The DollarBird is the only member of the Roller family found in Australia and can be found in forests and woodland areas. The name of this bird comes from the large white spot on the underside of each wing which resemble silver dollars. They travel to Australia each year to breed from New Guinea and the surrounding area. Their main source of food is insects which they hunt during flight. They capture these foods while displaying skillful aerial pursuits. They then return to the same perch they were upon when they left to catch their food. 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 juvenile Dollar bird's feet are a faded brown and the bill is a light yellow. The colour of this specimen's head and neck are a cool grey which fades to a patch of bright purple on its upper chest. The back is grey while the underbelly and wings are a light blue-grey. The tail feathers are tipped in black. The specimen is standing on a wooden mount.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, dollar bird

This tester was used between 1950 and 1980's. As part of the Occupation, Health and Safety requirements, equipment used to monitor the performance of electricity producing generators, regularly, hand held testers were used to check the insulation and the "earth" pin were up the the required operational levels. As the generators and their ancillary monitoring equipment was spread over a large area and cumbersome to service small hand held devices were required. These had to always be safe for the user to operate. A selected range of high quality meters were recalibrated every two years in the Meter and Calibration Laboratory at Yarraville(near Melbourne) This meter is very significant to The Kiewa Hydro Electricity Scheme because it was an integral part of maintaining the electricity producing water driven generators of the power stations. The reason why this meter was so essential is that provided the safety check on equipment used to monitor each Hydro Generator that they were complying within the grid network parameters. Grid parameters are set so that if there is an electrical fault on the system, that fault can be attended to with a very small change in the output stability of each generator. It is essential that the voltage of the network remain within the set limits. Generators are at Dartmouth, Mackay, Clover, West Kiewa, Yarrawonga, Cain Curran and three Power Stations in the Thornton area.This hand driven current generator produces 500 volts by winding the handle(on funnel curved side) to keep the voltage constant(one minute per test). The whole body is made from caste aluminium. One of the functions of this meter is to test the isolation resistance of any equipment being tested. This is to see if that equipment is safe to handle(no electrical shocks). The second function is to test the earth pin of any portable electrical equipment. The turn key on one side can direct which function is required(marked insulation or continuity). On the top side(enclosed in a glass fronted marked scale) is a continuity scale(top) and an insulation scale(bottom). This is covered , when not in use by "flip up" lid with manufacturer's details and name of the instrument. Opposite the winder are two screw tight knobs. One marked earth(left side) and one marked line(right side). On the top and next to the glass windowed scales in a post manufacture SEC Vic equipment equipment ID number. For carrying purposes there is chromed steel (fold together) handle.The bottom of the unit has two metal "feet" 150mm long by 114mm wideManufacturer's details on top side "MEG" underneath "INSULATION AND CONTINUITY TESTER" below this "constant 500 VOLT pressure" below this "REGISTERED MEG MEGGER TRADE MARK" below this "REG DESIGN NO. 690326" below this "UNITED KINGDOM PATENT Nos. 193746, 197178, 198182, 202062, 202398, 204649, 350715" below this "SUPPLIED BY THE GENERAL ELECTRIC Co. Ltd OF ENGLAND" below this "MAGNET HOUSE, KINGSWAY LONDON W.C.2" 'sec vic kiewa hydro scheme, alternate energy supplies, alpine feasibility studies temperature, rainfall

Set of 8 mixed SEC tickets found in Ballarat No. 28, No. 2 end north side under old drop window in bulk head by Darren Hutchesson on 28/3/1999. Tickets have been used and have varying degrees of dirt. The image file shows the nature of the damage. Tickets have not been individually numbered with the Registration Number, but can be identified by their ticket number and denomination. Mostly SEC pre-decimal tickets with one SEC decimal issue ticket and one bus ticket. All on white paper unless otherwise noted. 4d F? or I? - 994140 - brown ticket with tartan back 5d - ? - 651862 - green ticket with tartan back 6d - E 807367 - blue ticket with tartan back 6d - J 078706 - blue ticket with tartan back 8d - B 207831 - light red ticket with tartan back 8d - A 962074 - light red ticket with tartan back 5c - B299223 - yellow ticket with SEC logo on rear. Bus ticket - strip - 1/1d, issued 7/8/1965, No. 885 and 886 marked "single"trams, tramways, tickets, used tickets, secv, ballarat

1890.1 - Black and white copy photograph of a damaged photograph of a ESCo Bendigo tramcar at Charing Cross, Bendigo, c1905. Original photograph has been damaged - mounted onto a sheet of card, with "WHO. Robinson - Photo - Bendigo" printed onto the sheet. Tram photographed side on, has not been fitted with windscreens. has a "Silver Star Starch" roof advertisement and has "Bendigo Tramways" painted onto the side of the tramcar. In the background of the photograph are buildings in Gardens area that front View St. Also the Shamrock hotel can be seen in the distance. 1890.1 - copy of same photograph but with a better reproduction and repair of the print. 1890.3 - Electronic copy of same photograph donated by Ron Hann on a CD of photographs given to him at the time of his visit in January 1963 by the Manager. Refer to email held with item 3841. Added 28/2/2010. No actual print, held on digital file only - see image 1890i3. See Reg Item 4568 for the CD. 1890.4 - Black and White print contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Added 2/7/2013. On rear of 1890.2 - "Bendigo" in ink in top right hand corner and in pencil "(Similar truck to original Ballarat car No. 18"trams, tramways, bendigo, esco, view st, silver star starch

David FERRY (1957- ) Born in Blackpool, United Kingdom. David Ferry studied painting at the Camberwell Schools of Art and printmaking at the Slade School of Fine Art in London. He is currently Professor of Printmaking and Book Arts at the Cardiff School of Art, Cardiff Metropolitan University,Wales. He was Former Associate Professor of Fine Art Media, at the Long Island University, New York, USA, and former Head of Printmaking at the Winchester School of Art, UK. David Ferry was awarded a Fellowship of The Royal Society of Arts for his contribution in the foundation of the Curwen Print Study Centre in Cambridge where he became its first Artistic Director in 2003. In 2010 he was made Professor of Printmaking at the Cardiff School of Art and Design, and a full Fellow of the Royal Society of Painter / Printmakers (RE).Framed screenprint which forms part of a series called ‘Cake walking in Scotland’ which was printed 2015/16. It is a Digital Archive print with gold and silver leaf and glitter and varnish. "Upon entering a strange place, the visitor is disorientated. He looks for key markers that can act as signposts to help him find his way. These markers are taken from his past experiences, giving shape to his perceptions.’…’ Ferry was born in the seaside town of Blackpool and educated at London art colleges during the late 1970s at the height of British Punk. These early foundations continue to assert themselves in the mischievous and disruptive nature of his photomontage. He argues that early understandings of oneself, along with the characters and situations one encounters, shape our viewpoint. These act as familiar signposts that enable us to negotiate our understanding of the world. Employing what he refers to as a collage mentality, Ferry collides and layers fragments to explore his subjects.’ Writes Stephen Clarke on David Ferry’s work in ‘The Double Negative’. (htt05 April 2019)ps://www.roeandmoore.com/shop/the-corrie-by-david-ferry/, accessed One of an edition of 12.david ferry, printmaking, artist in residence, screenprint, art, artwork

This black and white photograph shows a group of RDNS Sisters who are part of the Post Basic Community Nursing Course. They are receiving education from Sr. Pat (Paddy) Rowley, RDNS Principal Nurse Educator. The session is being held in the Education Department at the Royal District Nursing Service Headquarters, 452 St. Kilda Rd, Melbourne.The RDNS winter uniform worn is a blue/grey skivvie under a blue/grey V neck tunic style herringbone winter material frock.Melbourne District Nursing Service ran its first Post-Basic Course for community nurses in 1962. Sisters attended the course for 12 weeks. The course ran annually until the mid 1990s. Education was an integral part of Melbourne District Nursing Society (MDNS), from its inception in 1885, later, in 1966, called Royal District Nursing Service, (RDNS). From 1885, only Trained nurses (Nurses) through the Hospital training system, were employed by the Society, and on visits to patients they taught the necessity of hygiene and cleanliness, as well as the need for a good diet, to bring about good health. Doctor’s lectures were later given at the MDNS home to instruct patients and their families on prevention of disease. Education to patients continued throughout the years regarding health care and the use of equipment in the home. In 1961, Education programs commenced at MDNS with their Trained nurses (Sisters) receiving In-service education. Sr. Pat (Paddy) Rowley was a leader in In-service Education and established the RDNS Department of Community Nursing Education in 1962. Staff could also apply for scholarships to further their education outside of RDNS. Many of their senior Sisters received Postgraduate diplomas from the College of Nursing in Community Health Nursing, Education, and Administration, and several travelled overseas visiting nursing organizations viewing their public health and District nursing systems. At RDNS many programs were run, including: a Post Basic Course, Cardiac Rehabilitation Nursing, Haematology/Oncology Nursing, Palliative Care program, Diabetic Stabilization Program, Leg Ulcer Management Program, Wound Care Specialist Program, HIV/AIDS Nursing Care, Cystic Fibrosis Home Support, Veterans Home Care Program, Breast Cancer Support Program, Continence Management Program, Stomal Therapy Program, In-Home Lactation Support Program and the Homeless Persons Program. RDNS staff attended several hospitals to observe and learn special care needed to some patients, e.g. to the Austin Hospital to learn the care required for paraplegic and quadriplegic patients at home, and to Mount Royal Hospital to observe the care of patients in the Rehabilitation ward. A Community Nursing Education Program was extended to student nurses from hospitals and to other nursing organizations. These Education programs kept the RDNS Sisters abreast of new techniques, such as changes in technology for e.g. new testing methods in detecting glucose levels in Diabetic patients. Sr. Nan Deakin obtained a Post Basic Certificate in Psychiatric Nursing and included this area in her Education lectures. Sr. Daphne Geldard specialized in the area of Alzheimer’s disease and Dementia. These Sisters visited patients in District areas with the regular RDNS Sister when required. Every member of staff, both professional and non professional staff, received regular education in the Education Department. In 1980, a Home Health Aide pilot study, funded by the Federal Government, the Brotherhood of St. Laurence and RDNS, with the program written and taught by Sr. Rowley, was evaluated as successful, and Home Health Aides were employed and worked in RDNS Centres under the supervision of RDNS Sisters. This black and white photograph is of a group of seven Royal District Nursing Service (RDNS) Sisters sitting in a semi-circle in two rows at single small two shelf tables. There are open white paged books or papers on each table and some of the Sisters have pens in their hands. The Sister sitting in the front far right is Sr. Affleck, who has dark short curly hair. The other Sisters have dark short hair in various styles. Further right in the photograph stands Sr. Rowley, who has dark short hair and is wearing glasses. She has her left hand supporting a torso of an anatomical model which is sitting on a table slightly to her left. She and the Sisters are looking at the vertebrae down the spine of the model. Another empty table is in front of the semi-circle and it sits in the centre foreground of the photograph. In the rear between Sr. Affleck and Sr. Rowley, a piece of equipment stands on a table. To the right of the photograph part of a large blackboard can be seen. The Sisters are wearing light grey skivvies under a darker V neck tunic style frock with the RDNS insignia on its upper left.Photographers stamp. Quote No. LD 8rdns education, rdns uniform, royal district nursing service, sister pat (paddy) rowley, sister margaret affleck

Sr. Tarn is based at the RDNS Heidelberg Centre and is wearing her RDNS uniform of a royal blue V neck tunic style frock over a white short sleeve blouse, and her uniform royal blue peaked cap with the central attached RDNS insignia. The photograph is taken at two year old Lynette Singh's home. Gradually over the years, Melbourne District Nursing Service (MDNS), later known as Royal District Nursing Service (RDNS) from 1966 when they received Royal patronage, opened Centres throughout the Melbourne Metropolitan area and outer suburbs with Heidelberg Centre opening in 1971. Their Trained nurses (Sisters) left from these Centres each morning to carry out their nursing visits in a specific area (district), taking any sterilized equipment needed with them. They returned at the end of the day to write up their patients nursing histories, clean and reset any equipment used ready for re-sterilization, and contact other medical and community personal as necessary. The Trained nurses (Nurses) of the Melbourne District Nursing Society (MDNS), later known as Royal District Nursing Service (RDNS), visited patients in their home and gave best practice care in many fields of nursing, and to people of many cultures, throughout its 130 years of expansion. Initial visits not only assessed the specific nursing situation but the situation as a whole. Their patients ranged in age from babes, children, adults to the elderly and referrals were taken from Hospitals, General Practitioners and allied Health facilities. Some of the care their Trained nurses (Sisters) provided is as follows: – Post-Natal care given to mother and babe, Wound Care following various types of surgery, accidents, burns, cancer, leg ulcers etc. Supervising and teaching Diabetic Care, including teaching and supervising people with Diabetes to administer their own Insulin, and administering Insulin to those unable to give their own injections. Administering other injections and setting up weekly medication boxes. The Sisters performed Catheterizations on adults suffering from conditions such as Quadriplegia, Paraplegia, Multiple Sclerosis (MS), Motor Neurone Disease (MND) and Guillan-Barre Syndrome, and when required at school on children for e.g. those with Spina Bifida. The Sisters visited those requiring Cystic Fibrosis support and care; those requiring Haemo-Oncology care, including visiting children at school; those requiring Home Enteral Feeding care, and those requiring IV therapy at home and home Dialysis. Palliative Care was given including pain relief with the use of syringe drivers, personal care as needed, and advice and support to both patient and family. The Sisters provided Stoma management to those needing Urostomy, Ileostomy and Colostomy care and those requiring Continence care. HIV/AIDS nursing care was provided; visits to Homeless Persons were made. Personal care was given to patients ranging in age and with varying mobility problems, such as those with MS, MND, Guillan-Barre Syndrome, Poliomyelitis, Quadriplegia, Paraplegia, Acquired Brain Injury, to those following a Cerebrovascular Accident (Stroke), those with severe Arthritis and those with a form of Dementia. When necessary the elderly were assisted with personal care and advice given on safety factors with the use of hand rails, bath or shower seats, and hand showers. Rehabilitation with an aim towards independence remained at the forefront of the Sister’s minds and when possible using aids and instruction on safe techniques enabled the person to become fully independent. All care included giving advice and support to the patient and their Carers. The Sisters liaised with the persons Doctor, Hospital and allied Health personal when necessary.Black and white photograph of Sister (Sr.) Joan Tarn of Royal District Nursing Service (RDNS), holding little Lynette Singh in her arms. On the left of the photograph is the upper view of Sr. Tarn who is slightly turned to her left, and has her left arm under Lynette supporting her, and her right hand is on the upper area of Lynette's left arm . She is smiling as she holds Lynette who has a round visage; is looking to her left and her dark curled hair is against Sr. Tarn's left cheek; her left arm is extended over Sr. Tarn's right shoulder. She is wearing a frock with a white background and dark poker dot top section and a darker patterned skirt. Sr. Tarn is wearing her RDNS uniform of a dark V neck tunic style frock over a white short sleeve blouse. Her uniform peaked cap with the central RDNS insignia is worn over her dark curled short hair. In the background the weatherboards of Lynette's home can be seen with a short curtain covering part of a window.Photographer stamp. Quote No. LF 88royal district nursing service, rdns, sister joan tarn, lynette singh

This photograph is taken in the lounge room of Mrs. McCoubrie's home in Dudley Street, Fitzroy. Sr. Fullarton is assisting her to regain her independence from being wheelchair bound to walking with a 4 prong stick.From the founding of the Melbourne District Nursing Society (MDNS) in 1885, known as Royal District Nursing Service (RDNS) from 1966, the rehabilitation of patients to ensure they were able to live independently in their own homes was at the forefront of care given by their Trained nurses. As well as teaching and supervising the use of equipment, their Trained nurses taught them safe transfer techniques. These techniques were also taught to family members to enable them to care for their loved ones. RDNS at first held workshops given by a contracted private Physiotherapist before employing their own Physiotherapist in 1975 who taught staff the correct techniques, not only for safety of the patient, but to reduce physical strain on RDNS nursing staff and patient’s family members. When required the Physiotherapist accompanied the Sister on her visit to the patient in their home. On the left of this black and white photograph, is Mrs. McCoubrie, who is an elderly lady with white curly hair and is wearing dark rimmed glasses. She is standing on a rug between the raised footplates of a wheelchair which is behind her. She is smiling and looking at Sister Ethel Fullarton from the Royal District Nursing Service (RDNS) who is in the right of the photograph. Mrs. McCoubrie is wearing a black frock with white buttons, collar and belt. She has her right hand on the wooden handle of a 4 prong stick and her left arm is supported by. Sr. Fullarton, who is standing side-on, and is smiling at Mrs. McCoubrie. Sr. Fullarton is wearing glasses; has curly dark hair, and is wearing a white gown over her uniform. She has her right hand under, and supporting, the upper section of Mrs. McCoubrie's left arm and is grasping Mrs. McCoubrie's hand with her left hand. In the left background, part of a brick fireplace with a small vase of flowers sitting on the wooden mantelpiece can be seen. A lounge chair is seen on the far right and a patterned carpet is under the dark patterned rug.Barry Sutton LW 1 Names.royal district nursing service, rdns, rdns rehabilitation, sister ethel fullerton, mrs mccoubrie

The Fred Rochow Railways Collection incorporates photos related to the operation of the Wodonga Railway Station including different types of trains and railways staff C. 1930 – 1990. It was donated to the Wodonga Historical Society by Fred Rochow, a railwayman who spent many years based in Wodonga. He joined the Victorian Railways on 17th June l947 and retired in 1988. For some time, he was a member of the Australian Federated Union of Locomotive Enginemen and served a term as a member of the Trades Hall Council. He had an extensive knowledge of the struggles that took place to achieve better conditions for railway workers. Fred worked for many years as a fireman and then worked his way up the ranks to driver, experiencing many changes from the days of steam locomotives through to diesel trains, locomotives and even the modern XPT train. He worked throughout Victoria at different stages of his career, with his final working years focused on the northeast of Victoria and the Albury to Melbourne line. After his retirement, Fred continued to share his love of steam miniature trains with the community.This collection has local and statewide significance as it captures images of trains, locomotives and personnel who operated the railway services in Wodonga and throughout Northeast Victoria. The railways played a critical role in opening up Victoria and connecting Australia for trade, business, social communication and transport.Engine Instructor Geoff Williams walking beside Locomotive 1329 to lift the hand brakes. The T class were a class of diesel locomotives built by Clyde Engineering, Granville, NSW for the Victorian Railways between 1955 and 1968. Locomotive T329 was part of the first order completed and entered service in June 1956. At that time, they became the most numerous diesel loco in Victoria. In 1984, the 13 first series T class locomotives were sent back to Clyde Engineering Plant at Somerton in Victoria for a complete rebuild after which they became the P class numbered P11 to P23. This included locomotive T329 which became Locomotive P12. The P Class have proven to be a reliable and dependable class, seeing service across the state in both passenger and freight duties. They often operated in push-pull mode, with a locomotive at each end of the train. The P class locomotives ceased being used for regular passenger operations in November 2012. Although locomotive P12 (T329) is primarily in storage it is still operational and can be hired for special events and as recently as 2017 was also used as an infrastructure maintenance train.At top of train between headlights "T329" In centre Victoria Railways logo "VR"fred rochow, victorian railways wodonga, locomotive 1329

The Fred Rochow Railways Collection incorporates photos related to the operation of the Wodonga Railway Station including different types of trains and railways staff C. 1930 – 1990. It was donated to the Wodonga Historical Society by Fred Rochow, a railwayman who spent many years based in Wodonga. He joined the Victorian Railways on 17th June l947 and retired in 1988. For some time, he was a member of the Australian Federated Union of Locomotive Enginemen and served a term as a member of the Trades Hall Council. He had an extensive knowledge of the struggles that took place to achieve better conditions for railway workers. Fred worked for many years as a fireman and then worked his way up the ranks to driver, experiencing many changes from the days of steam locomotives through to diesel trains, locomotives and even the modern XPT train. He worked throughout Victoria at different stages of his career, with his final working years focused on the northeast of Victoria and the Albury to Melbourne line. After his retirement, Fred continued to share his love of steam miniature trains with the community.This collection has local and statewide significance as it captures images of trains, locomotives and personnel who operated the railway services in Wodonga and throughout Northeast Victoria. The railways played a critical role in opening up Victoria and connecting Australia for trade, business, social communication and transport.Fireman Ian Sandford on steps of Locomotive T329. He is moving into position to apply the hand brakes. The T class were a class of diesel locomotives built by Clyde Engineering, Granville, NSW for the Victorian Railways between 1955 and 1968. Locomotive T329 was part of the first order completed and entered service in June 1956. At that time, they became the most numerous diesel loco in Victoria. In 1984, the 13 first series T class locomotives were sent back to Clyde Engineering Plant at Somerton in Victoria for a complete rebuild after which they became the P class numbered P11 to P23. This included locomotive T329 which became Locomotive P12. The P Class have proven to be a reliable and dependable class, seeing service across the state in both passenger and freight duties. They often operated in push-pull mode, with a locomotive at each end of the train. The P class locomotives ceased being used for regular passenger operations in November 2012. Although locomotive P12 (T329) is primarily in storage it is still operational and can be hired for special events and as recently as 2017 was also used as an infrastructure maintenance train.At top of train between headlights "T329" In centre Victoria Railways logo "VR"fred rochow, victorian railways wodonga, locomotive 1329

A smoothing plane is typically used after the work piece has been flattened and trued by the other bench planes, such as the jack, fore, and joiner planes. Smoothing planes can also be used to remove marks left by woodworking machinery. When used effectively alongside other bench planes, the smoothing plane should only need a handful of passes removing shavings as fine as 0.002 inches (0.051 mm) or less. The work piece is then ready to be finished, or can be further refined with a card scraper or sandpaper. The smoothing plane is usually held with both hands, and used in a similar manner to the other bench planes. Though designed for smoothing, a smoothing plane can be used as an 'all-round' bench tool and for rougher work depending on how it is set up. Being smaller than other bench planes, the smoothing plane is better able to work on smaller work pieces and around obstructions. Since the 1700s wooden smoothing planes have predominantly been 'coffin shaped' wider in the middle and slightly rounded making them more maneuverable. It has also been claimed that the coffin design exposes more end grain, enabling the plane to better adjust to changes in humidity. John Moseley & Son: Records indicate that before 1834, the firm is listed at number 16 New Street, London and according to an 1862 advertisement the shop had been established in New Street since 1730, The Sun insurance records from the time show that John Moseley was the possessor of a horse mill in the yard of his premises, which means that some kind of manufacturing was taking place, as the mill would have provided power to run a saw or perhaps a grinding wheel so the probability is that he did not just sell tools, he made them as well. John Moseley died in 1828 and his will he names his four sons: John, Thomas, William and Richard. To complicate matters he also had brothers with the same first names; brothers Richard (of Piccadilly) and William (of Peckham Rye) are named as two of the executors. Brother Thomas is not mentioned in this will, but became a minister and was one of the executors of brother Richard’s estate when he died in 1856. From John’s will, we also learn that, although the shop was in New Street, he resided in Lympstone, Devon. The family must have had a house in that county for quite some time as both sons Richard and William are baptised in Devon, although John and Thomas were baptised in London. In the 1841 and 1851 census records, we just find William in New Street, but in 1861 both William and Richard are listed there as toolmakers. That Richard was staying overnight at New Street was probably just accidental as in 1851 and 1871, we find him with his wife Jane and children in Clapham and Lambeth respectively. In 1851 Richard is listed as “assistant clerk cutlery warehouse” and in 1871 as “retired plane maker and cutler”. Although the actual place of work is not stated, one may assume he worked in the family business. 1862 is a year full of changes for the firm. In that year, William had a new property built at 27 Bedford Street. In the catalogue for the 1862 International Exhibition, 54 Broad Street (later 54-55 Broad Street) is listed for the first time, which may very well coincide with the split of the business into a retail and a wholesale branch. Around the same time, they must have moved from New Street to 17 & 18 King Street because their manufacturing premises had been pulled down to form the New Street from Cranbourne Street to King Street. In January 1865, William died and Richard continued the business. In 1867, the partnership he had with his son Walker and Thomas Elis Hooker, is dissolved. Richard continued tool making at King Street and Bedford Street. Richard retired somewhere between 1867 and 1871, but the business continued. The business is taken over by W M Marples & Sons and tools continued to be made in London until 1904 when manufacturing relocated to Sheffield. A vintage tool made by a well documented company, this item was made commercially for firms and individuals that worked in wood and needed a tool that could produce a smooth finish to timber. The tool was used when timber items needed to have a smooth finish these types of planes were used in conjunction with profiled planes that provided a decorative finish. A significant tool from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Tools that were themselves hand made shows the craftsmanship used during this time not only to make a tool such as the subject item but also the craftsmanship needed to produce a decorative finish that was needed to be made for any timber item. Smoothing Plane coffin design Maker J Moseley & Son London & 2 1/4"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane moulding, moulding plane, plane, j heath, moseley

The Australian Customs Service, Melbourne, donated a set of gauging instruments, and Port Fairy Customs donated another instrument, the Sike’s Hydrometer, to Flagstaff Hill Maritime Village, all of which were no longer required. However these ullaging tools were in use for many years by Customs officials, called Gaugers. Ullaging is a term describing the measurement of the amount of liquid remaining in a container of spirits such as a cask or barrel. It can also measure the free space or head space remaining. The primary role of customs officers in Victoria was to calculate the tariff or excise duty payable on goods imported into Victoria. (Excise duty is a tax on goods produced within a country, and customs duty is imposed on imports.) Customs officers spent a great deal of their time measuring and weighing goods, and then calculating the amount of duty to be paid by the importer. The tariffs for different products varied, and officers consulted published lists. Calculating the duty payable on a barrel of brandy was a detailed task. The gauger had to measure the barrel to determine its volume. Barrels were irregular in shape, and finding the volume required several measurements and checking tables of figures. Alcoholic content was then measured with a hydrometer. The duty paid varied according to the alcoholic strength of the spirits. Uniform national customs and excise duties were operative in Australia from October 1901. These tools were still being used in Australia in the 1950’s. The Federal Government still imposes excise taxes on goods such as cigarettes, petrol, and alcohol. The rates imposed may change in February and August each year in response to changes in the consumer price index. ULLAGING TOOLS (1) Head Rod - this instrument measures the diameter of the heads (top and bottom ends) of a cask or barrel. The shaped brass pieces on the head rod enable the diameter of a barrel to be measured inside the chimes at the head end. The slide rule could then be used to calculate the internal volume of the barrel. On the reverse side is a set of ullaging scales, used like those on any ullaging rule, to calculate the volume of liquid in a partially filled barrel. (2) Bung Rod – this instrument measures the diameter of a cask or barrel when it is lying on its side. It is a rod that fits into the ‘bung’ hole of a cask and is long enough be extended to reach the opposite side of the cask. The brass sliding pointer can be moved to mark the ‘wet’ line. When the rod is removed the bung measurement can be read from the scale on the rod. (3) Long Calipers - this instrument measures the length of the cask between the heads. It has two rules sliding beside each other, each end having another piece of wood fixed firmly at right angles downwards then turned inwards at the ends so as to reach over the heads of the casks without touching the projecting ends. The centre pieces enable it to extend or contract, changing the distance between the two other parallel sides, the distance they are apart being shown by the rule on the sliding pieces. (4) Cross Calipers – this instrument is used to take the bung diameters of casks, or "the Cross " as it is called. This instrument has two rules sliding beside each other, each end having another piece of wood fixed firmly at right angles downwards, together forming a 3 sides of a rectangle with the centre pieces enabling it to extended or contracted, changing the distance between the two other parallel sides, the distance they are apart being shown by a the rule on the sliding pieces. (5) Sike’s Hydrometer – this instrument is used to gauge the strength of different alcoholic spirits when fitted with the different weights in the set. Every set is individually calibrated to ensure that it meets the exact Standard Weight and Measure compliance, then every piece in that set is stamped with the same number by the Calibrator, to ensure that the measurements are taken using the same hydrometer set. [References: A Handbook of Practical Gauging, Janes Boddely Keene of H.M. Customs, 1861, F. Pitman, London; Customs Act, Volume 2, No. 1, April 1999; Old Customs House website ] Head Rod, ullaging gauge. Long wooden rod made of three joined sections, brass hook on end, sliding centre section with hook, measurements marked along each section as on a slide rule. Used for measuring diameter of heads of casks in order for Customs to calculate excise (tax) on the contentsflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, head rod, gauging rod, ullaging rods, measuring instruments, customs tax

An hourglass or sandglass is an instrument for measuring a defined time and can be used perpetually by simply turning it over immediately the top bulb empties. The clear blown glass is shaped into two equal sized bulbs with a narrow passage in the centre and contains uniform sized sand or glass particles in the lower bulb. The width of the neck regulates the constant flow of the particles. The glass is held in a stand with top and bottom of equal shape and size. Hourglasses can measure an infinite variety of time by gauging the size of the particles, the shape and size of the bulbs and the size of the passage between the bulbs, thus measuring hours or minutes or even seconds. Generally an hourglass sits between discs of wood at the ends, which are joined by long wooden spindles between the ends and tightened by screw caps. The length of time can be adjusted by adding or removing sand particles. The use of the marine sandglass (or hourglass) has been recorded in the 14th century in European shipping. A one minute sandglass was used in conjunction with the ship’s log for ‘dead reckoning’, (see below) that is, for measuring the ship’s speed through the water. They were also used to regulate ringing the ship’s timetable; for example a 4 hour sandglass was used for the length of the sailors’ watch, and a half hour timer for taking of readings for the ship’s log; the ship’s bell would be rung every half hour. It was usually the role of the cabin boy to watch and turn the sandglasses over at the exact time of them emptying their upper chambers and to ring the ship’s bell. Hourglasses have been used historically for many hundreds of years. Some have been used for timing church sermons, in cooking, in industry and at sea. Even today they are used for measuring the cooking time of eggs and timing a player’s turn in games such as Boggle and Pictionary. The sandglasses at sea were gradually replaced in the late 1700’s to early 1800’s by the more accurate chronometers (marine clocks) when they became reliable instruments. DEAD RECKONING (or Deduced Reckoning) Dead reckoning is the term used to describe the method of calculating the ship’s position from its speed and direction, used in early maritime travel, mostly in European waters. Both the (1) speed and the (2) direction of travel were recorded on a Traverse Board at half-hourly intervals during a helmsman’s watch of 4 hours. The navigator would record the readings in his ship’s log, plot them on his navigational chart and give his updated course directions to the next helmsman on watch, along with the cleared Traverse Board. This was a very approximate, but none-the-less helpful, method of navigation. The wooden Traverse Board was a simple pegboard with a diagram of a compass with eight peg holes along the radius to each of the compass points, plus a grid with ascending half hours in the left column and increasing ship’s speed in knots in a row across the column headings, with a peg hole in each of the intersecting cells. A number of wooden pegs were attached to strings on the board. By placing one peg consecutively in the direction’s radius hole, starting from the centre, and the speed holes when the half hourly reading was taken, a picture of speed and direction for the whole 4 hour watch was created. (1) To measure the ship’s speed a one minute hourglass timer was usually used to measure the ship’s speed through the water and help to calculate its longitude. A rope, with knots at regular standard intervals and a weight such as a log at the end, would be thrown overboard at the stern of the ship. At the same time the hourglass would be turned over and a seaman would start counting the number of knots on the rope that passed freely through his hands as the ship travelled. When the timer ran out the counting would be stopped. A timer of one minute (one-sixtieth of an hour), knots spaced one-sixtieth of a nautical mile apart, and simple arithmetic easily gave the speed of the ship in nautical miles per hour ("knots"). This would be recorded every half hour. The speed could however be inaccurate to the travel being affected by ocean currents and wind. (2) To calculate the ship’s direction a compass sighting would be recorded each half hour.Marine hourglasses or sandglasses were used from around the 14th to 19th century during the time of sailing ships. This hourglass is representative of that era, which is during the time of the colonisation of Australia. Hourglass or sandglass; an instrument used to measure time. Two equal sized clear glass bulbs joined with a narrow passage between them, containing equal sized particles of sand grains in lower bulb. Glass sits in a brass collar at each end, in a frame comprising 3 decorative brass columns or posts, each attached top and bottom, using round screw-on feet, to round brass discs. Disc have Roman numerals for the numbers 1 - 12 pressed into their inner surfaces and hieroglyphics on the outer surfaces. Roman numerals on inner surface of discs " I II III IV V VI VII VIII IX X XI XII " Hieroglyphics impressed on outer surface of discsflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, horology, hourglass, hour glass, sandglass, sand glass, timing instrument, dead reckoning, deduced reckoning, finding latitude at sea, sandglass with hieroglyphics and roman numerals, hourglass with hieroglyphics and roman numerals, brass hourglass

Newspaper cutting from Bendigo Advertiser, dated Saturday, December 3, 1988 - Page 14. Photo on left is captioned: ABOVE: John Meredith and Peter Ellis prepare traditional dance music for the National Library archives. Top right picture is captioned: ABOVE: Peter Ellis plays and 80-year-old celluloid penny whistle. Ellis' 'Collector's Choice' will be launched today at the National Trust chambers in View St at 3 pm. LEFT: Peter Ellis demonstrates the one string fiddle and collection of various instruments. Article reads: Duo's work an insight to music over the years. Local musical identity and Australian social dance authority Peter Ellis, co-author of the Bicentennial publication 200 Dancing Years, has completed his series on dance music entitled 'Collector's Choice'. Noted Australian folklorist John Meredith will launch volume three of Collector's Choice today at the National Trust chambers in View St at 3 pm. A photographic display by John Meredith can be seen at the chambers between 2pm and 5pm. The display is called Pioneers of Performers and it exhibits a cross section of traditional musicians from all over Australia. Fifty superb black and white toned prints will also be on display. John Meredith is one of Australia's foremost folklorists and has many publications to his credit including Folk Songs of Australia, Frank the Poet and The Wild Colonial Boy. Peter and John have just returned from the third national folklore conference in Canberra. Collector's Choice has more than 300 popular tunes written in a clear single melody line with guitar chords provided. Forty different dances are represented with music including the Pride of Erin, Parma Waltz, Evening Three-step, Swing Waltz, Barn Dance, Progressive Jive and Old Time Medley. A detailed introduction provides handy advice on choice, presentation and suitable tunes plus historical details on the evolvement of colonial, modern ballroom, old time and new vogue dances and music. Illustrations on the social history of the bands and individual musicians can be found throughout the book. Bendigo bands of old which are illustrated including Cyril Sawyer's Swingsters. As part of the launch the Sandhurst Dance Club will host a free dance from 8pm at the Marong Public Hall.Bendigo advertiserperson, individual, peter ellis oam

Romantic, charming . . . ''SUNNYBROOK'' ON the slope of a hill on the East side of Bolton street and overlooking willows that trail gracefully in a creeklet which shows no great haste to blend with Diamond Creek and so to the Yarra, there stands a great old-fashioned home. Outwardly it speaks of past opulence rather than beauty of design, but the velvet green lawns and the formal neatly weeded rose gardens, the well established trees, tennis courts, wisteria covered pergolas and the great curved fronds of old palms produce an atmosphere that cannot be built-up in less than decades. Here is irresistible old-world charm. The jangle of today cannot penetrate ... it is a place to remember ... a place where events to be remembered have a perfect setting ... it is "Sunnybrook." From the neighbouring ‘Beranto Lodge’ Mrs. Lenne can catch glimpses of ‘Sunnybrook,’ but the old home is well hidden from all quarters and only the faultlessly kept lawn can be seen by the curious. Like many other people, Mrs. Lenne was curious. Who can blame her. ‘Sunnybrook’ is a name to conjure with in Eltham. When the elderly men of the township were young bucks ‘Sunnybrook’ stood alone, a proud home that was known and established. Amongst the simple homes of the valley of the Diamond Creek, ‘Sunnybrook’ was Queen. In the roistering days of the Diamond Valley, when Kangaroo Ground was the seat of the Shire and when five pubs dotted the road from Lower Plenty to the civic centre, ‘Sunnybrook’ was off the track of the boisterous and tipsy. ‘Sunnybrook’ is still off the beaten track . . . but only slightly so; it no longer looks over cow pastures, but the neat, newly built houses which dot the length of the Main Road. They are still no closer than half a mile and while these houses have sprung up the fine trees and shrubs have quietly closed in around the boundaries of ‘Sunnybrook' as if to keep the old place to itself. That is how it has become something to whet the curiosity. When the course of events put the place on the market Mrs. Lenne bought it. When a modern house is bought it is pliable in the sense that the owner moulds it according to personality. It can remain severe, utilitarian and with a little neglect soon run to an ugly shabbiness. But with old 'Sunnybrook' it is different. There is in existence a character indelibly written into every line of the place . . . it is a LOVE OF ENGLAND. Upon ‘Sunnybrook’ has been lavished the devoted love of England to such a degree that it must be seen. The gardens and lawns are formal, and though lovely and speaking of the leisure of past years they are not English . . . they are just lovely, with the beauty that only the long established seem to possess. It is inside ‘Sunnybrook’ that the intense love of England is seen. Years ago the home was bought by a Mr. Martin, who was getting on in years, as a home for his much younger wife. The couple spent thousands of pounds as well as endless care and imagination in the complete redecorating of their home. Oak panelling imported from England was built in. Huge fireplaces shed their Colonial appearance to be become the fireplaces of England . . . and they were so in every sense because they were also imported from England. One lovely specimen whose gracious lines are remarked upon by all who see it, is a certified antique of finest English Oak. Care was taken to see what hand made wrought iron light fittings were in keeping. The old place has three lounge, dining or living rooms according to taste and requirements, and all are bigger than the biggest attempted in a “big” modern home. This does not include an outside living space of ample proportions, all fine flywired in and enclosing a fernery. A turn of a tap and spray as fine as mist is released over the rockery. On a scorching summer day when no relief short of a swim could help ordinary people, the resident of ‘Sunnybrook’ found the coolness of a dell in which to sit and enjoy their evening meal. What is more, the temperature of the whole house could be reduced by merely turning on this extensive spray water system. Yes, comfort to luxury standard is built in. And what happens to 'Sunnybrook' now? Mrs Lenne is famous to thousands for her quite fabulous catering. Her home and her "Wanda Inn" at Hepburn Springs have long been a Mecca for those who want the different in catering . . . different in the sense that every client is treated as a friend, not a customer and the hospitality and attention one would give to an honoured friend is accorded. And the food! – ask anyone who has enjoyed the privilege. Ask those who attended the reception given to Mr. Menzies by Eltham Shire Council; ask those members of the Diamond Valley Chamber of Commerce who enjoyed it! [See EDHS_04736-1/2 https://victoriancollections.net.au/items/5d4c2fb521ea6727d892df72] There is only one word anyone ever uses . . . “unbelievable!” it must be seen and eaten to be believed. And ‘Sunnybrook’ will ring to the laughter, and offer its spaciousness for the fun of all who join in the happiest occasion in the life of those just married, whose wedding reception is intended to be “remembered.” Mrs. Lenne is a dynamic ball of energy whose enthusiasm is not to be brooked. She has acquired the home of her dreams. 13 March 2020 Note: Historian Stella M. Barber via the GSV members Forum cites that Clair Samwell and Doris Good ran a nursing home in Balwyn called Penquite (1946-1952). Prior to that the women had run a rest home called Beranto in Eltham. Single newsprint page separated rest of paperberanto lodge, bolton street, houses, mrs. lenne, prime minister, properties, robert gordon menzies, sunnybrook

The Eastern Whipbird isusually be found in pairs. They have a distinct white stripe on either side of the beak which helps to identify this bird. This species generally resides in wet habitats such as wetlands and rainforests, where there is dense vegetation. The Eastern Whipbird can be commonly found along the east coast of Australia. Since this is a taxidermy mount, there are a few inconsistencies. The main inconsistency is the colour of the specimen, the plumage should be an olive-green colour. This particular colouring has likely faded due to the taxidermy process and also the age of the specimen. There should also be black plume on top of the head which is missing from this specimen. 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 Eastern Whipbird is a small species of bird which has a dramatic stripe of white colouring on either side of the small bill and the crest is black. The belly and throat are black while the back, wings and tail are dark brown. This specimen stands upon a wooden perch and has an identification tag tied around its leg.25a / Thickhead / catalogue page 11taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, eastern whipbird, australian birds

The Dusky Woodswallow is often found in flocks which can be located in two separate populations. The Eastern population if located in Atherton Tableland in Queensland south to Tasmania and west to Eyre Peninsula in South Australia. The other population is found in south-west Western Australia. They reside in open forests and woodlands. This species is surprisingly aggressive and may fight with other Woodswallows for territory and nest sights. They will even chase raptors away from their homes. This species flies in flocks of around 10 to 30 birds which cluster together. In terms of diet, these birds eat insects and nectar from flowers. 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 Dusky Woodswallow has largely deep brown colouring with some areas of grey on the head, neck and chest. There is a deeper brown colouring between the wings on the back of the specimen and the wings are black. This bird has a small curved bill which is grey and white. The legs are dark grey and the bird has long talons with an extra long toe in the centre. The eyes are made of brown glass with a back pupil. The bird is styalised standing on a wooden mount and has a paper identification tag attached to its right leg.[torn] / 9 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, swallow, woodswallow, dusky woodswallow

Noisy Miners are native to Australia and can be found on the East Coast. Noisy Miners live in northern Queensland and all along the eastern coast to South Australia and Tasmania. Noisy Miners are found in woodlands and open forests. They have also become well adapted to suburban situations and are a common sight in parks and gardens. The Noisy Miner feeds on nectar, fruits and insects. Very occasionally they will eat small reptiles and amphibians. Food is either taken from trees or on the ground. In keeping with its highly social nature, the Noisy Miner usually feeds in large groups. The Noisy miner specimen is mounted accurately. 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 Noisy Miner is identified by its mostly grey body and black crown and cheeks. The bill is yellow, as are the legs and the naked skin behind the eye. The name is well suited as the common calls are uttered repeatedly by the members of the colony .Despite their moderate size, Noisy Miners aggressively attack larger birds such as hawks and kookaburras. These attacks may be so vigorous that most other birds are excluded from an area occupied by Noisy Miners.Swing tag: 65a. Garrulous Honey-Eater / See Catalogue, page 19 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, noisy miner, garrulous honeyeater, yellow beak, honeyeater, east coast

Fluorite comes in a variety of natural colours and crystal formations and glows under ultraviolet light (the word 'fluorescence' comes from the same etymological source). In its pure form, calcium fluoride, it is a colourless combination of the elements calcium and fluorine, but gains its colour from trace elements that infiltrate or replace calcium within its crystal structure during its formation. Although fluorite crystals polish well and can achieve a high level of lustre, the mineral is very soft (4 on MOHS hardness scale) so it is unsuitable for use in rings and must be handled and stored carefully if used in other forms of jewellery. Most crystals of the mineral are too coarse for decorative purposes but have been mined under the name fluorspar for a variety of commercial and industrial purposes. These include the production of hydrofluoric acid, smelting metal alloys, producing glazes and ceramic finishes and use in medical and dental products. An existing label for this specimen indicates that its origin or collection-point was 'probably USA.' Fluorspar, the form of fluorite used commercially and industrially, was mined in significant quantities in the counties of Hardin and Pope in South-Eastern Illinois throughout the Nineteenth and Twentieth Centuries. Fluorite was made Illinois' state mineral in recognition of its contribution to the state's identity and economy. The specimens are significant as examples of surveying activity undertaken to assess and direct the development of the mineral resource industries, as well as the movement to expand human knowledge of earth sciences such as mineralogy and geology in the nineteenth century.The specimen is a piece of purple shaded fluorite (also known as fluorspar), the mineral form of calcium fluoride. The unpolished specimen presents a dark purple interior with a substantial dark grey crust representing the matrix from which the specimen was obtained. Existing label: Flourite / (purple) / probably / USA / BB /burke museum, beechworth, geological, geological specimen, fluorite, flourite, calcium fluoride, hydrofluoric acid, jewellery, indigo shire, north-east victoria, mining, illinois, usa, united states, fluorine, gemstones, purple stones

Emu eggs are perfect for decorating, painting or carving. Emu egg shells have multiple layers ranging from an inner white layer through to the dark green outer layer. The contents must be removed through a small hole (either tool drilled or poked with a needle). After the yolk has been blown out (scrambling the yolk first by poking with a needle will make it easier to remove), the egg needs to be washed through and left to drain dry. It can then be painted, carved, etched or decorated. Emu decorating is a traditional Aboriginal art. The carving of emu eggs by Indigenous and non-Indigenous people was popular in the late 19th century but production declined in the 20th century, partly due to the protection of eggs through legislation. This has been overturned in recent years with the development of commercial emu farms. In the period between the two world wars particularly, with the production of other Aboriginal artefacts for an outside market, the carving of emu eggs provided an important source of income for Aboriginal people in many parts of Australia. It was a widespread practice in the south-east and it was not unusual for Aboriginal people to decorate their own homes with carved eggs and other items created by themselves or community members, serving to affirm an Indigenous identity within the domestic environment. (ref National Gallery of Australia)This item is significant for its uniqueness and its aesthetic appeal.An emu egg which has been painted white and decorated with glued on cord/thread to make a pattern of flowers and leaves.emu-egg ornament handcraft

The photograph, captured around 1900, depicts a large group of minors located in Beechworth. Importantly, this photograph can provide information into the clothing and fashion of minors during this period of history. These men wear loose fitting shirts which are mostly a pale white colour, several wear vests and/or jackets and loose fitting trousers with boots. The majority of men wear wide brimmed hats to protect their skin and eyes from the sunlight. One man has a wooden pipe in his mouth and a few have ties/neckerchief's tied around their necks. The outfits of these miners has the potential to provide insight into their social status, these men are all dressed equally which provides the notion that they are of equal societal standing. The outfits of these miners dating to the 1900s is not dissimilar to photographs of those captured in the 1880s. The location of this photograph is not easy to interpret, but the photograph is recorded to have been taken in the Beechworth region. Displayed in this image is some wild shrubbery and grass where the men are standing/sitting and behind the group is a tin wall or even tin building. At the end of 1899, companies were continuing to search for gold in Beechworth and the surrounds but these attempts were not overly successful. In the early 1900's Quartz mining was occurring but this was done by individuals or smaller parties. It is unclear if these men are mining for gold or for quartz.The search for gold is ingrained into the history of Victoria and therefore, the study of images like this one which portrays some of the miners who worked behind-the-scenes for these discoveries has the potential to reveal important information regarding society, fashion etc. The date when the photograph was taken is vague but it allows us to form a timeline of mining activities in the North East. This image is of important historical significance for its ability to convey information about society at the time, regarding fashion (which can potentially reveal social status) and mining in Beechworth in 1900. Black and white rectangular photograph printed on matte photographic paper mounted on board.Reverse: BMM 8032/ Group(?) Beechworth Mines about 1900/ 80quartz, north east gold, sluicing, gold sluicing, hydraulic sluicing, mining, gold mining, north-east victoria, beechworth, burke museum, 1900, group, miners, hats, vests, ties, wild shrubs, tin, quartz mining

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 particular species is native to Australia and can be located throughout the mainland, preferably in the south-western interior. It is known for its distinctively upturned bill, the males of this species have a slightly more upturn to their bill than the female. This style of bill is unusual among birds and is used to assist them forage in the water of shallow wetlands. These birds feed on aquatic insects, crustaceans and seeds. The name of this species is derived from the distinctive chestnut brown/red colouring of the head and neck. Interestingly, the call of this bird has been described as a "yapping" sound which is similar to the sound of dogs barking when performed by a flock in flight. 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 Red Necked Avocat specimen is stylized in a standing position upon a wooden platform. There is a pale brown identification tag tied around its left leg. The bird has long pale grey coloured legs and a characteristic long, thin and black upturned bill. The plumage of this species is largely white. It has a chestnut brown/red coloured head which is where this species gets its name. The wings are white with black tips.25c. / Avocet / Catalogue, page, 36. / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, large bird, red necked avocat, avocat

This particular species is native to Australia and can be located throughout the mainland, preferably in the south-western interior. It is known for its distinctively upturned bill, the males of this species have a slightly more upturn to their bill than the female. This style of bill is unusual among birds and is used to assist them forage in the water of shallow wetlands. These birds feed on aquatic insects, crustaceans and seeds. The name of this species is derived from the distinctive chestnut brown/red colouring of the head and neck. Interestingly, the call of this bird has been described as a "yapping" sound which is similar to the sound of dogs barking when performed by a flock in flight. 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 Red Necked Avocat specimen is stylized in a standing position upon a wooden platform. There is a pale brown identification tag tied around its left leg. The bird has long pale grey coloured legs and a characteristic long, thin and black upturned bill. The plumage of this species is largely white. It has a chestnut brown/red coloured head which is where this species gets its name. The wings are white with black tips.24c. / Avocat / Catalogue, page, 36. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, large bird, red necked avocat, avocat

Brunel's SS Great Britain is one of the most important historic ships in the world. When she was launched in 1843 she was called 'the greatest experiment since the Creation'. She made many voyages to Australia bringing many immigrants to a new life. "Andrew Ross, headmaster of the Kangaroo Ground School is said to have recorded in his diary "that having climbed the hill in 1852, and requipped with a powerful telescope observed the arrival in Port Phillip of the steam-powered Great Britain direct from England" - Cover story The Kangaroo Ground Memorial Tower, The Genealogist, March 2010 p. 3 Folder includes: colour brochure about the site of the ship in Bristol which can be visited, tourist 2 pages printout from Maritime History Virtual Archives (2001), 4 pages printouts from Maritime.org, two pages from Brunel, seven pages from ss Great Britain.com websites no longer accessible. Transcription of article in "The Evelyn Observor" Remiscences and other text photocopied from unidentified book, Copy of Shipping advertisement from The Argus, August 19, 1864 and an original copy or facsimile. Original and photo copies of "Maggie's Isles" from The Age 7 August 1999. and photocopy from unidentified sourceHG Booklet 50harry gilham collection, s.s. great britain

Victorian Institute of Occupational Safety and Health (VIOSH) Australia is the Asia-Pacific centre for teaching and research in occupational health and safety (OHS) and is known as one of Australia's leaders on the field. VIOSH has a global reputation for its innovative approach within the field of OHS management. VIOSH had its first intake of students in 1979. At that time the Institution was known as the Ballarat College of Advanced Education. In 1990 it became known as Ballarat University College, then in 1994 as University of Ballarat. It was 2014 that it became Federation University. VIOSH Australia students are safety managers, senior advisors and experienced OHS professionals. They come from all over Australia and industry. Students are taught active research and enquiry; rather than textbook learning and a one-size fits all approach. VIOSH accepts people into the Graduate Diploma of Occupational Hazard Management who have no undergraduate degree - on the basis of extensive work experience and knowledge. Information letter sent to those in Intake 6 of the Graduate Diploma of Occupational Hazard Management Course, 1984. It outlines the timetable for subjects and times at the Ballarat College of Advanced Education. Include in the package is a form that must be completed and returned ASAP. Residences are provided and items included are listed. Transport for those coming from interstate can be arranged. Derek Viner is the Course Co-ordinator.Twenty-three A4 pages, typed with diagrams, mapsHand written note in blue pen on map. Letter head of Ballarat College of Advance Education on some pages. Signature of Derek Viner, Course Co=ordinator.viosh, victorian institute of occupational safety and health, derek viner, course co-ordinator, occupational hazard management, residence, timetable, ballarat college of advanced education