The Ring Ouzel is a member of the Thrush family, Turdis, of which there are about 85 different species, commonly located in Europe. They are found in upland Scotland, northern England, north west Wales and Dartmoor. This species is identified by their dark colouring which contrasts to the white crescent across the breast and the white edging on the wings and some body feathers which provides a scale-like appearance. The diet of this species consists of invertebrates, some small vertebrates and a wide range of fruit. 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 Ring Ouzel specimen is stylised perched on a wooden platform. It is a medium sized bird of the thrush family. This particular specimen is a brown colour with pale edging to the wing feathers rather than the plumage being a darker black which can help identify this bird as female. The feathers have a white edging on the stomach giving this bird a scaly appearance. The bird has a small dark bill, two glass eyes, black legs and a long tail. Around the front of the upper breast, the bird has a striking white crescent shaped band. "Label 1 110a. / Ring Thrush / Catalogue Page 29 / Lable 2 Furdus torquaters / [illegible] 10 OCT. 1859 / near Leiden /"taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, european birds, ring ouzel, blackbird, ouzel

Hand theatre made "trench art", utilising used artillery brass shell casings, of various calibres, hand made with such "tools" as were available at the time. They have been decoratively trimmed at the mouth of each with a "scalloped" pattern, the shallowest casing mounted on small arms casings as "feet" and the large casing inverted engraved and embossed with a depiction of the Australian Commonwealth Military Forces "Rising Sun" badge.This "Dinner Gong" and "Striker" are significant Historically and Socially, as it is believed to be the only example of a dinner gong and striker made in theatre as contemporary "trench art" by serving members of this group. Around the top of the main part of the Gong are stamped the initials of the Australian members of the Royal Flying Corps at the time, it is of possible National historical significance, as they were such a small group at best, and a highly vulnerable group, quite likely to not survive the conflict. This group and their desendants went on to be a part of the formation of the Australian Flying Corps, the beginings of the Royal Australian Air Force. It relates to the embrionic stages of a part of the now Australian Defence Force.A commemorative Dinner Gong construted from Artillery Shell Casings of various sizes. The largest cut short at the bottom, mounted on rifle or machine gun casings cut short as 'feet'. A slightly smaller diameter inverted as the 'gong' with decorative engravings depicting, a Rising Sun emblem on a decorated back ground, 'AFC' (Australian Flying Corps) crowned wings, on the same decorated back ground. The open ends of these larger casings is 'scalloped' and decorated beautifully, while the closed ends have a 'pie crust effect around the flanged edge. There is a biforcated mount at the top to hold the 'striker' made from white metal ballastered rod with a wooden eliptical knob. On the top around the striker mount are stamped the initials of those believed to be the first Australian Aviators in the then AFC.

For Service History Refer Cat No. 7877.61. Jacket - white colour polyester viscose fabric, mess dress style - Summer. Collar and long lapels. Shoulder tapes for epaulettes. Gold colour plastic buttons with shank and metal pin. Raised emlem, crown and wings - RAAF. Lining - white colour polyester fabric. White cotton manufacturers label inside right side of jacket. 2. Shirt - white colour polyester/cotton fabric, dress shirt, collar, stiff front with buttonholes for studs and long sleeves with double cuff and buttonholes for cufflinks. White colour plastic buttons. White colour polyester manufacturers label, below collar inside. 3. Bowtie - black colour polyester/cotton fabric. Bowtie is prefolded and stitches on ribbon with black metal hook and ring closer.Manufacturers information - black ink print. 1. "ADI/ VICTORIA/ 1993^/ 8405-66-131. 8010/ SIZE 110R/ TO FIT CHEST 110/ SERVICE NO/ NAME/ 65% Poly 35% Visc/ Dry Clean Only". 2. "RA/ PHILIPPE ANTON/ MADE IN AUSTRALIA/ 44".uniform, raaf, mess dress, summer

Refers to the service of "Lt. R. Baker" 5/13385.1. Jacket, black wool. Four front pockets. Rising Sun on Collars. Lieut. pips (2) on each epaulette. Four brass buttons on front. Button Motif - Australian Military Forces. On left chest are two ribbons, War medal 1939-45 and Australian Service Medal, and an RAAF Flying wings badge. 2. Trousers, black wool, Red stripe down outside of legs. Button fly, striped lining around waist line inside. Two side and one rear pocket. 3. Shirt - off white cotton, long sleeves, one breast pocket. 4. Cap - peaked black, red band, Rising Sun Badge. 5. Tie - black. 6. & 7. Shoes - pair of black leather, rubber soled shoes L & R.Inside jacket - Lt. R. Baker 5/13385 2/11/51.ww2, post ww2, mess dress uniform, r. baker, passchendaele barracks trust

The Little Black Cormorant is mainly found in freshwater wetlands in Australia and Tasmania. It nests colonially and can sometimes be seen among Heron or Ibis colonies. This specimen has dark webbed feet which enable the bird to catch its prey underwater by diving and using the feet for propulsion. Interestingly, this species have nictitating membranes which cover the eyes underwater protecting them. The feathers of this species are not waterproof despite being commonly located in wetlands and therefore, can often be seen perched with wings outstretched in an effort to dry them after hunting for food in the water. 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 Little Black Cormorant is a slim and small specimen of entirely black colouring with some lighter specks on the back. The bill is grey and is slender and hooked at the tip. The bird has been stylized with glass eyes and is placed on a wooden mount designed to look like a perch. The neck is long and the bird is looking over its right wing. It has dark webbed feet and is standing on the platform with a paper identification tag tied the right leg. 12a. /Little Pied Cormorant / See Catalogue Page 42 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, tasmania, australia, birds of australia, cormorant, little black cormorant, wetlands

From Victorian Heritage: The single storey mansion house with enclosed glass verandah, Burswood was built in 1853 on a site overlooking the Portland Bay for English born pioneer colonist Edward Henty. John Barrow of Adelaide was the architect for this exceptional Australian regency style residence which he designed as a central block of fine axed basalt ashlar and slate roof (now replaced) with flanking brick wings forming an enclosed rear courtyard. Burswood is the most important early mansion house in western Victoria, being an exceptional Australian regency design by distinguished colonial architect James Barrow. Edward Henty, a member of one of Australia's most remarkable colonial families and the founder of Portland, established the first permanent settlement in Victoria on 19th November 1834, and Burswood is testimony to his success as an early colonist. Henty lived in his mansion for 17 years in a semi-regal state. Burswood has been little altered since completion in 1853. A glasshouse conservatory to the side of the present enclosed verandah was demolished prior to 1895 and the slate roof replaced with iron. Johnstone, O’Shannessy & Co was a leading photographic studio located in Melbourne, Victoria, Australia. It was active from 1865 to 1905. Henry James Johnstone was also an artist and studied at Louis Buvelot's school and with Thomas Clark.Painting of a sandstone coloured building. A grand house with a driveway and well-kept gardens to the front. There is a horse and cart with a man standing to the side of it. There is a female figure exiting the building and another female and a man further along the driveway with a dog. The building has a glass conservatory attached to the side. The sky is blue with several fluffy clouds.Bottom right: Johnstone O'Shannessy & Co Melbourne (in white paint)homestead, henty, historic buildings, colonial, burswood house

1. Shirt - light Khaki colour cotton/polyester fabric. Short sleeves, shoulder epaulettes, two front pockets with button down flap. Plastic buttons. Left sleeve - fabric patch, embroidered Rising Sun Badge "THE AUSTRALIAN ARMY". Fabric patch, embroidered 'Crossed Rifles'. Right sleeve - fabric patch, embroidered, 'Parachute Wings'. Left and right sleeves, fabric patch embroidered, Australian Coat of Arms. Warrant Officer, 1st class. White manufacturers label, back below collar. 2. Trousers, khaki colour wool/polyester fabric. Service dress style with fob pocket, two side pockets, one back pocket with concealed button down flap. Plastic buttons and metal zipper fly khaki colour polyester fabric lining waist and pocket lining. White cotton manufacturers label back pocket lining. Manufacturers information on labels - black ink print. 1. "ADA/4500297929/FEB 2006/ NSN: 8405 66 133 5954/SIZE: 39/NAME/ SERVICE NO/ 65% POLYESTER/ 35% COTTON/ MADE IN AUSTRALIA" 2. "ADA/ VIC 1996/ ^/ 8405 66 ?? 7101/ SIZE 90T/ NAME/ SERVICE NO/ 50% WOOL/ 50% POLYESTER/ DRY CLEAN ONLY/ REPRESS ON ORIGINAL/ CREASES/ USE DAMP CLOTH OR / MEDIUM TO HOT/ STEAM IRON.uniform, army, service dress

Items in the collection re Ian McLeod RWAFF, refer Cat No 2262.2 for service details.Badges, metal, mounted on cardboard, 14 in total. List from top down left to right across cardboard. 1 "Punjab Regt" animal with "8" 2 "China" 1st Puntam Regiment Dragon 3 "Nires AOQVIRIT EUNDO" Crown over circle 4 "The Glasgow Highlanders" crown, cross, person 5 "Nemo me impune acessit" crown, cross 6 "Ubique quo fas bt gloria ducunt", Artillery. 7 "The kings own Scottish Borderers, crown, castle..8) "The kings Liverpool Scottish, horse, wreath. 8 Crown, globe and wreath 10 "Red Cross" letters only 11 Crown over Wings, parachute. 12 "Punjab Regiment" Crown, Elephant. 13 "Abor Omnia Vincit" Crown, crossed rifles. 14 "Royal Corps of Signals", crown, Mercury badges, collection

A collection of 6 postcards and 1 photograph taken around Phillip Island. Donated by Julie Barnett.Photograph 228-01. Black & White photograph of the Cowes Pier with vehicles and pedestrians. Rail tracks on pier. Isle of Wight Hotel in background. Sheds at end. Photograph 228-02. Black & White aerial photograph of "Broadwater" Guesthouse, Cowes. Photograph 228-03. Black & White photograph of Cowes Pier with Steamer coming in. Shed at end of Jetty and Cenotaph in the foreground. Looking north. Photograph 228-04. Black & White photograph of a Koala and her young. Photograph 228-05. Black & White photograph looking over the Cowes shoreline near Lover's Walk. Photograph 228-06. Black & White photograph of a group of penguins coming home at dusk at the "Penguin Parade". Photograph 228-07. Black & White photograph of Bert West holding a Shearwater (Mutton Bird) with it's wings outstretched.Photo 01. "Photo Shop Series". "Cowes from the Jetty". Photo 02. Aerial view of "Broadwater" Cowes, Phillip Island. No. 146 Photo 03. "Photo Shop Series". The Jetty. Cowes. Photo 04. "Photo Shop Series". "Koala Bear". Phillip Island Photo 05. "The Rose Series P3416". "Near the Lovers' Walk, Cowes, Phillip Is., Vic. Photo 06. "Penguins, Phillip Island." No. 82. Valentines Series. Photo 07. On Back: Mr West with Mutton bird at Phillip Island.wildlife - koalas, wildlife - penguins, penguin parade, bert west, wildlife - mutton birds, mutton birds, shearwaters, cowes pier phillip island, cowes jetty, lover's walk cowes, broadwater guesthouse cowes phillip island, guesthouses cowes phillip island, julie barnett

The name on the letterhead, “Canning Pierhead North” is the name of the Liverpool Pilot Authority, which was situated in 1883 at Cannon Pier on the River Mersey where ships entered to travel to Liverpool. The logo on the letterhead belongs to the Liverpool Shipwreck and Humane Society. The letter is addressed to “Mr Peter Carmody, Port Campbell, south coast of Australia”, and reads as follows: “January 21st 1893, Dear Sir, I have the pleasure to forward to you by post herewith a Silver Medal and a Certificate of Thanks, voted to you by the Committee of the Liverpool Shipwreck and Humane Society for your courage and humanity in going out into the surf to rescue the survivors of the crew of the barque “Newfield” which vessel was wrecked near Port Campbell on the 29th of August last. Be kind enough to send a few lines acknowledging receipt of the testimonials. I am Dear Sir, Yours Faithfully, Robert P. J. Simpson, Secretary.” The medal accompanying the letter is the Liverpool Shipwreck and Humane Society’s “Bramley-Moore medal for saving life at sea 1872”. The Society was formed in 1839. In 1872 Mr John Bramley-Moore donated £500 on condition that the medal have the specific inscription above on its reverse. The Bramley Morre medal was first awarded in 1874 and records show that since that time only one gold medal has been awarded, twenty-two silver medals and seventeen bronze medals, the last being in 1945. This Bromley-Moore medal was awarded to Peter Carmody for his bravery in saving lives on the Newfield shipwreck. The Newfield was a three-masted iron and steel barque, built in Dundee, Scotland, in 1889 by Alexander Stephen and Sons. It was owned by the Newfield Ship Company in 1890 and later that year It was registered in Liverpool to owners Brownells and Co. The Newfield left Sharpness, Scotland, on 28th May 1892 with a crew of 25 under the command of Captain George Scott and on 1st June left Liverpool. She was bound for Brisbane, Australia, with a cargo of 1850 tons of fine rock salt, the main export product of Sharpness. At about 9pm on 28th August 1892, in heavy weather, Captain Scott sighted, between heavy squalls, the Cape Otway light on the mainland of Victoria but, due to a navigational error (the ship’s chronometers were wrong), he assumed it to be the Cape Wickham light on King Island, some 40 miles south. He altered his course to the north, expecting to enter Bass Strait. The ship was now heading straight for the south west Victorian coast. At about 1:30am the Newfield ran aground on a reef about 100 yards from shore and one mile east of Curdie’s Inlet, Peterborough. The ship struck heavily three times before grounding on an inner shoal with 6 feet of water in the holds. Rough sea made the job of launching lifeboats very difficult. The first two lifeboats launched by the crew were smashed against the side of the ship and some men were crushed or swept away. The third lifeboat brought eight men to shore. It capsized when the crew tried to return it to the ship for further rescue The rescue was a difficult operation. The Port Campbell Rocket Crew arrived and fired four rocket lines, none of which connected with the ship. Peter Carmody, a local man, volunteered to swim about one mile off shore to the ship with a line to guide the fourth and final lifeboat safely to shore. He was assisted by James McKenzie and Gerard Irvine. Seventeen men survived the shipwreck but the captain and eight of his crew perished. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. The Marine Board inquiry found the wreck was caused by a "one man style of navigation" and that the Captain had not heeded the advice of his crew. According to Jack Loney ‘… when the drama was over . . the Newfield was deserted except for the Captain’s dog and two pigs.’ Peter Carmody was awarded the Bramley-Moore medal by the Liverpool Shipwreck and Humane Society for Saving Life at Ssea, which he received by mail on January 21st 1893. The medal and letter of congratulations were donated to Flagstaff Hill Maritime Museum by Peter Carmody’s grand-daughter Norma Bracken and her son Stuart Bracken on 25th May 2006. The Medal and Letter of Congratulations join other items in the Newfield collectionlFlagstaff Hill’s collection of artefacts from the Newfield is significant for its association with the shipwreck Newfield, which is listed on the Victorian Heritage Registry. The collection is significant because of the relationship between the objects. The Newfield collection is archaeologically significant as the remains of an international cargo ship. The Newfield collection is historically significant for representing aspects of Victoria’s shipping history and its association with the shipwreck. The Letter accompanying the Medal for Bravery awarded to Peter Carmody is significant because the attempt to save lives is associated with the shipwreck Newfield.A copy of a letter from the Liverpool Shipwreck and Humane Society to Peter Carmody in reference to the bravery of Peter Carmody over the wreck of the "Newfield". The letter is divided into 2 columns and is written in longhand using black ink on both columns. There is a letterhead in the centre of the left hand page and a round logo printed or stamped on the top of left of the left hand page. The centre of the logo shows a design of a man kneeling on a floating part of a wreck. He is rescuing a child from the sea. On the top of the circle of the logo a design shows a long-legged hen cormorant with extended wings holding an olive branch in its beak. There is also the name of a city printed onto the page under the letterhead. The letter has been folded into half along its long side, then in half again along its long side then into thirds. The letter is dated January 21st 1893. “CANNING, PIERHEAD, NORTH” and “LIVERPOOL” are printed on the top left hand page. The logo “LIVERPOOL SHIPWRECK AND HUMANE SOCIETY” is printed or embossed on the paper.28 august 1892, bramley moore, carmody, certificate of thanks, curdie's river, flagstaff hill, flagstaff hill maritime museum, gerard irvine, james mckenzie, liverpool shipwreck and humane society, maritime museum, medal, newfield, nineteenth century, norma bracken, peter carmody, port campbell, rescue, robert simpson,, shipwreck, ship wreck, stuart bracken, victorian shipwrecks

.1) Foolscap agreement between the Ballarat School of Mines and the University of Melbourne relating to the affiliation and notice of termination of the affiliation, which was signed by E. a'Beckett, Registrar of the University of Melbourne. A red wax seal is attached to the paper by blue ribbon. The seal is housed in a tin. The seal depicts a woman with wings and the words "VicL ACAD: MELB: SIG: 1853. .2) Document on Cuthbert, Wynne, Morrow nd Must letterhead relating to an affiliation between the Ballarat School of Mines and the University of Melbourne, 1894 .3) Typed notes respecting the proposed affiliation of the Ballaarat School of Mines and the University of Melbourne, 1885 .5) Handwritten notes from Cuthbert and Co regarding the termination of the affiliation between the Ballarat School of Mines and the University of Melbourne .6) Document relating to severing the affiliation between Ballarat School of Mines and the University of Melbourne, 1884e a'beckett, seal, university of melbourne, ballarat school of mines, affiliation, cuthberts, cuthbert, wynne, morrow and must, legal, andrew berry, university seal

Vellum Certificate of Admittance to the Free Masonry of the United Grand Lodge for Carl Mueller, dated 30 March 1871. At the top of the certificate is crest with a lion wearing a crown on the left and a unicorn with a chain on the right of a circle divided into quarters, two of the quarters have three lions in them, the third has one lion standing on one leg, and the fourth has a human like figure with wings. Above the circle is a crown with a lion standing on it and an elephant on each side. Around the edge of the circle is ' Honi Soi -- Mal Y - - E (parts are obscured by the animals legs and a helmet between the circle and the crown. Underneath is printed ' Dieu Et Mon Droit'. Under the main headings are three columns spaced across the page with, on the left, the details of the admittance and on the right are the details in Latin. In the left margin is the Mason Seal. Between the columns are various tools? boxes and two spheres. Certificate No. 1730.organization, club / society, freemasonry - lodge, certificate of admittance to free masonry, carl mueller, zenith lodge no 1133 sandhurst, brothers warrington london

Bendigo Branch Royal Historical Society of Victoria Dudley House Silver Jubilee Exhibition & Musical Performances. 29th May 1977. Soprano Patricia Lyon and Accompanist Fred Trewarne. Programme: 1. 'The Fairy Tales of Ireland' 2. ''Princess of the Dawn'' Composer Eric Coates. Refer to original document for a brief history of English Composer Eric Coates et.al. 3. ''Come Unto Him'' (from the Messiah) G.F. Handel. 4. ''Lament of Isis'' -Gone is My Love, My Lord '' (from Songs of Egypt) Granville Bantock. 5. ''Oh My Beloved Father'' (from Gianni Schicchi) G. Puccini. 6. ''Drooping Wings'' R. Quilter. 7. ''Caro Mio Ben'' (Dearest Believe) G. Geordani. 8. ''A Japanese Love Song'' May Brahe. 9. Mattinata (Morning Song) '''Tis the Day''. R. Leoncavello.bendigo, tourism, dudley house royal exhibition

The Little Friarbird is a migrational bird, moving between northern Australia and the New South Wales/Victoria border in the spring and autumn times. It is primarily found near in forests and near water: rivers, wetlands. They eat nectar, bugs, fruit and seeds. They form monogamous pairs and nest close to water. They are not a threatened species. The Little Friarbird has a brown head, back, wings and tail. Its chest is light brown. Its legs, beak and face are dark grey. It has bright blue patches on its cheeks under the eyes. This specimen does not accurately match how the Little Friarbird looks because the specimen has lost clumps of feathers on its chest, neck and face. 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 Little Friarbird has blue patches on its cheeks, brown head, back and tail. The front and neck are a light brown. Its back is grey. It has serious pest damage to the back of its neck, which has no feathers. Above its eyes shows early signs of pest damage. The front of the bird has ruffled patches of feathers. It stands on a dark wooden stand. It has an identification tag hanging from its left leg. Label: 61a/ Blue faced Honey Eater / See catalogue page 19 taxidermy mount, taxidermy, burke museum, beechworth, little friarbird, australian bird

The Eastern Spinebill is found along the eastern coast of Australia, from Queensland to South Australia. It lives in wooded areas. It is an insectivore and also eats nectar, which is why its beak is a long slender shape. Females and males have slight aesthetic differences; the males have more distinct markings on the head. The female birds build nests and incubate eggs, but both parent birds will feed the young. The Eastern Spinebill has a bright rust coloured belly and throat, with black wings, crown and tail. Its back is light brown. There is a white stripe on its chest which stretches up underneath its eyes. The eyes are red. This taxidermy specimen is not a good representation of the live bird because it is considerably faded and their feathers are very ruffled. 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.There are two birds on a wooden stand. One has its beak in the air and the catalogue tag attached to its foot (main bird). It has some minor pest damage around its eye. The opposite bird looks straight ahead. The birds are placed next to each other, facing opposite directions. They are faded and have some ruffled feathers. 60a/ Spine Bill / See catalogue, page 18taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, eastern spinebill

Original plans for the Mount Buffalo Chalet, framed architectural drawings for the Chalet, titled " Additions to Government Chalet Mt Buffalo. Dated 1909. Signed Jas G Spence & E F Leary. "Ground Plan, first floor plan, elevation, Section M5 and side elevation –beautiful coloured plan, hand price onit of £970, also called Drawing No. 1.Beautiful plan suitable for reproduction for graphic work." (Pg 45. Heritage Impact Assessment, September 2013. MGS Architects and McDougall & Vines, Conservation and Heritage Consultants) 'The Mount Buffalo Chalet opened in April 1910 as a remarkable Victorian State government venture into alpine tourism and recreation. Designed by Public works Department architect, George Austin (1860-1921)." (Pg 4 Historica, 2011). "The collection of ephemera builds on the Chalet's holding of archival material with a range of interesting, original items. Dinner menus., stationery., luggage labels, tickets, dockets and plans help to interpret the structured routine and social conventions of the Chalet that held sway for so many years." (pg 127 MBCC) These plans drawn were most likely to have been drawn upon recommendation by Government Tourist Officer, J.C.Boyce. John Newton (the Lessee) suggests the addition of 2 new wings (24 rooms) and creation of a billiards room. Treasury approved money for these extensions which were not completed until1914. Listed in Draft Inventory of Significant Collection Items. Four framed hand-drawn and coloured drawings / plans of the Chalet. Framed and mounted behind glass. 1: Dated 1911 -1912. 2: -dated 6th oct 1909 3: -Dated 25th Sept 1909. 4: -Dated 6th Oct 1909.Handwritten at the top of each drawing," Mount Buffalo / Wood Chalet"

Melbourne University Old Physics Building (1889) was designed by Reed, Henderson and Smart. It later house the Univesity's Centre for Indigenous Education and a conference centre (2010).Colour photograph of the windows of the Melbourne University Old Physics Building.A plaque on the wall of this building states: In April, 1856 stonemasons woking on this building downed tools, marched to the city and inaugrated a movement which win the Eight Hour Day for building workers in Victoria. The victory became an international landmark in the history of the labour movement. Another plaque reads: This, the original building of the University was built of Tasmanian freestone between 1854 and 1857 to the design of F.M. White, architect. It was for many years the University's administrative centre, library, lecture rooms, and professorial residences. The east and west wings were extended in 1930 to the design of J.S. Gawler. In 1969, the quadrangle was completed by the addition of the southern wing which contains the council chamber, designed by R.E. Featherstone. university of melbourne, old law building, eight hour day, stonemasons, tasmanian freestone, f.m. white, j.s. gawler, r.e. featherstone

Richard William McGilvery. Enlisted No. 450708 in the RAAF on 20/3/45, age 19 years. Served with BCOF in Japan post War, discharged on 16/10/1948, re enlisted 1950, discharged 30.9.1970 with the rank of Warrant Officer, awarded the "Long Service & Good Conduct Medal.Framed memorabilia, frame brown timber, Memorabilia has blue inset backing, there are 4 inserts. Top insert has, 2 x RAAF shoulder epaulettes, 2. Shoulder patches "British Commonwealth Forces" 3. 2 x badges with lion and horse. 4. 1 x RAAF hat badge. 5. 4 x uniform buttons. 6. 1 x badge "British Commonwealth Forces Association". 7. 1 x brown shoulder wings. 8. 1 x miniature badge "Air Training Corps Australia". 9. Set of medals mounted. (1) Defence medal 1939-45. (2) Australian Service Medal. (3) Australian Defence Medal. (4) Long Service and good conduct medal. 10. Medallion 60 years 1945 - 2005. Photo insert showing portrait of "McGilvery" in Japan. Centre insert: Details re McGilvery with "Long Service & Good conduct Medal". "memorabilia, photographs, bcof

See also 2589 & 2590.1), .2) & .3) Badges, blackened brass, word Australia in a curved shape. .4) & .5) Badges, blackened brass, Rising Sun lapel badges. .6) .7) Badges, pressed metal, gold colour, Kings crown. .8) Button, black plastic, RAAF crown over wings. .9) Button, metal, gold colour, crown over map of Australia wording Australian Artillery. .10) Badge, metal, round Red Cross in white & blue. .11) Badge, metal, gold colour, round section with top clasp. Presented to the children of Victoria for the 1954 Royal Visit. .12) Badge with red ribbon on metal clasp. Badge is oval shaped, Red Cross in centre with white scrolls, Australian Red Cross Society 20 Years Service. .13) Coin, half penny, dented by ammunition fire. .14) Coin, one penny, 1943 dented by ammunition fire.numismatics-badges-military, metalcraft - brassware, costume accessories - clothes accessories

B&W photo shows siblings Percy and Cissie (Minnie Agnes) Johns on the verandah of their home, Glen Park Farm, Selby. Percy looks in his early teens, making the photo around 1910 or later. He is wearing a long-sleeved pale shirt, long dark trousers tucked into knee-high boots, and possibly a dark hat. Cissie is wearing a pale, knee-length dress, dark stockings, and a pale, wide-brimmed hat. She is aged about 10. A medium sized dark dog sits at Percy's feet. The house is an L-shaped weatherboard with two gables at right-angles and a verandah with a bullnosed roof, ornate support posts, and a striped end piece from the roof. Wooden steps lead down from side. There is a large brick chimney where the two wings meet, and a metal water tank to the side. There are large trees, both in leaf and dead, plus some flowers near the verandah.

This set of photos is from a leather bound album bearing the inscription "HUME RESERVOIR AUSTRALIA" plus 'The Rt. Hon. L. C. M. S. Amery, P. C., M .P.' all inscribed in gold. It was presented to The Rt. Hon. L. C. M. S. Amery, P. C., M. P, Secretary of State for Dominion Affairs on the occasion of his visit to the Hume Reservoir on 2nd November 1927. This album is of local and national significance as it documents the planning and development of the Hume Reservoir up to 1927. It was the largest water reservoir in the British Empire. The album records the pioneering engineering work that went into its construction.DEPARTMENT OF PUBLIC WORKS, N.S.W. RIVER MURRAY WATERS SCHEME. HUME RESERVOIR. 12. View from the Victorian bank of the river showing in the foreground a levee bank along the New South Wales side of the river with connecting wings back to the higher ground, May 1923. The first stage in the construction of the Dam foundations was carried out inside the levee bank which was at a sufficient height to protect from floods the work going on inside. A length of 300 feet of the Dam was left at a low elevation to allow of the river flowing over it in the second stage of the operations and at the ends of the concrete was brought up above flood level. To divert the river, a Coffer Dam was built across the old bed above and below the Dam site and tying into the end of the concrete wall built inside the levee bank. This completely surrounded the remainder of the site of the Dam and south wing wall, including an area of 12½ acres.hume reservoir australia, river murray waters scheme, hume reservoir construction

Eastern bluebirds are well-known song birds that live in eastern North America. They are sexually dimorphic, easily recognised by the male's bright royal blue upper plumage, chest of reddish brown and white abdomen. The females is duller in colour than the male, with greyer upperparts and blue tinges to her wings. These Bluebirds, the European variety, are the most common of the three Bluebird species. When not nesting, these birds fly in small flocks around the countryside. Bluebirds feed on small insects including moths, termites and mosquitoes. They also eat grasshoppers, crickets and caterpillars. The Bluebird can spot caterpillars and other insects in tall grass from a distance of over 45 meters. The Bluebird is commonly identified in numerous cultures as being symbolic as a harbinger of happiness. Often in Russian fairytales, the Bluebird is used as a symbol of hope. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This female bluebird (likely Eastern) has a medium brown head and back, a rufous breast, and a cream belly. The bird has blue-tinged wing and tail feathers. The bill is short and has been stylized with the bill partly open to provide the illusion that the bird is making a call. This specimen stands upon a wooden mount and has an identification tag tied around its leg. The bird's plumage has faded since it was first preserved; females generally have duller colouring than their male counterparts but the colour of this particular specimen is paler than it would have been.Label: 122a. Blue-Bird / Catalogue Page 29. / Metal tag: 107taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, american birds, bluebird

This photograph was captured sometime between an estimated 1940s-1950s. It depicts the Beechworth Benevolent Asylum (later the Ovens and Murray Hospital for the Aged) which was built in 1862. It is located on an elevated site in Beechworth, Victoria because it was believed the height was beneficial to the health of the patients at the Benevolent. Later wings were added to the original building between 1867 and 1890. The building was constructed in an unusual Flemish Gothic Revival style which contrasts with the classical style of the Mayday Hills Hospital in close proximity to the Benevolent. The Hospital was designed in Italianate Revival architecture. The appearance of buildings like the Mayday Hills Hospital and the Ovens Benevolent Asylum are representative of the importance of Beechworth as a town shortly after the goldrush. During the 1850s and 1860s, administration buildings were erected alongside churches, shops and structures of justice. This marks a movement away from the "chaotic" structure of life on the goldfields and towards a more civilised and cultural lifestyle. This social phenomenon is also witnessed in Melbourne with the creation of buildings like the State Library and the University of Melbourne. The Beechworth Benevolent Asylum was renamed the Ovens Benevolent Home in 1935. The Asylum had been set up to provide accommodation and care for permanently injured gold miners, and for women and children who were penniless, homeless, or whose parents were guests of the state. In 1954 it was renamed as The Ovens and Murray Home (as pictured in this photograph). The purpose of this building was to provide a refuge for the poor and destitute, homeless older men, deserted women and children along with providing care for the mentally ill. These buildings were built at the government's expense and are of great historical and architectural significance.This photograph depicts the Ovens and Murray Home (previously the Ovens Benevolent Home) during the 1940s or 1950s. Since this building is of great historic and architectural significance, photographs like this are especially valuable in reconstructing the use history and any changes/additions to the building over a period of time. This building is important for what it can reveal about society in Beechworth and also architectural styles. This building is made in the Flemish Gothic Revival style which is quite unusual for the 1860s. It is important as an early example of a building constructed for a specific purpose, in the case of this particular building: caring for the aged/destitute. This building is important for research into the civic development of Beechworth as an early Gold Rush town located in Victoria's North-East. During this period, Beechworth was developing as the main center of administration in this region which made it a very influential and quickly developed town. Photographs like this one which depict a building during one period in history can reveal important information for the use and alterations of a building and for preferences in architectural style. It can also be studied for what it reveals about society in Beechworth and compared and contrasted to similar institutions across Australia and with additional photographs in the Burke Museum collection.Black and white rectangular photograph printed on gloss photographic paperObverse: OVENS & MURRAY HOME / Reverse: KODAK PAPER / 727 / J. Collins BMM 8689.1 /mayday hills, beechworth benevolent asylum, ovens benevolent home, asylum, refuge, poor and destitute, goldrush, flemish gothic revival, architecture

This photograph was captured sometime between an estimated 1940s-1950s. It depicts the Beechworth Benevolent Asylum (later the Ovens and Murray Hospital for the Aged) which was built in 1862. It is located on an elevated site in Beechworth, Victoria because it was believed the height was beneficial to the health of the patients at the Benevolent. Later wings were added to the original building between 1867 and 1890. The building was constructed in an unusual Flemish Gothic Revival style which contrasts with the classical style of the Mayday Hills Hospital in close proximity to the Benevolent. The Hospital was designed in Italianate Revival architecture. The appearance of buildings like the Mayday Hills Hospital and the Ovens Benevolent Asylum are representative of the importance of Beechworth as a town shortly after the goldrush. During the 1850s and 1860s, administration buildings were erected alongside churches, shops and structures of justice. This marks a movement away from the "chaotic" structure of life on the goldfields and towards a more civilised and cultural lifestyle. This social phenomenon is also witnessed in Melbourne with the creation of buildings like the State Library and the University of Melbourne. The Beechworth Benevolent Asylum was renamed the Ovens Benevolent Home in 1935. The Asylum had been set up to provide accommodation and care for permanently injured gold miners, and for women and children who were penniless, homeless, or whose parents were guests of the state. In 1954 it was renamed as The Ovens and Murray Home (as pictured in this photograph). The purpose of this building was to provide a refuge for the poor and destitute, homeless older men, deserted women and children along with providing care for the mentally ill. These buildings were built at the government's expense and are of great historical and architectural significance.This photograph depicts the Ovens and Murray Home (previously the Ovens Benevolent Home) during the 1940s or 1950s. Since this building is of great historic and architectural significance, photographs like this are especially valuable in reconstructing the use history and any changes/additions to the building over a period of time. This building is important for what it can reveal about society in Beechworth and also architectural styles. This building is made in the Flemish Gothic Revival style which is quite unusual for the 1860s. It is important as an early example of a building constructed for a specific purpose, in the case of this particular building: caring for the aged/destitute. This building is important for research into the civic development of Beechworth as an early Gold Rush town located in Victoria's North-East. During this period, Beechworth was developing as the main center of administration in this region which made it a very influential and quickly developed town. Photographs like this one which depict a building during one period in history can reveal important information for the use and alterations of a building and for preferences in architectural style. It can also be studied for what it reveals about society in Beechworth and compared and contrasted to similar institutions across Australia and with additional photographs in the Burke Museum collection.Black and white rectangular photograph printed on gloss photographic paperBack of photograph. Handwriting: "For John Beckingsale"mayday hills, beechworth benevolent asylum, ovens benevolent home, destitute, gold town, beechworth, victoria, north-east vic

The Former Clyde Cameron College was constructed in 1976-7 as a residential training college for trade unions. The college was commissioned and operated by the Trade Union Training Authority (TUTA) from 1977 until its closure in 1996. The design team was the Architects Group and the Commonwealth Department of Construction was responsible for site supervision and contract administration. The building was constructed jointly by Costain Australia Ltd and M.A. & A.W. Chick of Albury. The foundation stone was unveiled by Clyde Cameron in 1976. He was the serving Federal Minister for Labour from 1972 to 1974, Minister for Labour and Immigration 1974 - 1975 and Minister for Science and Consumer Affairs in 1975. The building was completed at a cost of $6.5 million in 1977. It was one of the most controversial of the 1970s due to its Brutalist architecture. The complex consists of a series of wings of one and two storeys linked by pre-cast concrete pipe walkways. Inside the wiring and pipes were left exposed and painted in primary colours to show off the workmanship. The accommodation, most of them single rooms, were able to house 70 students at a time with 1200 students to go through each year. The training college was closed in 1996 and was taken over by the Murray Valley Private Hospital and Murray Valley Radiation Oncology. In July 2008, the Royal Australian Institute of Architects awarded its “25 Year Award for Enduring Architecture” to Clyde Cameron College. The building was again sold in February 2023, although its future is yet to be determined.The former Clyde Cameron College is of architectural significance as an example of the late twentieth century Brutalist style and the work of Victorian architect and lecturer Kevin Borland. It also has historical significance for its association with the Trade Union movement, and the Whitlam government, including its role as Australia’s first residential trade union training facility. It is a physical reminder of the influence of the union movement in the 1970sA collection of colour photographs documenting the buildings at the former Clyde Cameron College, Wodonga.clyde cameron, trade union training, clyde cameron college

This program was given to attendees at the Bendigo Symphony Orchestra and Gisborne Singers performance on 24th November 2024 In a thrilling conclusion to their 2024 concert season, Bendigo Symphony Orchestra present Mahler’s Symphony No. 2 ‘The Resurrection’ – a transcendent journey from darkness to light. Witness the symphony on a colossal scale: ten trumpets, ten horns, two sets of timpani and an organ are just the beginning of Mahler’s mighty orchestration. And after the success of 2022’s inaugural Symphonia Choralis festival, BSO are once again partnering with the Gisbourne Singers to bring this glorious work to life. “Why have you lived? Why have you suffered? Is it all some huge, awful joke? We have to answer these questions somehow if we are to go on living – indeed, even if we are only to go on dying!” Written in a letter to a friend, these are the questions Mahler hoped to answer with this symphony. While epitomising the emotion and drama of the Romantic era, the work also anticipates the radical advances of the 20th century. Beginning with a steely funeral march, Mahler spins German folk-song and klezmer-inspired flourishes through four stunning movements, culminating in a sublime hymn of resurrection. This symphony explores life and death on a cosmic scale, and showcases Mahler’s rich technicolour writing and flair for dramatic narrative. “The whole thing sounds as though it came to us from some other world. I think there is no one who can resist it. One is battered to the ground and then raised on angel’s wings to the highest heights.” Be swept away by an eternal masterpiece.MAHLER SYMPHONY NO. 2 RESURRECTION Sunday 24th November 2024, 2.30pm Ulumbarra Theatre, Bendigo Luke Severn Chief Conductor Nicole Marshall Guest Conductor Merlyn Quaife AM Soprano Liane Keegan Contralto Gustav MAHLER Symphony No. 2 in C minor, ‘Resurrection’ I. Totenfeier: Allegro maestoso (25’) II. Andante moderato (12’) III. In ruhig fließender Bewegung (12’) IV. Urlicht (6’) V. Finale: Im Tempo des Scherzos (37’)bendigo symphony orchestra, luke severn, regional victorian orchestra, performance, gisborne singers

1. Shirt - light khaki colour cotton/polyester fabric. Long sleeves, shoulder epaulettes, two front pockets with button down flap. Plastic buttons. Left sleeve - oval fabric patch embroidered Rising Sun Badge "THE AUSTRALIAN ARMY" - fabric patch, embroidered, crossed rifles. Right sleeve - fabric patch embroidered, Parachute Wings. Left and Right sleeve fabric patch embroidered, Australian Coat of Arms - Warrant Officer, 1st Class, white cotton manufacturers label below collar - illegible. 2. Trousers, Khaki colour wool/polyester fabric. Service Dress style with fob pocket, two side pockets, one back pocket with button down flap. Plastic buttons, metal zipper fly, khaki colour polyester fabric waist and pocket lining. White cotton manufacturer's label back pocket. 3. Necktie - khaki colour, polyester/viscose fabric with polyester fabric lining, necktie manufacturer's label - black cotton with white print.uniform, army, service dress

Eltham Council (now the Shire of Nillumbik) commissioned this work in 1989 to create an entrance / gateway to Edendale Community Farm. It was also aided by a grant from the Ministry of the Arts (now Arts Victoria). The former name of this work was "Gateway to Edendale Farm". Edendale Farm is a demonstration farm modelling sustainable environmental practices, providing support to the local residents of Nillumbik. Established in 1986, the land was purchased in 1970. It was previously an English gentleman's residence and was used for grazing. It consists of 5.6 hectares, with the Diamond Creek meandering through the property. The Victorian Fences Act 1968 governs liability of occupiers of adjoining lands to fence, and deals with disputes between neighbours regarding boundaries fences and costs. This work took into consideration ideas and suggestions from residents and committees, who required the use of recycled materials and that the work celebrate man's relationship with nature, animals and the earth, as well as relate to the fence-line on the far side of the carpark. Trembath also absorbed significant aspects of local history, making references to Eltham's agricultural past, the clearing of the land, the destruction of trees, the ruthless pruning of trees by suburban Councils and incorporated such Australian features as the post and rail fence. 'The Fences Act 1968' is significant for aesthetic, historic and social reasons at a regional level. It makes prominent the historical and social significance of Edendale and the rural aspects of Nillumbik. The use of existing tree stumps and salt pots in the work explores the iconography of the countryside such as the isolated farmhouse, pioneering farming practices, post and rail fencing and the regrowth of lopped trees. The title of the work, as well as the extensive community involvement in its creation, also makes reference to the Victorian Fences Act 1968, which makes neighbours jointly responsible for the cost of construction and maintenance of fences in the partitioning of land for settlement. 'The Fences Act 1968' has been classified as of regional significance by the National Trust of Australia. The work is an installation of wood and metal, approximately twenty five meters long. The design is very informal and rustic and runs the full width of the fence-line. It comprises groups of recycled tree trunks fitted with metal caps (chrome-nickel 'salt pots' that are shaped like tall bowler / top hats). Metal rods protrude from the trunks and some of these rods have metal birds. Two larger, sentinel-like stumps at the two outer ends have metal flame-like wings, which bend inward. To the left of the entrance, a simple architectural element indicates an isolated farmhouse. The rustic fence runs between the groups of tree trunks with native planting in clumps along it. The fence-line incorporates a functional engineered double gate and post and rail fencing. There may be many interpretations of the work and the intention is to stimulate interest and imagination rather than alienate. Interpretation is based on the personal experience that a visitor brings. The artist recommended that no explanation of the design logic be positioned with the work. N/Apublic art, sculpture, edendale, recycled, wood, metal, fences act 1968, gate, trembath, salt pot, tree stumps