, trophy

A history of the Maroondah ReservoirPaperback. Front cover shows a colour photograph of the Maroondah Dam wall. Back cover shows a black and white photograph of the Maroondah Dam under construction.Madge Stevens / 85 Rose Street / West Coburg From Mena & Bill on / birthday 5.9.82 AN APPRECIATION Living all my earlier life at my birth-place, Heales-/ ville, with my sisters and brothers and our good parents,/ it was a privilege to return and re-acquaint during the/ collecting of these few impressions of the old times./ Thanks are due to the obliging attendants at MMBW/ and LaTrobe libraries, where frequent checks of old/ newspapers - including "The Healesville & Yarra Glen/ Guardian" - and records were essential./ Thanks also to my friends, and cousin Dave./ Ann Thomas Stamp of Marysville & District / Historical Society Inc / P.O. Box 22 / Marysville 3779maroondah dam, maroondah, fernshawe, healesville, maroondah aqueduct, maroondah reservoir, victoria, history

A Legacy ceremony at the Shrine of Remembrance. One of the annual "Anzac Commemoration Ceremony for Students" events, usually held just prior to ANZAC Day. The ceremony provides a valuable opportunity for students to gain an appreciation of the Anzac spirit, the significance of the Shrine and the meaning of Anzac Day. This is a close up photo of the son of soldier wearing his fathers medals, at the service in 1945 (see also 01193). It is the son of Lieut. G Ingram, a VC medal recipient.A record of a ceremony for school students at the Shrine.Black and white photo a boy wearing his fathers medals at an Anzac Commemoration Ceremony for students at the Shrine in 1945.Photo is stamped with purple copyright stamp of The Argus with identifying number, U-1673 in pencil. Also 'Anzac Eve 24th April 1945' and 'Ingram VC's son' in pencil. There are marks for cropping and dimensions for reprinting in a newsletter. A paper label says: ' 18. The son of Lieut. G.M. Ingram, Victoria Cross, wears his father's decoration awarded in France in 1918. 1/2 page' in blue pen. Was in an envelope with other photos and programmes from different School Student ceremonies. Labelled S15 in red pen it was part of an old archive numbering system, that showed there has been efforts in the past to collect, order and save items of Legacy's history.anzac commemoration for students, wreath laying ceremony, vc medal, ingram

A series of cuttings and photos on ornamental collections of cats. Sources are New Zealand publications, 'The Australian Women's Weekly' and some correspondence from the Globe Sewing Machine Co sent to 'Chance' of Bendigo's 3BO . Are all in a folder with a picture of a cat on the front. Dated 1950 - 1968. In a brown paper envelope there are four black and white photos with a Hill Thomas Auckland advert stamp on the back .One is a lady with 5 ceramic cats and the words 'Love Kenney ( Bushby ) ..The other three are of a variety of ceramic cats in and above a display cabinet .A sign states that the cats were gathered over 40 years by Mrs kenny -some are antiques over 100 years old all are gifts from customers - friends of the Globe Sewing Machine Co , from all over the world …in 1954 the famous cats were incorporated in the Trademark of the company . There is a related article clipping ( among others ) dated May 1955 -'She collects cats - the business appears to be a retail outlet for sewing machines - at Short's Building , 154 Queen St Aucklandornaments, ceramic, cats, lydia chancellor, collection, pottery, ceramics, cats, ornaments, photo, recreation

Object. Oval shaped silver medal with suspension ring. Obverse: 19th Century City of Bendigo -Coat of Arms. Reverse: Around edge ''COUNTY OF BENDIGO AGRICULTURAL AND HORTICULTURAL SOCIETY''. Across the top: ''AWARDED TO''. Engraved below: ''2nd PRIZE POST & HEAD PRACTICE MILITARY TOURNAMENT 1885''. Ian Nunn received the medal from Miss Code when he was 12 years old, believing it belonged to her father Colonel Code who lived at Longlea. Miss Code lived on the family farm on the bankd of the Axe Creek.Ian used to collect the mail and newspaper for Miss Code, who paid him two shillings a week. She gave the medal to Ian as a thnk you. Ian believes that Miss Code's father was in charge of the military escorts between Bendigo and Heathcote. OBITUARY. DEATH OF MR. B. CODE. Article - Bendigonian (Bendigo, Vic. : 1914 - 1918)Tuesday 15 December 1914 - Page 20 Obituary. Article - The McIvor Times and Rodney Advertiser (Heathcote, Vic. : 1863 - 1918)Thursday 10 December 1914 - Page 2numismatics, badges-civil, 19th century city of bendigo

Newspaper clipping titled: “End of the line” The Sun, Saturday July 22 1972 Photos and text of “toastrack” tram # 20 Tram from St Kilda Station to Brighton Beach electric street railway, Bob Prentice, Prahran back garden, 1913 vintage, bought the tram in 1959 when the line closed. Retains original colour scheme of chocolate, cream and read. Served its last days as a breakdown tram confined to Elwood depot. Built by Pengelley & Co of Adelaide in 1913, entered service between May and July 1913. Number 20 served for 5 years until the toastrack design became obsolete and it was replaced. Conductor had to move along narrow running board and enter compartments from the outside to collect fares 5 mile journey took 29 minutes Trams had gas-light fittings made of brass and displayed notice to occupants: "Please hand as nearly as possible the exact fare to the conductor. Passengers are requested to give early notice where they desire to be set down."trams, tramways, toastrack tram, st kilda brighton, 20, pengelly, elwood depot, victorian railways, tram 20

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

Andrew Chatham, the youngest of Philip and Elizabeth Chatham's 5 children, was born in 1968. In this photo, he looks about 8 - 10 years old. The photo was taken at Rokewood, Victoria on his parent's Western District property, "Kur-a-ruc South" a former part of the Kur-a ruc Station, Rokewood, Victoria purchased by Philip and Elizabeth Chatham in 1964. The family lived at Ascot, 15 miles north of Ballarat, and had regular weekend day trips and Easter holidays picnicking, droving sheep, feeding stock, checking water troughs and dams, hand-weeding Patterson curse, repairing fences, collecting paddock rocks and sugar-gum wood at "Kur-a-ruc South'. Home base for these excursions was either a car, the shearing shed, sometimes a 6-berth caravan and by the mid-1980s a shearer's quarters with an inside toilet. [Jane Dyer (nee Chatham).15 June 2024] chatham-holmes collection, andrew chatham, outdoor shed, toilet facility, rokewood, kur-a-ruc south, rokewood

‘Dressage Quilt’ was made by Jan Ross-Manley for the Running Stitch exhibition Wool Quilts Old and New in 1985. The quilt is made from the sashes of winning female participates of Equestrian Sports in Victoria. The central diamond is divided into quarters, one for each woman who won the ribbons. The piece is about dedication, strength, exertion and achievement. The artist's statement reads: "I have been collecting pennants and sashes for some time now, intending to collate a series of pieces on Australian country life and people. This is a woman's quilt, made entirely from 'horse' sashes won at competition. The central diamond is divided into quarters, one for each lady who won the ribbons. 'Hurdles' are set into the inner borders. The piece is about dedication, strength, exertion and achievement. The all pervading yellow letters cast a tawdriness over the otherwise clean colour scheme." This quilt was later part of an identically titled exhibition held at the National Wool Museum in 1989.Large quilt consisting of numerous winning horse sashes sewn together to create a patchwork quilt separated into quarters, bordered by a royal blue trim. The centre of the quilt is a diamond shape made from various pink cotton strips and bordered by multi coloured horses heads. The quilt is backed with blue cotton and has a polyester fill.quilting history, patchwork history, running stitch group, running stitch collection, highlights of the national wool museum: from waggas to the wool quilt prize - exhibition (22/09/2001 - 02/12/2001), ross-manley, ms jan, quilting - history, patchwork - history

Contents/Summary: Getting started - collecting records and keeping archives: what are archives?; common mission of archives; types of records; deciding whether to set up an archives or donate records; developing an archives policy -- Acquiring and organising archives: deciding what to keep - appraisal; Receiving records - acquisition; Recording essential information - accessioning; Arranging and describing records -- Preserving archives: storing archives; packaging and containers; Environmental conditions; handling archives -- Accessing archives: access policy; access forms; archives reading room; register of requests for records; security measures; copyright and privacy; guides and fact sheets; copying; volunteers; promotion and display; grants for community heritage collections -- Preparing a disaster recovery plan -- Appendices: Sources for further information; Archiving software; Suppliers of archival papers and products. Soft cover book of 64 pages, indexed; broad areas covered are acquisition, management, preservation, access and disaster plan recovery for community archives.Soft cover book of 64 pages, indexed; broad areas covered are acquisition, management, preservation, access and disaster plan recovery for community archives.archives

A Legacy ceremony at the Shrine of Remembrance. One of the annual "Anzac Commemoration Ceremony for Students" events, usually held just prior to ANZAC Day. This was taken in 1982. The ceremony provides a valuable opportunity for students to gain an appreciation of the Anzac spirit, the significance of the Shrine and the meaning of Anzac Day. It is a photo of two school children laying a wreath at the Cenotaph. They are named as two Junior Legatees, Peter Manning and either Bridget Riggs or Gayle Goulding (the two labels are contradictory). It is possible one of the labels belong to another photo (item 01200) as they were found in the same envelope and it appears to be the same boy in both photos. However both labels were attached to this photo. Item was in an envelope with other photos and programmes from different School Student ceremonies. Labelled S15 in red pen it was part of an old archive numbering system, that showed there has been efforts in the past to collect, order and save items of Legacy's history.A record of a ceremony for school students at the Shrine.Black and white photo of an Anzac Commemoration Ceremony for students at the Shrine in 1982 with two junior Legatees at the Cenotaph (World War II memorial). Two paper labels typed in black ink.Photo is stamped with Copyright of Herald and Weekly Times in green ink. Handwritten 'Peter Manning and Bridget Riggs' in purple texta. '820423/120' in blue pen. Label says: 'At Melbourne Legacy's Annual School Children's Anzac Commemoration this year Junior legatees, Gayle Goulding and Peter Manning representing all Junior Legatees, laid a wreath at the foot of the World War Two Memorial.' Other label says: Junior Legatees Peter Manning and Bridget Riggs observe a minutes silence after laying a wreath near the Eternal Flame at the Shrine of Remembrance. They were among 1100 children from 54 schools who attended Melbourne Legacy's 51st Annual school children's Anzac Commemoration Ceremony at the Shrine. Photo courtesy Sun News-Pictorial.' The photo was also used as a Highlights page in an Annual Report. The caption confirmed the names as Peter Manning and Bridget Riggs.anzac commemoration for students, wreath laying ceremony

A drawing done by artist Pat Hanna and sent to friends at Legacy. He was living in London at the time and drew this on his letterhead. It was stored with other items including a letter to Frank in 1972 (possibly L/- Frank Doolan who was making an attempt to collect items relevant to Legacy's history for an official archive project - see items 01400 to 01403). Pat Hanna was an entertainer, comedian, artist and producer of reveues, plays and movies. One of his first revues was performed in France just after the armistice. A popular stage show was 'Diggers' that performed around Australia post-war and adapted to film in 1931. He was asked to pose for photographer Jack Cato for the iconic image of a digger shown in 01400. He was born George Patrick Hanna, 18 March 1888 in Whitianga, New Zealand and served in the First World War, was a founding member of Melbourne Legacy and was involved with Legacy for many years. Pat Hanna was a founding member of Melbourne Legacy and an artist and producer. Legacy kept some of his works in the archive.Drawing of a kangaroo and kiwi from Pat Hanna on his letterhead pasted onto brown cardboard. Also a digger's face, a rising run and maps of Australia and New Zealand.Handwritten in the drawing 'Heres to every cobber who wore the old chapeau, 20 - 30 - 40 - 50 years ago!!!' and 'There's a wee toon on the Yarra with streets broad and narra that's where we first toasted dear old Legacy.'hanna, founding legatee

A cartoon drawing done by artist Pat Hanna and sent to friends at Legacy. It looks like a funny caption is missing from the drawing. It was stored with other items including a letter to Frank (possibly L/- Frank Doolan who was making an attempt to collect items relevant to Legacy's history for an official archive project - see items 01400 to 01404). Pat Hanna was an entertainer, comedian, artist and producer of reveues, plays and movies. One of his first revues was performed in France just after the armistice. A popular stage show was 'Diggers' that performed around Australia post-war and adapted into a film in 1931. He was asked to pose for photographer Jack Cato for the iconic image of a digger shown in 01400. He was born George Patrick Hanna, 18 March 1888 in Whitianga, New Zealand and served in the First World War, was a founding member of Melbourne Legacy and was involved with Legacy for many years.Pat Hanna was a founding member of Melbourne Legacy and an artist and producer. Legacy kept some of his works in the archive.Cartoon drawing of a four people playing cards signed Pat (Hanna).Signed 'Pat'hanna, founding legatee, cartoon

Foolscap page concerning the 1915 Ballarat School of Mines Science and Field Naturalists Club Wild Flower Show.Ballarat School of Mines Science and Field Naturalists Club. Wild Flower Show. 1915: The Committee of the above show of native Victorian Wild Flowers beg to tender you their most hearty thanks for the flowers sent by you. Our thanks are also due to those who helped you in the collecting of the flowers. The Exhibition was a great success, and you will be pleased to know that a substantial sum was realized for the Red Cross Funds. It is hoped that a similar show will be held about the same time next year, and we trust to again have the benefit of your kind assistance. Again thanking you, we are, yours truly, Charles Fenner. President C. A. Hoadley. H. L. Williamson (Hon Secs.)smb, ballarat school of mines, ballarat science and field naturalists club, wild flower show, charles fenner, charles hoadley, h. l. williamson, red cross

Early 1900's. "Boiling the billy". The term billy or billycan is particularly associated with Australian usage, but is also used in the UK and Ireland. It is widely accepted that the term "billycan" is derived from the large cans used for transporting bouilli or bully beef on Australia-bound ships or during exploration of the outback, which after use were modified for boiling water over a camp fire. Postcards developed out of the complex tradition of nineteenth-century printed calling cards, beginning with the advent of the Cartes-de-Visite in France. In the 1850s, Parisian photographer Andre Adolphe Eugene Disderi invented a photographic process involving egg white, albumen, and silver nitrate to create inexpensive portraits on paper cards. These photographic Cartes-de-Visites were 2 1/2 (75mm) by 4 inches (98mm) and became a popular, collectable form of "visiting cards" world-wide. Photographers would reprint portraits of famous individuals they had taken at their studios or during travel and sell them as collectable cards. Postcards as we know them now first began in 1861 as cards mailed by private post. In the 1870s picture postcards grew in popularity throughout the United States, Britain, Europe, and Japan. Cards were first permitted to have a "Divided Back," with text written on the left half of a dividing line and the address on the right half, beginning in England in 1902. Around 1900 the first postcards made of "Real Photos" rather than artwork began to circulate, aided in by advances in amateur photography equipment by companies such as Kodak. Kodak also introduced postcard paper for photographic development and photography studios began to offer portraits printed as postcards Many local town, countryside, and architectural images were captured during this period by local photographers, then printed and sold as postcards . Advances in amateur photography all contributed to a postcard craze that lasted from 1900 to the First World War. Postcards were the preferred means to send a quick note, whether across town or across a continent.Postcard with a black and white Photograph on the front and a 'Divided Back ' for the message and address. There are seven men surrounding the billy suspended over a camp fire. The ground has a lot of dead branches around. One man is bending down towards the billy. Two men on either side of the camp fire are carrying either a white bag across their shoulders or the fish in their hands. You can see, that there is some steam also coming out of the billy, which means that its hot. Court Post Card. / this space may be used for correspondence. / The address only to be written here.1900's, boiling the billy , postcards, photographers, england, hungary, america, cartes-de-visite, visiting cards, moorabbin, cheltenham, bentleigh, market gardeners, early settlers, pioneers,

Language - Preservation and use. Language - Social function. [Maori: New Zealand Latin]. Language planning. [Language planning in a trans-national speech community]. [The way of the drum - when earth becomes heart] [The need for an ecological cultural community] Community language management. [Methods of madness: The Tuscarora Language Committee] [Daghida: Cold Lake First Nation works towards Dene language revitalization] [The Jicarilla Apache language summer day camp] [Report on the workshop "World of Inukitut"]. Arizona. New Mexico. Oklahoma. Adult education. Women's literacy. [Teaching reading with puppets] [Assessing Lakota language teaching issues on the Cheyenne River Reservation] [Incorporating traditional Nehiyaw/Plains Cree education in the university] [Collecting texts in Crao and Portuguese for teaching] [Early vocabularies and dictionary development: A cautionary note] [The process of spelling standardization of Innu-Aimun (Montagnais)] Pidgin. Creole. [Ojibway hockey CD-ROM in the making] [The use of multimedia and the arts in language revitalization, maintenance and development: The case of the Balsas Nahuas of Guerreo, Mexico] [The languages of Indigenous Peoples in Chukotka and the media] [Meeting of the Inukitut and Yupik family of languages on May 12, 2000]B&w photographs, diagrams,international language forum, community based practice, language research, conference papers, language policy, language and whole community development, literacy development, media, educational advances, canada, united states, new zealand, zimbabwe, mexico, russia, caribbean, inui, yupik

The spotted quail thrust is a heavily patterned bird native to Australia. It expresses many calls, including a long, very high-pitched "seeeeeep” and a long sequence of doubled whistles, but the main call in inaudible to humans. Due to their heavy camoflague pattern, they are often very difficult to observe. They are often found on the forest floor. 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 spotted quail thrush is characterised by yellow and brown tones with black spots on the flanks. The females (10056) have a yellow ochre-coloured throat patch. This particular quail has lost its tail feathers. This specimen stands upon a wooden platform and has an identification tag tied around its leg.Label: 43a. / Spotted Ground Thrush / See Catalogue, page 15. /taxidermy mount, taxidermy, burke museum, beechworth, australian museum, spotted quail thrust, quail

The Mistle Thrush is native to Ireland and Scotland, North Africa and parts of Asia. It is known as a large, aggressive and powerful bird. They have several different calls: the main call, given by both sexes, is a dry chattering 'krrrr', louder when the birds are alarmed or excited. There is also a squeaky 'tuk' contact call. 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 Mistle Thrush has a pale grey-brown upperpart and a greyish-white chin. The yellow/buff breast and off-white belly are marked with round black spots. The long tail has white tips on the outer feathers, and the underwing coverts are white. The glass eyes are dark brown and the bill is blackish with a yellow base to the lower mandible. The legs and feet are yellow/brown. There is no plumage differences between the male and the female Mistle Thrush. This particular specimen stands upon a wooden platform and has an identification tag tied around its leg.Label: 111a. / Mistle Thrush / Catalogue, Page 28. / Other Label: 57. / Turdus viscivorus /taxidermy mount, cancel, taxidermy, burke museum, beechworth, australian museum, bird, mistle thrush

The spotted pardalote is the smallest of all Australian birds. It has a tendency to nest in a long horizontal tunnel, often dug into the soil of creek banks, the embankments of railway cuttings, and quarries. Its call is characterised by a very clear and repetitive double "ding". The spotted pardalote is common in woodlands and eucalypt forest areas in Australia. 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. One of Australia's smallest native birds, the male spotted pardalotte is covered with small, distinct white spots. Males have a pale eyebrow, a yellow throat and a red rump. Females are similar but have less-distinct markings. 10060 comprises of one male and one female. This specimen stands upon a wooden platform and has an identification tag tied around its legLabel: 14a. / Spotted Diamond Bird / See Catalogue, page 9. /taxidermy mount, cancel, taxidermy, burke museum, beechworth, australian museum, bird, spotted pardalote

The Superb Lyrebird is a large ground-dwelling bird with powerful legs and long tail. Found in rainforest habitats in southeastern Australia, it forages in leaf litter for food. It has a very powerful song and is known for mimicking other species. The males have spectacular long tail comprising a variety of feather types, where juveniles and females lack the longer tail feathers. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This male Superb Lyrebird is primarily grey/brown. It has striking tail feathers that are white, beige and darker brown that vary in size. Aside from the middle of its tail feathers, the parts of the bird which are darker brown include the top of its head, wings and back. The bird has strong legs and a small beak. This specimen stands upon a wooden platform.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, superb lyrebird

The Superb Lyrebird is a large ground-dwelling bird with powerful legs and long tail. Found in rainforest habitats in southeastern Australia, it forages in leaf litter for food. It has a very powerful song and is known for mimicking other species. The males have spectacular long tail comprising a variety of feather types, where juveniles and females lack the longer tail feathers. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This male Superb Lyrebird is primarily grey/brown. It has striking tail feathers that are white, beige and darker brown that vary in size. Aside from the middle of its tail feathers, the parts of the bird which are darker brown include the top of its head, wings and back. The bird has strong legs and a small beak. This specimen stands upon a wooden platform. taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, superb lyrebird

The Superb Lyrebird is a large ground-dwelling bird with powerful legs and long tail. Found in rainforest habitats in southeastern Australia, it forages in leaf litter for food. It has a very powerful song and is known for mimicking other species. The males have spectacular long tail comprising a variety of feather types, where juveniles and females lack the longer tail feathers. 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 Superb Lyrebird is primarily grey/brown. It has shorter tail feathers than the male, which are dark and light brown, and vary in size. The bird's wings, chest and belly are a lighter grey/brown, and there are hints of yellow-white in the edges of the feathers and through the bird's chest. The bird has strong legs and a small beak. This specimen stands upon a wooden platform.37a. / Lyrebird / See Catalogue, page [illegible] /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, superb lyrebird