Born in India on 10 December 1902, Kath Mackay is described on her Record of Conduct and Service as being 5' 7" tall, weighed 9 stone 4 lb and had hazel eyes, light brown hair and a fair complexion. Before joining Victoria Police in April 1930 she worked in the Chief Commissioner's Office. She worked for many years at Russell Street and in 1943 attained the rank of Senior Constable, the first police woman to attain that rank. In 1956 she was the first woman promoted to Sergeant but only after a separate seniority list for women was created. Kath retired on 10 December 1961 and was later awarded a Chief Commissioner's Certificate.Kath Mackay, dressed in a dark jacket and beret, taken in a parkland setting, circa 1950spolice women, mackay, katherine 8600, police woman, policewomen, policewoman

An iconic image of a soldier, eyes raised to the sky, taken by photographer Jack Cato in 1932. He used the artist/entertainer Pat Hanna as a model in the photoshoot. Pat wrote down his experience in a moving two page document 'The Story Behind the Picture', it tells how he was moved to imagine the action in France when posing. The image is described as the portrait of a soldier, eyes raised to the sky. This portrait is a study which is called 'The spirit of Anzac' or 'The Digger'. Pat Hanna, said he tried to recreate the "look something between fear and defiance which we have all seen so often, and which will always remain in my memory as typical of our gallant old cobbers 'the Diggers'". A colour image is held in the AWM collection. The photo 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 just after the armistice in France. His popular stage show was 'Diggers' that performed in many towns in Australia post-war and adapted into a film in 1931. 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.Black and white photo of Pat Hanna as a 'Digger' and a two page recollection of the photoshoot with Jack Cato.Handwritten on photo 'Digger' in black ink in Pat Hanna's handwriting. Handwritten on reverse " 'The Digger', sometimes called 'The spirit of Anzac' / photo Jack Cato / model -Pat Hanna" in black ink. Typed on a paper note 'Spirit of Anzac / Pat Hanna'. Stamped with copyright of The Age in blue ink.hanna, solider, portrait

Fan-tailed Cuckoos are found throughout eastern and south-western Australia. They are also sometimes found in nearby small island nations as far as New Caledonia. Their call is a distinct, descending trill, which they are known to make even outside their breeding season. The neck is thin compared to a typical Fan-tailed Cuckoo - potentially a taxidermy error or damage. Otherwise, the specimen is reasonably representative. 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 fan-tailed cuckoo has a dark grey/brown back and a pale rufous (a yellowy brown) underside. The tail is also brown with white spots on some of the feather tips. The front of the face is pale rufous and blends into the black at the top of the head and neck. Some of the feathers around the neck are grey. There is a patch of white on halfway down the body on the left wing. The eyes are brown, the feet are yellow, and the beak, which is missing at the bottom, is yellow. The bird stands on a brown, wooden perch with a circular bar, curved stand, and circular base. It has an identification tag tied around its right leg. There is a swing-tag on the left leg.Swing-tag: 71a. / Fan-tailed Cuckoo / See Catalogue, Page 21 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, skin, reynell eveleigh johns, bird, fan-tailed cuckoo, cuckoo, australian bird, australian museum, australian animal

Large plastic doll standing 80cm tall. Red hair in two plaits tied with faded satin ribbons. Her eyes close when laid down on her back and legs are jointed at the hips. She is wearing an ankle length blue and silver satin dress with long sleeves and blue and white sequinned braid at the neck and sleeve edge. Underneath the dress is a pale blue taffeta petticoat with a white satin and lace trim and bloomers of the same material trimmed with white satin bows and faux crystal drops. She is barefoot and her feet are cracked and broken. Her face and hands have several marks.toys, dolls, plastic

Group of fourteen postcards (most unused) depicting various themes. (a) Simpson's Hochzeit (Rembrandt), (b) 'Westward Ho', (c) Painting by Professor Van Hier, (d) Van Hier painting, (e) Van Hier painting, (f) ' Mignon ' (actress), (g) Miss Lily Brayton as ' Marsinah ' in ' Kismet ' (h) Unknown actress, (i) ' Hark! Hark! The Lark ' , (j) A Sweet Surrender, (k) ' The old Clock on the Stairs ' , (l) 'I will lift up mine eyes unto the hills' (m) View from Cathedral Tower Dunkeld, (n) Choir East, St. George's chapel, Windsor Castle.postcard, photograph, various themes, postcards

Standing figurine of an obstetrician holding a baby. The figurine is made of felt, likely with a wire frame. The obstetrician is wearing full linen surgical attire, with white trousers, surgical gown, and surgical cap. The surgical gown has a large pocket at the front, containing a set or forceps. The obstetrician has black, curly hair, blue eyes and is wearing wire framed glasses. The baby is being held at head height, with ankles being held in the left and and the baby's upper legs being held in the right. The obstetrician's head is bent backwards as if the obstetrician is examining the baby's legs or ankles. The baby has curly pink hair.

The Studio Portrait shows a older woman looking to the left of camera. She is wearing a cardigan over a pale top with a cameo brooch pinned to it. Her grey hair is tied back. She is wearing wire-framed glasses. Message on the back of postcard says “Grey Hair. Blue Eyes. Bust (crossed out). If possible to be done without glasses. Please let me know in letter when it will be delivered. Address (obscured) Madigan c/- Mrs H. Currie, 11 Princess St, Seddon.” The woman is Margaret Madigan, nee Brady, wife of Patrick Madigan The couple lived at Menzies Creek.

Clothing. Women's black embossed silk bodice. Part of two piece set (skirt 11410.2). Stand up lace collar (7 cm) boned on either side and edged with cream coloured lace. Collar fastened at centre back with three metal hooks and eyes. Front opening left of centre fastened with eight metal hooks and cotton loops and three across the left shoulder. Crossover section at front is pin tucked below the neckline and is tapered into the waist with centre pleats. Both sides of the crossover have decorative beading along the edges. The inner layer of the bodice is fastened at centre front with 15 metal hooks and eyes - alternating directions. The bodice is shaped from the waist with 9 boned casings. The back is shaped in at the waist finishing with two U shaped tails (11cm X 8cm) with V shaped tails (4 cm X 6cm) on either side. The waistline and tails are finished with a double row of decorative black beading. At the waistline at centre back are three metal hooks to attach bodice to skirt. Long sleeves are gathered at the shoulder, shaped at the elbow tapering to the wrist. Below the wrist is a two piece cuff (13cm X 7cm) with decorative black beading. The bodice is fully lined with light brown cotton fabric with grey splash pattern. Historical Notes: This bodice and skirt belonged to Elizabeth Graydon (nee Richardson). Photograph of Elizabeth wearing this outfit (11410.3).costume, female, women's black silk bodice

Cream coloured taffeta wedding dress. Square yoke at front with spiral bead pattern and tassels of bead across lower edge of yoke. V shaped neckline at back with yoke and tassels. Short sleeves of double layer of net embroidered with flowers. Front and back of bodice of embroidered net. Neckline lined with 10cm cotton lace. Bodice fully lined with cotton fabric. Two vertical side panels of 5cm silk lace from shoulder to waist with triangular shaped tabs (12cm) extending to side seams. 5cm silk lace with 12cm triangular tabs across the waist at back of bodice. Taffeta floor length skirt 5cm lace with 12 cm triangular tabs extends from waist on LHS down to 3cm above hemline and extends across the front in a U shape to side on RHS and then across the back of the skirt in a U shape to the LHS. Triangular insert of embroidered net (45cm at hem) on LHS, from hem to 42 cm above hem. Centre back opening from neckline(25cm) fastened with seven metal hooks and eyes. Satin fabric belt with horizontal pin rtucks fastened with two metal hooks and eyes. Fabric circular buckle (5cm diameter). Lower edge of skirt lined with cotton fabric (14 cm wide). Semi-circular cotton padding stitched under arms.costume, female, cream coloured wedding dress

The Satin Bowerbird is commonly located around the eastern and south-eastern coast of Australia. They reside in wetter forests and woodlands, and nearby open areas. They feed mostly on fruits throughout the year but in summer will supplement their food supply with insects and in winter with leaves. The Satin Bowerbird is most commonly known for it's practice of building and decorating it's bower. They will often collect objects of bright blue to decorate the bower including straws, clothes peg, parrot feathers, pens, marble, string, glass and bottle tops. This decoration is done by a male Bowerbird in the effort to attract females. 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 taxidermy Satin Bowerbird specimen has dark black/blue glossy plumage and a pale coloured bill of small size. The bird is of a medium size compared to other species of birds and has pale legs with short talons. The eyes are made of strikingly blue coloured glass which represents the violet-blue iris of this bird while living. The bird has a short tale and has been stylized in a leaning/crouched position with it's back arched upwards and head out long. This specimen stands on a small platform and there is some deterioration to the tail feathers which protrude beyond the platform which may have otherwise provided some protection. Donor - Mr. E.T. / BH. RO. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, bower, bowerbird, satin bowerbird

Grey Butcherbirds live in wooded habitats, including suburban areas, from the north of Western Australia, across different parts of the top of the country, through to mid-eastern Queensland, and then south along the eastern side of the country all the way down to Tasmania. They have a 'lovely, lilting song', and are fiercely protective of their nests and chicks, swooping at presumed attackers with enough strength to sometimes draw blood. Adult Grey Butcher Birds are typically a light grey colour with dark heads and white underparts. The brown colouring on this animal suggests that it is a young bird, with its grey adult feathers coming in. This bird appears thinner than most Grey Butcher Birds, but it is unclear if this is because of its age or because of inaccurate taxidermy. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. This specimen is particularly special in the Burke Museum Collection as it is part of a male/female pair (see Relationships). Many birds in the collection were originally donated in male/female pairs, but at least one specimen has been lost, leaving these as one of the few surviving sets.This Grey Butcher Bird (likely female, based on size) has a light grey and brown bill with a sharp hook. The majority of the feathers on its back and tail are an olive-brown colour. The feathers of its underparts, the patches on either side of its bill, and two stripes coming up either side of its neck are a yellow-white colour. There are some light grey feathers coming through in small patches, particularly across the back, the top of the underparts, and along the upper half of the legs. The eyes are brown. The bird stands on a brown, wooden perch with a circular bar, curved stand, and circular base. It has an identification tag tied around its right leg.18a. / Collared Crow. Shrike / See Catalogue; Page 10. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, australian birds, butcher bird, butcherbird, grey butcher bird, collared crow-shrike, australian butcherbird, tasmanian butcherbird, tasmania, bird pair

The Australasian Shoveler is a species of duck that can be commonly found in heavily vegetated swamps in southwestern and southeastern Australia, Tasmania and New Zealand. The species, Australasian Shoveler, is aptly named after their large shovel-shaped bill. These birds use these large bills which are equipped with fine hair-like components which strain the water and mud for food including tiny creatures including insects, crustaceans and seeds while it swims. 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 Australasian Shoveler is a species of low-floating duck with a dark head and brown plumage. The rear of this specimen is a dark brown, with mixed white and brown colouring on the upper torso. The underparts of this bird are brown and orange. The specimen has glass eyes made in an amber colour. The Shoveler is standing on a wooden platform which is labelled number 136. Amongst the feathers on the wings, this bird has a green coloured feather. The legs of the Shoveler would have once been a bright orange; however, the legs of this specimen have darkened in colour throughout the taxidermy process. This bird has a large bill shaped like a shovel from which the name "Shoveler" has been derived.5a. / Australian Shoveller / See Catalogue, page 38. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, heron, duck, australaisian shovelor, shovelor

CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of a landscape with several social comments. The top of the work features a Micky Mouse symbol with dollar signs in his eyes and a speech bubble which says "We'll move the Heathland". To the left is text stating "ALCOA AIMS TO MOVE THE HEATHLAND. "AGE" 5-9-80". In the centre of the work vegetation burns, aboriginal people wave and a tractor drives below the text "THEY BURNT THE HEATHLAND 4-12-80". The lower section of the work shows two men with a red megaphone. A speech bubble comes from the megaphone which states, "I UNDERSTAND YOUR ANGUISH!" To the right of the men is a wreath of native plants with two animals (native mice?).Front: 26 B. Sharrock (lower right, image) (pencil) Back: 36

This dressed doll was owned by the daughter of Dr William Roy Angus and his wife Gladys when the family came to Warrnambool in the late 1930s. It is part of the W.R. Angus collection, donated by the family of Dr W R Angus, surgeon and oculist. The doll was donated with another dress and a blanket. The doll has features similar to, but an earlier model than, Reliable's 1940s model Cuddlekins doll, which has an entirely composite body. ReliableToy Company was founded in Toronto, Canada, by Solomon Samuels in 1920. Samuels was later joined by his two brothers. The company had a reputation for products of good quality. In 1922 the company began making their own dolls from composition, where previously the parts were made elsewhere and assembled by Reliable. The company stopped making Reliable dolls in 1995. The W R Angus Collection spans from 1885 to the mid-1900s and includes historical medical and surgical equipment and instruments from the doctors Edward and Thomas Ryan of Nhill, Victoria. Dr Angus married Gladys in 1927 at Ballarat, the nearest big city to Nhill where he began as a Medical Assistant. He was also Acting House surgeon at the Nhill hospital where their two daughters were born. Dr Angus and his family moved to Warrnambool in 1939, where Dr Angus operated his own medical practice. He later added the part-time Port Medical Officer responsibility and was the last person appointed to that position. Dr Angus and his wife were very involved in the local community, including the planning stages of the new Flagstaff Hill and the layout of the gardens there. Dr Angus passed away in March 1970.This doll is connected to the history of Warrnambool, as it was owned by the daughter of Dr W. R. Angus and his wife Gladys, and is part of the W.R. Angus Collection, which is important for still being located at the site connected to Doctor Angus, Warrnambool’s last Port Medical Officer. Dr Angus and his wife brought their young family to Warrnambool in 1939 and he remained a resident until his death in 1970. Early in his profession in the town of Nhill, Dr Angus assisted Dr Tom Ryan in his pioneering use of X-rays and in ocular surgery, and Dr Angus later inherited these items. The W.R. Angus Collection includes these medical instruments and other related equipment and is culturally and historically significant as an example of the medical practice of the late 19th to the mid-20th century. Other items in the collection relate to Dr Angus’ service in the Flying Doctor Service and the Army. The doll is also significant as an example of toys imported into Australia in the 1930s and 1940s and used by children in the Warrnambool community.Doll with moulded composition head, neck, arms and legs, all attached to a fabric body. The doll’s head has brown moulded curls. The facial features include an open mouth showing two top teeth, green eyes, and sleeping, closing eyelids with eyelashes. The doll has a crier inside that makes a sound when the doll is turned over. It is clothed in a knitted pink singlet, modern pink underwear, and a cream flannel short-sleeved dress with pink smocking and embroidery, and ties at the rear. There is a moulded inscription on the back of the doll’s head. The doll was made by Reliable Toy Company Ltd, Canada. The doll is part of the W.R. Angus Collection.On the back of the head “RELIABLE / CANADA”flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, dr w r angus, dr roy angus, dr ryan, warrnambool oculist, port medical officer, mira hospital nhill, toy, nhill hospital, doll, baby doll, composition doll, reliable toy company, canada, solomon samuels, child's toy, w.r. angus collection

Clothing. Women's black silk calf length skirt. Skirt has silk lining with a layer of silk fabric stitched to cover lower section of lining (52 cm). An outer layer of silk fabric falls from the waist to overlap the underlayer. The top layer has an irregular curved hem line.The inside waistband of ribbed cotton fabric (7cm) has six boned casings. The centre back opening (28 cm) overlaps at the waistband and is fastened with metal hooks and eyes and press-studs. The silk lining opening is fastened with four metal press-studs. The outer layer of silk fabric is fastened with five metal hooks and cotton loops.costume, female, women's black silk calf length skirt

Clothing. This garment has been severely damaged - the waistband has been removed, and a 45 cm diameter circle has been cut from the polished cotton lining. There is also fabric damage adjacent to the internal side pocket seam, velvet binding at hem, stiffened linen lines the inside at the hemline - 20 cm deep, and a narrow binding of black velvet encircles the lower hemline. While the waistband has been partly removed, the original two metal hooks, and three metal eyes are still in place. This garment is severely damaged, but it does still give insight into the inner construction of the garment. Ten ''gores'' or sections make up the circle of this skirt.costume, female, full length black skirt

Late 1800'sClothing. Squared neckline, long beaded sleeves, finished with a 6 cm ribbon edged frill. Sleeves are beaded in bow motifs, which are repeated on the back and front panels of the bodice. Lower edge has a peak at centre front, and is finished with a 3 cm black velvet band. Bodice is lined with black polished cotton. Front opening is fastened with ten metal hooks and eyes - opening alternately from left to right. A 3 cm wide strong cotton tape is stitched to the centre back of the bodice, passing around the waist, and fastening at centre front with one metal hook and eye. This band is 59 cms long.costume, female, black beaded bodice with long sleeves

Rectangular, beige, cloth-covered box with lid. It has a green, pink and red floral pattern overall. The lining and the inside of the lid is of a pale green fabric. A fine, pale green cord and knot braid decorates the edges of the lid. Inside the box there are: a)1 cream-coloured silk, handstitched bird pouch, with a gold-coloured patterned edging. The bird has 2 gold-coloured bead eyes. b) 1 square purple cloth perfume sachet containing rosemary. c) 1 small, glass-covered, coloured picture of a girl in a green and orange dress, with a pigeon on her shoulder. She is feding some birds and chickens.containers, storage boxes

Grey Butcherbirds live in wooded habitats, including suburban areas, from the north of Western Australia, across different parts of the top of the country, through to mid-eastern Queensland, and then south along the eastern side of the country all the way down to Tasmania. They have a 'lovely, lilting song', and are fiercely protective of their nests and chicks, swooping at presumed attackers with enough strength to sometimes draw blood. Adult Grey Butcher Birds are typically a light grey colour with dark heads and white underparts, while their young are typically olive-brown. The mix of these two types of colouring on this animal suggests that it is a younger bird. This bird appears thinner than most Grey Butcher Birds, but it is unclear if this is because of its age or because of inaccurate taxidermy. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. This specimen is particularly special in the Burke Museum Collection as it is part of a male/female pair (see Relationships). Many birds in the collection were originally donated in male/female pairs, but at least one specimen has been lost, leaving these as one of the few surviving sets.This Grey Butcherbird (likely male, based on size) has a bill that is dark grey at the front with a sharp hook but becomes lighter towards the face. The majority of the feathers on its back are light brown with some grey feathers around the lower half. It's crown area is a dark black colour and its tail is a dark grey. The feathers of its underparts and a small patch on either side of the neck are a yellow-white colour. There are also grey feathers coming through on its underparts. The eyes are brown. The bird stands on a brown, wooden perch with a circular bar, curved stand, and circular base. It has an identification tag tied around its left leg.19a / Collared Crow. Shrike / See Catalogue, Page 10 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, australian birds, butcher bird, butcherbird, grey butcherbird, collared crow-shrike, australian butcherbird, tasmanian butcherbird, tasmania, bird pair

BHS CollectionCalf length, waisted purple dress of synthetic crepe fabric with elbow length sleeves. U shaped neckline at front. High rounded neckline at back with centre 8 cm opening fastened with two hooks and eyes. Decorative beading at centre of bodice. Flower and leaf patterns. Bodice has two small pleats at waistline on each side . Padded shoulders. Side opening at waist on LHS with 20 cm metal zipper. Same fabric belt with 4 cm fabric covered buckle of different purple colour. Front of skirt has eight gored panels from the waistline. Back of skirt has three panels. Dress unlined.costume, female, calf length purple dress

Optometrists are trained to examine eyes and prescribe visual aids such as spectacles. The optometer pictured in the media section of this document dates from the 1800s. The optometer was used with various lenses to determine the refraction of the eye. Refraction means the extent to which light is bent by an individual's eye. The result can determine how short-sighted or long-sighted they are, and the strength of spectacles required. In the second half of the 1800s, ophthalmologists also devised instruments to measure the separate components of vision. Dr Jules Badal developed the pictured instrument in 1876. It was based on an optometer invented by William Porterfield in 1759. The brass stands look as though they were made for an optometer to be table mounted, with heavy brass stands and designed to hold a cylindrical object securely as would be required by an optometer. Stands appear to have been very well made and very early probably early to mid 19th Century by a well known scientific instrument maker given there are no inscriptions or marks to indicate the time period made or maker it is difficult to assume significance to these items at this point in time as well as the items are incomplete.The brass stands believed to be for mounting an early Optometer an (ophthalmic instrument) Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, stands for scientific instrument

Coin collections have a long and varied history. Coins were often collected in churches in a box located near the entrance/exit, and later via a collection plate that was passed amongst the congregation Funds were used to repair the church or feed the poorest of the parish. The donation of coins is and was considered part of religious life and mentioned in Christian, Jewish and Islamic texts. With the need and expansion of charitable works occurring outside religious life, charity boxes began to spread into hospitals, orphanages and asylums. The need for non-fixed boxes grew with the rise in charities and their activities outside a fixed building. Collection boxes could be large (and therefore hard to move) or could be held by individuals acting as collection agents, working at a specific location, moving between dwellings or at events. In this example, the Blind Babies tin could have be used at Carols by Candlelight, White Cane day or other special marketing days.3 metal coin collection tin with paper wrapFront: For the Blind Babies Children and Adults of the Royal Victorian Institute for the Blind 557 St Kilda Road, Prahran Side: As a thanksgiving for sight! (Drawing of a man holding his hand to his eyes as a blast occurs in front of him, pushing small objects towards his body) It might hit You or Me! Side: As a thanksgiving for sight! (Elaine Leahy facing towards the RVIB gates). The gates of the Institute are always open to welcome all eligible blind babies, children and adults who seek, and never fail to receive, its aid.royal victorian institute for the blind, fundraising

A cigarette holder is a fashion accessory, a slender tube in which a cigarette is held for smoking. Most frequently made of silver, jade or bakelite, which was popular in the past but now wholly replaced by modern plastics, cigarette holders were considered an essential part of ladies' fashion from the mid-1910s through the early-1970s. Traditionally, men's cigarette holders were no more than 4 inches ( 10cm ) long The holder was also used as a practical accessory, as before the advent of filtered cigarettes in the 1960s, the holder served several purposes. A holder kept tobacco flakes out of the smoker's mouth, kept the thin cigarette paper from sticking and tearing on the smoker's lips, prevented nicotine stains on fingers, cooled and mellowed the smoke and kept side-stream smoke from stinging the smoker's eyes A Bakelite gentleman's cigarette holder c1940cigarettes, cigars, tobacco, bakelite, plastic, market gardeners, pioneers, moorabbin, cheltenham, bentleigh

After the storming of the Eureka Stockade on 03 December 1854 a number of reward posters were posted for the capture of rebellion leaders. Frederick Vern was born in Hanover. A reward of 500 pounds was offered for his reward. This was the greatest of all the reward posters (ie a reward of 400 ounds was offered for Lalor and Black). It is not known why Vern was targeted with the high reward value, but it was probably something to do with the fear of the preceived foreigners at the time. The poster gives a description of Vern: "Tall, about 5 feet 10 1/2 inches, long light hair falling heavily on the side of his head, little whisker, a large flat face, eyes light grey or green and very wide asunder. Speaks with a strong foreign accent. A Hanoverian by birth, about 26 years of age."Printed copy of the post Eureka Stockade reward poster for the apprehension of Frederick Vern. The posters were reproduced in the 1887 edition of Withers 'History of Ballarat'.ballarat, eureka, eureka stockade, vern, frederick vern, robert rede, john foster

The Pacific Black Duck is also known as the Grey Duck in New Zealand. Despite these names, the plumage of the bird is brown in colour with the occasional cream and small amount of black. This species of Duck is located in all of Australia with the exception of the most arid zones. They can also be found throughout the Pacific region. The Pacific Black Duck resides in a range of different habitats that have some sort of water. These birds feed on aquatic plants, crustaceans, molluscs and aquatic insects. To catch their food, these birds plunge their heads and necks under the water with their rear raising above the top of the water. This technique is termed "dabbing". 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.Despite its name, the Black Duck is largely brown in colouring. It has a mixture of light brown and cream plumage on the neck, face and stomach. The wings and rear of the duck are a darker brown. Each brown feather is bordered with a cream colour which separates the feathers from each other. The top of the head is also dark brown and there is a darker stripe of black colour horizontally on either side of the eye. The specimen has two brown and black glass eyes and a black bill. The legs and webbed feet are a dark brown and black colour. Tied around the left leg is a paper identification tag. The number 134 is inscribed on the left side of the wooden platform on which the bird is standing. This specimen is stocky.3a. / Australian Wild Duck / See Catalogue, Page 38. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, duck, pacific black duck, grey duck, australian duck

This painting is one of a pair of large paintings by W. Langley-Taylor in our collection. Currently, no further information has been found about the artist but research is ongoing. The subjects of these paintings are seascapes of notable areas of the coast on each side of Port Phillip Bay, south of Melbourne, Victoria. The subject of this painting is Cape Schanck, Victoria, which is on the east side of Port Phillip Bay. It includes the Cape Schanck Lighthouse and its Flagstaff. The Cape Schanck Lighthouse was built in 1859 and is the second of Victoria’s coastal lights. It is 21 metres tall and made from limestone. Unusually, its stairway is made from stone rather than wrought iron. Gilded tours are available to explain its use and significance to visitors. The lighthouse keepers at Cape Schanck kept records of the ships that sailed past them along Bass Strait; ship’s names, direction, time and date and so on. The details would also be passed on to shipping agencies, Harbour Masters and newspapers, which published Arrivals and Departures into and out of shipping ports such as Port Phillip Bay and the Port of Melbourne. INSCRIPTIONS “Mrs M Irby” (and on the Eagle Rock, Warrnambool, painting “980/Regency”) The inscription “Mrs M Irby” is on the back of both paintings but the significance of the inscription has not yet been discovered. Perhaps she was connected with the ship or shipping company “Irby”. A ship named “Irby”, built in Merseyside, Liverpool in 1881 by R & J Evans, Birkenhead. It was a four-masted iron ship built for the White Star Line. Henry Wilson Hewitt bought her in 1882, then later she was owned by Chadwick & Pritchard. In 1888 she was registered under the Irby Ship Co. Ltd. (trading as J. Joyce) in Liverpool. In 1912 Galgate Co. Ltd owned her. She traded between London, England and Australia, and is recorded as being in Melbourne and Hobart. In 1919 the Irby was destroyed by a mine when on her way to England. Or perhaps her name and the inscription in pencil “980/Regency” on the Eagle Rock Warrnambool, painting could be a delivery address for the paintings, perhaps an apartment in a hotel. NOTE: The artist’s spelling of the title “Cape Schank, Vic.” is incorrect. The location in this painting is named Cape Schanck. This painting is significant geographically for its representation of the coastal scenery of Victoria, Australia. It is also significant as one of a pair of paintings of seascape, one at sites each side of Port Phillip Bay. The painting is significant historically as an example of late 19th and early 20th methods and materials used to construct a painting’s frame. Painting oil on board in a dark wooden frame, portrait orientation. Seascape of coast with cliffs, lighthouse and flagstaff, flying birds, high waves breaking onto rocks, blue sky with clouds. The title is painted on lower left corner and the Victorian artist, W. Langley-Taylor, has signed his name on lower right. The inscription on back is handwritten script in red crayon or thick red pencil. The board is held in place inside the timber frame with small, dark metal tacks around all sides. Metal eyes join the wire to the frame. Small round, dark metal nail heads are dispersed around the frame and there is a change of colour on both the board and the wood of the frame. Painted on front “W.LANGLEY-TAYLOR.” and “CAPE SCHANK, VIC.” [NOTE: correct spelling is Schanck] Handwritten on back “Mrs. M. Irby” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, painting, oil painting, cape schanck painting, w. langley-taylor, wall decoration, seascape of victoria's coast, art, mrs m irby, victoria's coast, pair of paintings

Clothing. Cream cotton net, woven with a goemetric pattern of filligree diamonds and tiny squares. The garment is fully lined with the most delicate, and sheer cream silk. A peplum ettect 7 cms deep, is finished with 9.5 cm deep peak at the centre front. Two metal hooks, and stitched eyes are the only fasteners, and are located at the waistline on the peplum seam. The curved front bodice is edged with a 3.5 cm deep frill of cream net, which is finished at the outer edge with two rows of stitching in a heavier weight thread. The front bodices are gathered at the centre front to the peplum. The long sleeves are finished at the wrist, with a double frill of plain tulle, also edged with a double row of stitching, in a heavier thread.costume, female, silk and net blouse

Large 75cm tall plastic doll with curly blonde hair. Her eyes close when she is laid on her back. She is dressed in a cream muslin dress with vertical inserts of white braid. It is also trimmed with wide cream cotton lace on the bodice and hem and burgundy insert on the bodice. A burgundy sash is around her waist. Underneath the dress is a cream cotton pintucked petticoat trimmed with various cream laces and cream cotton bloomers trimmed with cotton lace and white satin bows. She is wearing black socks and brown canvas shoes with plastic soles. There is also a cream muslin bonnet, heavily trimmed to match her dress with a burgundy bow and a white muslin bow.toys, dolls, plastic