A series of pamphlets to describe the " From then Until Now" display in the Whitehorse Historical Museum Visual Centre at Mitcham from 29 April 2023.non-fictionA series of pamphlets to describe the " From then Until Now" display in the Whitehorse Historical Museum Visual Centre at Mitcham, including original art work by Margaret Graham.schwerkolt cottage & museum complex, exhibits, transport, cultural life, sporting life, brickworks, fruits and flowers, manufacturing

Inge KING (26 November 1915 – 23 April 2016) Born Berlin, Germany Arrived Australia 1951 Inge King trained as a wood carver and studied at the Berlin Academy (1937-1939), Royal Academy London (1940), and the Glascow School of Art (1941-1943) . She moved to London in 1947 and began carving organic abstract forms in wood and stone. In 1949-50 she went on a study tour to the United States of America where she was inspired to work in metal . Inge King arrived in Australia in 1951 and she completed several large scale public works. Between 1961 and 1975 Inge King lectured at the Institute of Early Childhood Development, Kew. From 1976 to 1987 she lectured in Sculpture at Royal Melbourne Institute of Technology. She was a founding member of the Ceminal Centre Five group, and she actively lobbied architects, governments and State galleries to include modernist sculptures in their plans and displays. In 1991 Inge King joined the first National Trust of Australia (Victoria) Public Art Committee, advising on public art at risk and worthy of Trust classification. The Australian Women's Art Register describes Inge King as having been at the forefront of developing a non figurative vocabulary in Australian Sculpture. Welded bronzed steel sculpture painted black and red. This sculpture by Inge King was purchased in 1967 with funds raised by staff and students of Ballarat Teachers' College, a predecessor institution of Federation University Australia. During this era a collection was made which resulted in an annual purchase or commission of an artwork of note. The Federation University Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007. Signed 'I. King' on the lower steel plate. art, artwork, inge king, king, sculpture, ballarat teachers' college collection, welded metal, metal sculpture

This majestic peacock embodies the technical achievement, skill and ingenuity of artisans during the 19th century. It is now known as the 'Loch Ard Peacock' and was designed and modelled in 1873 by Paul Comolera (1818-1897) and fired in one piece at the Minton factory at Stoke-on-Trent in the United Kingdom in 1875. The peacock has been portrayed in symbolic motifs and has figured heavily in folktales and fables since antiquity, and many cultures around the world see it as a symbol of beauty, rebirth and power. Wealthy Victorians loved majolica, and the large peacock would have been the ultimate home accessory as a conservatory ornament – combining their desire for nature, the exotic and vibrant colours. The peacock model was listed in catalogues by Minton & Co. for a retail price of 35 guineas or sold as a pair for 90 guineas. Minton & Co. was founded in 1793 by Thomas Minton (1765–1836) and became a famous pottery and porcelain manufacturer. Comolera was a French artist and sculptor, renowned for dramatic naturalistic forms and life-size renditions of birds and animals that won him admiration in public and artistic circles. He was employed by Minton & Co. from 1873 to 1880, and the life-sized peacock became his best-known work. Comolera kept a live peacock loaned from the nearby Duke of Sutherland's Trentham Hall Estate in his studio to create a life-size model of fine buff earthenware model, which was then hand painted in brilliantly coloured green and blue glazes to mimic the peafowl’s dazzling plumage. There are no surviving production records, but according to documents in the Minton Archive, nine peacocks were made by Comolera. However, today, some historians now believe that twelve were fired at the Minton factory; research is ongoing. These peacocks were so admired that Minton & Co. used them as exhibition showpieces at International Exhibitions in London, Paris, and the United States of America, ensuring the company had a worldwide reputation. So, when Melbourne hosted an International Exposition in 1880, Minton & Co. sent out ceramics and tiles, and in particular, this peacock was intended to be part of their exhibit in the British Court in the Exhibition Building, built in the Carlton Gardens. The early dispatch date (1878) indicates that the company may have intended to exhibit their wares, including the peacock, at the 1879 Sydney International Exhibition, but the company did not take up this option. The ship that Minton & Co. used to bring the peacock and their other wares to the Australian colonies was the ill-fated Loch Ard, which sunk after striking Mutton Bird Island near Port Campbell, Victoria, in calm foggy weather in June 1878 on the final leg of the ship's journey to Melbourne. The loss of 52 lives made it one of Victoria’s worst shipwrecks. Therefore, this peacock never made it to the grand exposition in Melbourne, as Minton & Co. had planned. Charles McGillivray dragged this peacock, still in its original packing case, onto the beach in the gorge just two days after the Loch Ard went down. The peacock was rescued unscathed apart from a chip on its beak (only repaired in 1988). After a disagreement with a Melbourne Customs Officer, Joseph Daish, McGillivray stopped his salvage operations, leaving the peacock on the beach. The second salvagers were James Miller and Thomas Keys. Miller was a member of the firm Howarth, Miller and Matthews, Geelong, who had brought the salvage rights to the Loch Ard wreck on 10 June. When Miller and Keys arrived at the wreck site, a storm had washed many of the salvaged goods, including this peacoc,k back into the sea. The two men found the peacock in its case ‘bobbing along in the water’ and pulled it back to the beach. To ensure the peacock wasn't washed out to sea again, Miller and Keys hauled the packing case containing the peacock up the gorge's cliff face to the top, ready to be transported. In an interview in 1928, Keys claimed that at the time of the rescue, the head had broken from the body. This account was proven to be true in 1988, following the birds' display in Brisbane. This peacock began its life in Australia, not in the grandeur of an International Exhibition as intended, but in the hallway of a simple domestic house in Geelong. It appears Minton & Co. did not attempt to buy this peacock back. Florence Miller, daughter of James Miller (Loch Ard salvage rights holder), later remarked that the only item of real value rescued from the wreck had been the peacock and that this had been kept by her father in the family home at Malvern for many years and became a treasured family possession. As such, this 'Loch Ard peacock' was almost forgotten and mistaken with other Minton peacocks around the world. Miss Florence Miller tried to sell the peacock due to financial difficulties in the 1930s but was unsuccessful. While attempting to sell her Loch Ard relic, it was displayed in the window of the old Argus newspaper office, which was at 76 Collins Street, Melbourne; the Argus had relocated to the corner of Elizabeth and La Trobe Streets in 1926. Between 1935 and 1939, the old Argus building was occupied by the Joshua N. McClelland Print Room, which sold not only paintings and prints but also antiques and authentic replicas, as well as hosting exhibitions. Miss Florence Miller loaned her peacock for display at the Victorian Historical Exhibition held in the National Gallery on 1st June 1935, the 57th anniversary of the Loch Ard wreck. As a result, the peacock attracted public attention in books, newspapers and magazine articles that told the story of its survival from a shipwreck. Miss Florence Miller was keen to sell the peacock, even writing overseas to Captain Blain on November 30th, 1938, about the possibility of a sale, but this became no longer possible due to the outbreak of war. Recent information points to the Loch Ard peacock being owned by John S R Heath before its sale to Frank Ridley-Lee in May 1941. Research is ongoing, but it seems likely that John Samuel Robert Heath, a leading Melbourne dentist with a practice in Collins Street, and his wife, a dental mechanic, had purchased Miss Miller’s Loch Ard peacock before its sale in 1941. They were lovers of fine arts, music, wine and food. The peacock in the window of the old Argus building could have attracted their attention as they had already purchased the old stone Presbyterian Church on Warrigal Road, Oakleigh, in 1933 and had converted its interior. The home, renamed The Studio, even included Melbourne’s first all-electric kitchen. The peacock was perfect for display in the Studio’s entrance. A magazine article published after the conversion was completed included photographs of the interior. The picture of the ‘portico’ had a caption below that stated, “Some of her [Mrs Heath’s] finest pottery was salvaged from the Loch Ard Wreck”. In 2025, Heath’s two remaining sons remember running around in the entrance with the peacock standing there, oblivious to its value. Heath was an accomplished artist, studying under Max Meldrum. He painted and exhibited his works at The Studio and in a public exhibition, and he was a finalist eight times in the coveted Archibald Prize portrait competition, including the submission of his self-portrait that is now part of his grandson’s collection. The next owner of the Loch Ard Peacock was Frank Ridley-Lee. He displayed it at his home in Ivanhoe after buying it at an auction in May 1941. The peacock remained in the hands of the Ridley-Lee family until it was offered for sale by auction in 1975 as part of an art collection belonging to Mrs Ridley-Lee's estate. The peacock was not sold at this time, as the reserve price of $4500 was not met. This news was passed on to the board of the newly created Flagstaff Hill Maritime Village. Urgent efforts were made to collect the necessary money through fundraising by the Warrnambool City Council and public donations. The Fletcher Jones Company and the Victorian Government contributed half the cost. On 9 September 1975, the Loch Ard peacock was purchased by Flagstaff Hill Maritime Village, and it found a new home at the maritime museum. Since then, it has only left Warrnambool twice. Firstly, in 1980, at the centenary celebrations of the Royal Exhibition Building in Melbourne, and secondly, in 1988, the peacock was given pride of place at the entrance to the Victorian Pavilion at the Brisbane World Expo, acknowledging that this Minton Majolica peacock is the most significant shipwreck object in Australia. The Minton majolica peacock is considered of historical social and aesthetic significance to Victoria and is one of only a few 'objects' registered on the Victorian Heritage Register (H 2132), as it is a most notable and rare object associated with the Minton factory of the 1870s and works by the celebrated sculptor Paul Comolera along with the wreck of the Loch Ard on the Victorian coastline. This Minton peacock is historically significant for its rarity; it was one of only 9-12 known to exist. The shipwreck of the Loch Ard is also of significance for Victoria and is registered on the Victorian Heritage Register Ref (S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's early social and historical themes. The collection is historically significant is that it is associated, unfortunately with the worst and best-known shipwreck in Victoria's history. The peacock, resplendent in polychrome glaze, stands perched on a rocky plinth decorated with vines, leaves, flowers, blackberries and wild mushrooms. The peacock’s breast is cobalt blue; the wings and legs are in naturalistic colours. The tail is a mass of feathers coloured in green, ochre blue and brown — a fantastic display of artistry and Minton expertise. Inscribed at the base :P Comolera, and a Minton & Co. design number: 2045.flagstaff hill, warrnambool, maritime museum, shipwreck coast, loch ard, loch ard gorge, peacock, paul comolera, victorian heritage register, minton peacock, minton & co., stoke upon trent, bird figures, mintons, ceramics, international expositions, majolica, naturalistic, staffordshire, john samuel robert heath

Rachel Mullett Ricky Mullett and Mrs Corn Gilsenen Waters of Metung displaying Aboriginal artwork at Art Gallery Bairnsdale VictoriaBlack and white photograph of Rachel Mullett Ricky Mullett and Mrs Corn Gilsenen Waters aboriginals, arts, people

This bell was the smaller of the two bells rescued by the crew of the Schomberg when it was wrecked in 1855. All of the crew from the Schomberg wreck survived. They carried the two ship’s bells with them as they made their way along the coast, eventually arriving at the home of settler John Manning, who lived at Hopkins Point near Warrnambool. Manning acquired the Schomberg bells, presenting them to two Warrnambool churches: the smaller one to St Joseph’s Catholic Church and the larger bell to St John’s Presbyterian church. The small bell at St Joseph’s developed a crack after about a year and could no longer be used. Thomas Manifold imported a new bell for that church, and the cracked bell was stored at his farm. The property was sold years later to John Logan, who donated the discarded bell to the Warrnambool Museum when it first opened in 1886. The Curator, Joseph Archibald, displayed the bell in the entry. In 1975, the bell was transferred from the Warrnambool Art Gallery to Flagstaff Hill. THE SAILING SHIP, SCHOMBERG: - When the Schomberg was launched in 1855, she was considered the "Noblest” ship that ever floated on the water. Schomberg's owners, the Black Ball Line, had commissioned the ship for their fleet of passenger liners. She was built by Alexander Hall of Aberdeen for £43,103 and constructed with 3 skins. One planked fore and aft and two diagonally planked, fastened together with screw-threaded trunnels (wooden rails). Her First Class accommodation was simply luxurious with velvet pile carpets, large mirrors, rosewood, birds-eye maple and mahogany timbers throughout, soft furnishings of satin damask, and an oak-lined library with a piano. Overall, she had accommodation for 1000 passengers. At the launch, the Schomberg's 34-year-old master, Captain 'Bully' Forbes, had promised to reach Melbourne in sixty days, stating, "with or without the help of God." Captain James Nicol Forbes was born in Aberdeen in 1821 and rose to fame with his record-breaking voyages on the famous Black Ball Line ships, Marco Polo and Lightning. In 1852, on the ship Marco Polo, he made the record passage from London to Melbourne in 68 days. Unfortunately, there were 53 deaths on the voyage, but the great news was of the record passage by Captain Forbes. In 1854, he took the clipper “Lightning” to Melbourne in 76 days and back in 63 days; this record was never beaten by a sailing ship. He often drove his crew and ship to breaking point to beat his previous records. He cared little for the comfort of the passengers. On this, Schomberg's maiden voyage, he was determined to break existing records. Schomberg departed Liverpool on her maiden voyage on 6th October 1855, flying a sign that read "Sixty Days to Melbourne". She departed with 430 passengers and 3000 tons of cargo, including iron rails and equipment intended to build the Melbourne to Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. She also carried a cow for fresh milk, pens for fowls and pigs, and 90,000 gallons of water for washing and drinking. She also carried 17,000 letters and 31,800 newspapers. The ship and cargo were insured for $300,000, a fortune for the time. The winds were poor as she sailed across the equator, slowing Schomberg's journey considerably. The land was first sighted on Christmas Day, at Cape Bridgewater near Portland. Captain Forbes followed the coastline towards Melbourne. Forbes was said to be playing cards when called by the third mate, Henry Keen, who reported land about 3 miles off. Due in large part to the captain's regarding a card game as more important than his ship, it eventually ran aground on a sand spit near Curdie's Inlet (about 56 km west of Cape Otway) on 26th December 1855, 78 days after leaving Liverpool. The sand spit and the currents were not marked on Forbes's map. Overnight, the crew launched a lifeboat to find a safe place to land the ship’s passengers. The scouting party returned to Schomberg and advised Forbes that it was best to wait until morning because the rough seas could easily overturn the small lifeboats. The ship’s Chief Officer spotted the SS Queen at dawn and signalled the steamer. The master of the Queen approached the stranded vessel and all of Schomberg’s passengers and crew disembarked safely. The Black Ball Line's Melbourne agent sent a steamer to retrieve the passengers' baggage from the Schomberg. Other steamers helped unload her cargo until the weather changed and prevented the salvage teams from accessing the ship. Later, one plunderer found a case of Wellington boots, but alas, all were for the left foot. Local merchants Manifold & Bostock bought the wreck and cargo but did not attempt to salvage the cargo still on board the ship. They eventually sold it on to a Melbourne businessman and two seafarers. In 186,4, after two of the men drowned when they tried to reach Schomberg, salvage efforts were abandoned. In 1870, nearly 15 years after the wreck, parts of the Schomberg had washed ashore on the south island of New Zealand. The wreck now lies in 825 meters of water, and although the woodwork is mostly disintegrated, the shape of the ship can still be determined due to the remaining railway irons, girders and the ship’s frame. A variety of goods and materials can be seen scattered about nearby.The bell is particularly significant in that along with other items from the wreck helped in part to having the legislation changed to protect shipwrecks, with far tighter controls being employed to oversee the salvaging of wreck sites. This bell forms part of the Schomberg collection at Flagstaff Hill maritime museum. The collection as a whole is of historical and archaeological significance at a State level. Flagstaff Hill’s collection of artefacts from the Schomberg is also significant for its association with the Victorian Heritage Registered Schomberg shipwreck (VHR S 612). The collection is of additional significance because of the relationship between the objects salvaged, as together they help us to interpret the story of the Schomberg. The collection as a whole is historically significant for representing aspects of Victoria's maritime history and its potential to interpret social and historical themes from society at the time of the wreck. A small ship’s bell. The bell bears the ship’s name and year of construction on one side and the name and address of the ship’s builders on the other. These details are deeply engraved into the metal and formed in bold, upper-case lettering. The bell has two bell stands, a left and a right side. Both stands have an Iron pipe made into an inverted ‘Y’ shape with a hole made in the single length and feet attached to a rectangular metal plate at the other two ends. Feet are bolted into a timber base that has a hole drilled through the centre for mounting. Bell's front; “SCHOMBERG” with “1855” below. Bell's back “HALL & SONS (crack splits letter “N”) / BUILDERS (in italics) / ABERDEEN” (crack splits letter “B”).flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, schomberg, silver plated bell, mess bell, bell stands, captain ‘bully’ forbes, alexander hall and son, james baines and company, liverpool’s black ball line, bell, schomberg bell, ship's bell, small bell, st joseph's church, briggs marine, john manning, john logan, warrnambool museum

Charles Wallace Gordon Graydon the First came out to Victoria on the S.S. Almora, the same ship on which Eliza Richardson and her family arrived on New Years Day 1875. Evidently C.W.G.G.1st. must have retained fond memories of a young fourteen-year-old girl named Elizabeth Richardson who travelled from Scotland with her mother and family (her father had arrived earlier) because three years later at Kyneton they were married. It was December 26th, 1860, and Elizabeth was just seventeen. As the bridegroom’s age is written as 24 years on the wedding certificate, he certainly must have been more than eighteen when he sailed on the "Almora" in 1856. The newly married couple went to live at Taradale, Victoria, and they made a good life for themselves in that town which had then a thriving gold mine. They lived in a large two-storied house in Survey Paddock, and it was there that four daughters - Susan Emily (1861-1906), Elizabeth Constance (1863-1945), Amelia Amy (1865 -1952, Ada Mary Maude (1867-1901), and one son Newenham Edward Eustace (1869-1945) named after his Irish Grandfather, were born. On his wedding certificate C.W.G. Graydon, is described as a foreman. His father-in-law, Robert Richardson was employed as a timekeeper on the Melbourne to Bendigo Railway works, and he and his family lived first in Prahran, then Kyneton, and then Taradale. Perhaps Charles Graydon worked on the railway with him. In Taradale however, he worked for a gold mining company in a surveying capacity. C.W.G.G.1st was to become Shire President of the Shire of Metcalfe. That particular year the Graydon Family entertained the visiting English cricket Eleven at their home in Taradale. He was certainly regarded as an important man in the district when he was requested by a great number of the residents to nominate for the Legislative Assembly election. About 1876 the Graydons left Taradale, and went to live at Sandhurst, now Bendigo, at Barkly Place East. The Richardsons had also left Taradale to go into the grocery business in the same town. Charles Wallace Gordon Graydon the First became a legal manager of mines, and a well-known and popular resident. Sad to say he became ill with a lung infection, and on June 4th. 1885 he died, and was buried at Sandhurst, now Bendigo Cemetery, Back Creek Rd. Eliza Richardson's brother was Mr. James Richardson, the well-known grocer, of Pall Mall and Golden-square, who died at his residence, "Balgownie," Short Street, on Thursday 22 Jan 1914. James Richardson was a native of Scotland. He was born at Glasgow in1849 and was only eight years of age when his parents sailed for Australia in the ship Balmoral. The family arrived in Melbourne in 1857 and went to Taradale, where Mr. Richardson, senior., acted as inspector of works during the construction of the Taradale Viaduct. James Richardson, who had commenced his education in Glasgow, attended school at Taradale until the family removed to Bendigo at the time the railway was being built from Bendigo to Echuca. The contractors for this work engaged Mr. Richardson, as their timekeeper. When he left school James Richardson applied himself to learn the grocery business, and he gained a thorough knowledge of it with different employers at Bendigo, Taradale, and Daylesford. In 1872 he opened a grocery store on his own account in High-Street, Bendigo, but within a few months he had the great misfortune to be burnt out. The fire originated in an adjoining building early one morning and both places were burnt to the ground. In spite of his loss, Mr. Richardson was not discouraged, for he soon made another start. His trade improved and he extended his business, opening the Eclipse Cash Store at Golden Square. A little later another branch was opened at the Oddfellows' Hall, and subsequently this business was transferred to the Eureka Cash Store, in Pall Mall, which was the head depot. In addition to the retail trade, Mr. Richardson had, for many years carried on an extensive wholesale business with the Northern District and had made a specialty of fodder seeds. James was a man of probity and sincerity in business, and as a citizen he was highly esteemed and respected. He was a prominent member of the Bendigo Caledonian Society in the earlier days of his citizenship. He was a staunch member of St Andrew's Presbyterian Church, and was a member of the board of management. In the Easter Fair procession, Mr. Richardson's display was always a prominent and attractive one. Mr. Richardson was a member of the Masonic Order and was a life member of the Bendigo Art Gallery and the old Mechanics Institute. He was married at Daylesford in 1871. Mr James Richardson was interred in the Presbyterian section of the Bendigo Cemetery.DVD A selection of Graydon and Richardson family photographs taken by Bendigo photographers, and family history notesphotograph, person, graydon and richardson families.

On display label: “Hand Painted Shell. Made in the islands WW2. Donated by N Hubble.Hand painted shell souvenir with palm trees, mountain. Shell mounted on timber stand, diamond shape.On timber base - hand inscribed - “N/Horvic Hubble/1947/WW2”military history, souvenirs, islands

Common wombats are short-legged, muscular, nocturnal marsupials that live in a wide variety of habitats throughout Australia. A common wombat can grow up to 1.2 metres in length and weigh up to 35 kilograms. The name “wombat” comes from the Darug language spoken by the Aboriginal Darug people, who originally inhabited the Sydney area. The wombat was first recorded in 1798 by explorer John Price on a visit to Bargo in New South Wales, however, wombats are depicted on Aboriginal rock-art that date back as far as 4,000 years ago. 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. Medium sized stocky wombat with a broad head and two muscular forelegs and two weaker hind legs that are met with long sharp black claws. The hair is long, thick and coarse in brown/yellow shades. The head features two small black eyes that have been made from glass, two short pointed ears and a bare nose pad. On wooden mount: BMM 5901 /taxidermy mount, taxidermy, wombat, animalia, vombatidae, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, common wombat

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

Representing Apollo, this statue embodies beauty, music, and prophecy. Its detailed design captures ancient Greek sculpture, transporting you to classical art's golden age. It would have been used for a decorative display. It belonged to Vera Therese Meredith nee Sebire, the daughter of John and Christine Sebire. She was the grandaughter of Henry and Martha Sebire of Mont De Lancey in Wandin, Victoria.Embrace Greek mythology with this small white resin or plaster Apollo Bust Statue which embodies beauty, music, and prophecy. Apollo is looking to his left. He has a robe draped around his shoulders attached to his right shoulder with a clasp. The bust stands on a round plinth.'4106' is stamped on the lower back of the statue.statues, human figures, busts