This picture shows an angle of Beechworth Primary School (State School number 1560) which is also pictured in the building's entry in the Victorian Heritage Register (VHR record 1718). The school began as a national school in 1858 as an alternative to Wesleyan and Anglican schools already operating in the area. Its name was changed to Common School number 36 in 1862 and the Beechworth Academy prior to being taken over by the Education department in 1873. The new premises were built in 1875 utilising the skills of architect Henry Bastow though the original design may be attributable to the firm Wharton and Vickers. The design was used with modifications for other schools in Victoria, including the Competition School in Errol Street, North Melbourne. The school moved to the building pictured from its original premises in Loch Street, designed by Thomas Dalziel, which later became the office of the Ovens Advertiser. The school was opened on 2 July 1875 by former Beechworth resident G.B. Kerferd, who was then the Premier of Victoria. The image shows approximately ninety older students at the school in approximately 1900. There are approximately equal numbers of boys and girls pictured, with most of the individuals pictured appearing to be between the ages of twelve and fifteen. Although the school had more than 1000 students enrolled at its height, enrolments had declined to 304 in 1890. Also visible is a fringe of sequoia pines which were planted by the school children as a project lasting through to the late 1930s. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.The image is significant because it sheds light on the educational infrastructure present in Beechworth in the early part of the Twentieth Century, including the prevalence of education for students after current-day primary-school age and the education of girls. It also provides insight into the building and design practices used by Government departments at the time. Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.Obverse: L / burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, schools, education, high school, primary school, common school, state school, state school 1560, common school 36, beechworth academy, g.b. kerferd, thomas dalziel, henry bastow, victorian heritage register, beechworth primary school, girls education, boys education, public schools, education department, pines, trees, sequoias, competition school

Taken 1905 by photograph W.D Gibbons the photograph depicts a pathway leading to the administration building of the Beechworth Mental Asylum. There are three well-dressed young men lounging on the grass as another is jumping behind them. This is significant as it demonstrates that the asylum was not a prison and that the mentally ill patients were allowed their freedom. The Beechworth 'Lunatic' Asylum was constructed between 1864 and 1867 to the designs by the Public Works Department (PWD) and was later renamed the Mayday Hills Mental Asylum. The decommissioned asylum was one of the largest psychiatric hospitals in Victoria and consisted of sixty-seven buildings, one thousand two hundred patients and five hundred staff members. At the asylum, active work was considered imperative and workshops were located near the male accommodations and laundries and drying yards near the female accommodation. The administration building itself highlights the architectural and aesthetic significance of the asylum to the State of Victoria. This photograph is historically significant as it demonstrates the architectural and aesthetic significance of the asylum but also the changing approaches to treating mental health. Black and white rectangular photograph printed on matte photographic paper mounted on grey cork Obverse: W.D Gibbon/ Beechworth Reverse: 79.1701beechworth, beechworth lunatic asylum, beechworth mental hospital, mayday hills, mayday hills mental hospital, asylum, administration building, wd gibbon, photograph

The Beechworth Historic Courthouse is a living history museum in Victoria, Australia. Built in 1858, it has been in continuous service for 131 years and is currently home to a unique collection of artifacts, including its original furniture and fittings. The Courthouse Law Library is also recognised as being of outstanding national significance with many rare books held in the collection. The courthouse was built in 1858 and is located in the centre of the Beechworth Historic Precinct. It was built from granite with a double height gabled courtroom with the entrance via a central projecting porch. The building was classified in 1959 as part of Group Classification (B2615)with Forests Office, Lands Office, Police Lock-up & Police Station. The Courthouse is a significant site in Australia’s legal history because it was the location of more than 40 trials and hearings for the Kelly Gang and their sympathisers.This a rectangular, black and white photograph, unmounted.Reverse Ministry of Tourism, Melbourne1850s beechworth, beechworth courthouse, ned kelly, 1800s beechworth, kelly gang, beechworth historic courthouse, 1858, kelly trials, daniel kelly, dan kelly, edward kelly, ellen kelly, elizabeth scott, the first woman hanged in victoria, colony of victoria, 1863, domestic violence related murder

Taken on the 1st of April 1928 and copied from a private collection on the 27th of January 2010 the photograph depicts three well-dressed men and a small child standing around a fountain at the back of the administration building of Beechworth's 'lunatic' Asylum The asylum was constructed between 1864 and 1867 to the designs by the Public Works Department (PWD) and was later renamed Mayday Hills Mental Asylum. The decommissioned asylum was one of the largest psychiatric hospitals in Victoria and consisted of sixty-seven buildings, one thousand two hundred patients and five hundred staff members. The asylum was one of the first asylums to focus on treatment and rehabilitation instead of institutional confinement. At the asylum, active work was considered imperative and workshops were located near the male accommodations and laundries and drying yards near the female accommodation. The asylum closed in 1995 and was sold to La Trobe University before being closed and sold again in 2011 to a private owner.This photograph is historically significant as it demonstrates the freedom and safety of those who visited the asylum while also highlighting this instutions mission to treat and rehabiliate patients instead on institutionalising them.Black and white rectangular photograph printed on photographic paperReverse: 7606-1/ Copied 27 Jan 2010/ Copied from private collection/ Inscribed on the back of original/ J.Pinfold 1-4-1929/ May Mental Hospital for the Insane. beechworth, beechworth mental asylum, beechworth lunatic asylum, beechworth mental hosptial, mayday, mayday hills, mayday hills mental asylum, administration building, fountain

Taken approximately 1910, this black and white photograph shows the interior of the surgery and consulting rooms at the Mayday Hills mental hospital known at that time as a lunatic asylum in Beechworth. Mayday Hills Hospital, then known as the Beechworth Lunatic Asylum was constructed between 1864-67 designed by The Public Works Department. The hospital is made up of a number of buildings, landscaping, ha-ha, workshops, laundry, administrative facilities and farmland, it was constructed in 'Italianate' style by a team of up to two hundred and fifty workers (Woods p. 122). The asylum was established in response to the need for the regional shire to locally care for those particularly affected by their time working the Ovens goldfield during the Indigo Shire gold rush era where poor living conditions and isolation were significantly affecting the welfare of a great many people through poverty and lack of resources. The gaol and orphan labour systems were not able to effectively support to give housing, rehabilitation and ongoing care for the mentally ill, and transporting to Melbourne by waggon was a time consuming and counter-productive solution when the metro facilities were already overcrowded. According to Woods (A Titan's Field p. 122), between 1901 and 1911 a large percentage (thirty five percent in 1901 and twenty four in 1911) of the Beechworth population were either patients or inmates of Beechworth institutions, Mayday Hills accounted for some six hundred and seventy four patients in 1901, Beechworth's Mayday Hills was chosen as the site of Victoria's newest asylum, at the time, due to the landscape and altitude. The hilltop atmosphere and the native fauna, it was argued, would assist in the cure of the patients kept at the hospital (Wood 1985, 122). The positioning of the hospital had a beneficial effect on the rural town and the large volume of people living at the hospital and contributing to this population growth is counted as reason for the survival of Beechworth as a regional township. Mayday Hills continued to function as a mental hospital up until 1995 when it was sold to LaTrobe university. The building and grounds are listed on the Victorian Heritage Register under criterion A, B, D, E and F. Although grainy, the image gives a good indication of a functioning interior space of a surgery and consulting room at Mayday Hills in the early 1900's, from which we might interpret (from the types of tools and furniture present), the medical practices being performed at the time.Black and white rectangular photographmedical, asylum, surgery, hospital, beechworth, mayday hills, mayday hills asylum, mayday hills hospital, mental hospital, beechworth lunatic asylum, beechworth institutions, social welfare, public works department, consulting room

Produced c. 1910 by The Rose Stereograph co. This colourised photographic postcard shows the exterior of the administrative buildings at Mayday Hills mental hospital with three young boys in the foreground. This postcard forms part of the extensive Rose Series. (P. 4689) of postcards being produced by the Rose Stereograph co. which depicted landmarks from across Australia. Despite the early date attributed to this image, according to Walsh dates from this series place the postcards being produced typically between 1920-54. Mayday Hills Hospital, then known as the Beechworth Lunatic Asylum was constructed between 1864-67 designed by The Public Works Department. The hospital is made up of a number of buildings, landscaping, ha-ha, workshops, laundry, administrative facilities and farmland, it was constructed in 'Italianate' style by a team of up to two hundred and fifty workers (Woods p. 122). The asylum was established in response to the need for the regional shire to locally care for those particularly affected by their time working the Ovens goldfield during the Indigo Shire gold rush era where poor living conditions and isolation were significantly affecting the welfare of a great many people through poverty and lack of resources. The gaol and orphan labour systems were not able to effectively support to give housing, rehabilitation and ongoing care for the mentally ill, and transporting to Melbourne by waggon was a time consuming and counter-productive solution when the metro facilities were already overcrowded. According to Woods (A Titan's Field p. 122), between 1901 and 1911 a large percentage (thirty five percent in 1901 and twenty four in 1911) of the Beechworth population were either patients or inmates of Beechworth institutions, Mayday Hills accounted for some six hundred and seventy four patients in 1901, Beechworth's Mayday Hills was chosen as the site of Victoria's newest asylum, at the time, due to the landscape and altitude. The hilltop atmosphere and the native fauna, it was argued, would assist in the cure of the patients kept at the hospital (Wood 1985, 122). The positioning of the hospital had a beneficial effect on the rural town and the large volume of people living at the hospital and contributing to this population growth is counted as reason for the survival of Beechworth as a regional township. Mayday Hills continued to function as a mental hospital up until 1995 when it was sold to LaTrobe university. The building and grounds are listed on the Victorian Heritage Register under criterion A, B, D, E and F. Through the colourisation of the photograph and through the unusual choice of the subject matter being used as a postcard, we can get a good indication of aesthetic interests of the time.Rectangular coloured photograph printed as postcardObverse: Beautiful / Beechworth / (Vic.) / 1800 ft. / above / Sea / Level / - / Asylum / for / insane / (Front / View) / Copyright. / F. / Foxcroft / Photo Reverse: 1997.2454 / Postcard / THIS / SPACE / MAY / BE / USED / FOR / CORRESPONDENCE: / THIS / SPACE / FOR / NAME / AND / ADDRESS / STAMPpostcard, rose series, mayday hills hospital, mayday hills, beechworth lunatic asylum, photographic postcard, george rose, the rose stereograph co., social welfare, welfare services, ovens goldfield, lunatic asylum, the public works department, australian landmark, regional shire, indigo shire council, gold rush, beechworth institution, victorian heritage register

Two rectangular black and white photographs of the Beechworth Mental Hospital (Mayday Hills) administrative building showing the left and right hand sides of the exterior building with three cars parked in driveway turning circle in the foreground taken in the 1950's by E. Yellard. Mayday Hills Hospital, originally known as the Beechworth Lunatic Asylum was constructed between 1864-67 designed by The Public Works Department. The hospital is made up of a number of buildings, landscaping, ha-ha, workshops, laundry, administrative facilities and farmland, it was constructed in 'Italianate' style by a team of up to two hundred and fifty workers (Woods p. 122). The asylum was established in response to the need for the regional shire to locally care for those particularly affected by their time working the Ovens goldfield during the Indigo Shire gold rush era where poor living conditions and isolation were significantly affecting the welfare of a great many people through poverty and lack of resources. The gaol and orphan labour systems were not able to effectively support to give housing, rehabilitation and ongoing care for the mentally ill, and transporting to Melbourne by waggon was a time consuming and counter-productive solution when the metro facilities were already overcrowded. According to Woods (A Titan's Field p. 122), between 1901 and 1911 a large percentage (thirty five percent in 1901 and twenty four in 1911) of the Beechworth population were either patients or inmates of Beechworth institutions, Mayday Hills accounted for some six hundred and seventy four patients in 1901, Beechworth's Mayday Hills was chosen as the site of Victoria's newest asylum, at the time, due to the landscape and altitude. The hilltop atmosphere and the native fauna, it was argued, would assist in the cure of the patients kept at the hospital (Wood 1985, 122). The positioning of the hospital had a beneficial effect on the rural town and the large volume of people living at the hospital and contributing to this population growth is counted as reason for the survival of Beechworth as a regional township. According to the Victorian Heritage database, during the period 1921-1950 Mayday Hills underwent some modernisation by Public Works Department architect Percy Everett which included a nurses' hostel and new ward which were further developed and continued to function as a mental hospital up until 1995 when it was sold to LaTrobe university. The building and grounds are listed on the Victorian Heritage Register under criterion A, B, D, E and F.These photographs give a good indication of the ongoing use of Mayday Hills from its original establishment in the 1860's through to almost one hundred years later when these photographs were taken. The clarity of the images combined with the style and make of the cars in the foreground give a good indication of the time period and show the continued use and need for the facility over the years. Through images of building facades such as these, we might gain fuller understanding of the structural and aesthetic characteristics to be used in any future development or restorative work.2 x black and white rectangular photographs [copies] printed on Ilford photographic paper8688.1 reverse: Beechworth / Mental / Hospital / 80% 19cm / 12 cm / 80% / 728 / New / Print / BMM / 8688.1 / E. / Yellard / [Stamped : ILFORD] 8688.2 reverse: Beechworth / Mental / Hospital / E. / Yellard / BMM / 8688.1 / [Stamped : ILFORD]administrative building, black and white photographs, beechworth, mental hospital, beechworth mental hospital, mayday hills, cars, 1950, e. yellard, the public works department, public works department, hospital, mayday hills hospital, beechworth lunatic asylum, lunatic asylum, asylum, ovens goldfield, indigo shire, indigo shire gold rush

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. The Regent Parrot has two separate populations separated by the Nullarbor Plain: one in the Mallee regions of eastern Australia, and the other in the Wheatbelt region of southern Western Australia. Though the populations are widely separated, the birds of each region do not appear especially different, one being a little duller than the other. There are, however, other differences between the two populations, especially in how they have fared: eastern populations are endangered, while the western population is thought to be increasing. The Regent Parrot eats seeds of grasses and plants and cereal crops, especially wheat. It also eats buds and flowers, insect larvae, psyllids and lerps. It forages in pairs or small parties, usually on the ground, but also in the canopy of trees or in spilled grain on the ground. The Regent parrot is endangered in NSW and Vulnerable in VIC This Particular specimen has been mounted correctly.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.A slim parrot with a long, dusky tapering tail and back-swept wings. It is mostly yellow, with blue-black wings and tail. There is a prominent yellow shoulder patch and red patches in the wings. The bill is deep pink. It is mounted on a thin wooden branch that is attached to a wooden mount with the scientific name located Label: T.L. 430MM / W.S. 540MM / WT. 200GMS / SEX [female symbol] Mount: Polytelis / Anthopeplus / Regent Parrot taxidermy mount, regent parrot, taxidermy, animalia, burke museum, bird, parrot

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. The male Turquoise Parrot is bright green above, with a turquoise blue crown and face. A brilliant two-tone blue band around the bend of the wing contrasts with a dark, brick-red shoulder patch. Its underparts and tail edges are a rich yellow. The female is similar, but not as bright, with a whitish facial mask, no red on the wing, and a pale wing stripe. Old birds of both sexes may have orange underparts. Once common throughout many parts of eastern Australia, the Turquoise Parrot was formerly recorded from near Mackay in Queensland south to Melbourne until the 1880s, when its population suddenly crashed. It was even considered to be extinct by 1915, but populations recovered spectacularly over the next 20 years or so, and by the 1930s they were again recorded through much of their former range. Now the species can once more be seen in many parts of eastern and south-eastern Australia, though not quite as extensively as before. These birds are vulnerable in NSWThis 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 Turquoise Parrot is bright green above, with a turquoise blue crown and face. A brilliant two-tone blue band around the bend of the wing contrasts with a dark, brick-red shoulder patch. Its underparts and tail edges are a rich yellow. Old birds of both sexes may have orange underparts. This particular specimen is faded with some missing feathers. It is mounted on a wooden stand with a tag wrapped around its leg.Label: 80a. / Chesnutt-shouldered Grass Parakeet / See Catalogue, page 22.taxidermy, parrot, turquoise parrot, taxidermy bird, australian bird, burke museum, trustees of australia

Eastern Rosellas are multi-coloured medium-sized Australian parrots with distinctive white cheek patches. The Eastern Rosella is found throughout south-eastern Australia, from Queensland to Victoria, south-eastern South Australia, and eastern Tasmania. Despite their vibrant colours, Rosellas camouflage well into their surroundings when perching or when on the ground. The Eastern Rosella is found in open woodlands, grasslands, farmlands and remnant bushland. These birds are often found in urban habitats such as parks, gardens and golf courses. Early European settlers encountered the Eastern Rosella at Rose Hill, New South Wales, now Parramatta, and so they called it the Rosehill parakeet which became "Rosehiller", and eventually shortened to "rosella". 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 mature Eastern Rosella has a red head and breast, with a light green belly and distinctive white cheeks. The back is yellow-green with black mottling, the yellow-green turning green then to blue across the wings. The tail feathers are blue/black, with a red base on the underside. This specimen stands upon a wooden platform and has an identification tag tied around its leg.Label: 79/ Rose-hill Parakeet / See catalogue, page 22 taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, rosella, eastern rosella, rosehill parakeet, rose-hill parakeet

The white-throated Needletail is a migratory bird, breeding in Central Asia and southern Siberia, and wintering south in the Indian Subcontinent, Southeast Asia and Australia. This large swift is often mistaken in flight for a small predatory bird, but its long curved wings and white markings help to identify it. Needle-tailed Swifts get their name from the spined end of their tail, which is not forked as it is in the more common Swifts of the genus Apus. They build their nests in rock crevices in cliffs or hollow trees. These birds do not like to sit on the ground, spending spend most of their time in the air. 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 white-throated Needletail is predominantly grey-brown in colour. The throat and under tail of he bird are dusky-white. This specimen has a white spot on the lower rim of each of its wings. The eyes are made from glass and the specimen has been styalised standing on a wooden mount.Label: 3a/ Spine-tailed Swift / See catalogue page 7.stormbird, taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, quail, migratory bird, white-throated needletail, needle-tailed swift, spine-tailed swift, hirundapus caudacutus

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 Golden Whistler is native to coastal areas of Australia, from Queensland around to Southern Western Australia, including Tasmania. It usually lives in dense forested areas. The males have bright yellow plumage, whilst the females have only pale yellow plumage. The males and females work together to build the nest and raise chicks. They eat spiders and insects. The taxidermy specimen is not a good example of a Golden Whistler. Its feathers are very faded and ruffled. There looks to be some damage on the throat of the specimen. The Golden Whistler has usually vibrant colours, whilst this one is almost white. The colour markings on the bird indicate that it is male; the specimen should be a bright yellow. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. This male Golden Whistler has a black head and stripe on chest, brown-grey wings and tail and white patches on throat and neck. The belly is a white-yellow, though significantly faded. Its feathers are quite ruffled and there is sign of damage to the throat. The specimen stands on a wooden stand and has an identification tag attached to its leg. Label: 24a / white throated Thickhead / See catalogue, page 11taxidermy mount, taxidermy, golden whistler, beechworth, burke museum, australian bird

The budgie is a very social bird, found in large groups in the wild. They primarily live across mainland Australia. They are often found near water. Budgies are very popular pets globally (called parakeets in other countries). They eat grasses and seeds. They nest in hollowed trees. Budgies in the wild are often right green with a yellow face. This specimen is a good example because it has the common colouring of wild budgies and has not got signs of wear/use. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. This male budgie is perched with its wings partially opened and looking to the left. It has a yellow head with black stripes on the back, indicating the specimen was quite aged before it was killed. It has a blue nose, indicating it is male. Its body is light green. Its wings are green-yellow with black lines. Its tail is a blue-green. It has some minor pest damage around its eyes.no markings or identification tags

The Rufous-bellied Kookaburra is a large member of the Kingfisher family. It commonly resides in the dense rainforests of lowland New Guinea, Saibai Island, Indonesia, Biak, Maluku/Moluccas Islands, Papua New Guinea, Melanesia and Queensland in Australia. This is unlike other species of Kookaburra which commonly prefer to reside in locations of open country. Another aspect which makes this bird unique to other Kookaburra is its tendency to live in pairs and not in family groups which is typical of other Kookaburras. In the case of the Rufous-bellied Kookaburra, both parents incubate and care for the eggs/chicks. This Kookaburra feeds on small mammals, birds, reptiles and insects. The Rufous-bellied Kookaburra was originally named the Gaudichaud's Kookaburra after the French botanist Charles Gaudichaud-Beaupré. This species of Kookaburra is among the most colorful varieties of the Kookaburra alongside the Spangled Kookaburra. 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 Rufous-bellied Kookaburra is a large Kingfisher with a black coloured cap on the head, white collar around the neck, blue feathers on the wings and rump and a rufous belly. The female Kookaburra has a brown/rufous coloured tail, as is the case for this particular specimen which identifies it as female. This bird has a large white bill and pale coloured legs. The head is a large square shape and the body is stocky.Label: National Museum Victoria / 159a /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, kingfisher, kookaburra, rufous-bellied kookaburra

The Rainbow Bee-Eater is native to Australia, living across the mainland, except in desert areas. Male and female birds are both brightly coloured, the primary difference being the length of their tail streamers. Male Bee-Eaters have longer streamers than the females. They are insectivores and use techniques to remove threats to themselves; eg. they will remove wasp's stingers to avoid the poison. They nest in sand and dig a long tunnel, at the end is a 'chamber' where they lay the eggs. 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 Rainbow Bee-Eater is a uniquely beautiful species of bird with strikingly bright colouring. The plumage is green, blue, chestnut and yellow. The build of this specimen is small and graceful and the bill is slender and curved. This Bee-Eater has two distinct streamers that extend from the base of the tail. The glass eyes provided to this specimen are dark black in colour; however, in life, this specimen has red eyes which contrast with the black stripe of colour that is located from the base of the bill to the ears. Below the black stripe, is a smaller pale blue colour. The throat is orange-yellow and the breast is green. The tail is black with a blue tinge to the plumage closer to the rear of the torso. The colouring on this particular specimen has faded significantly, but it provides a good example of what this specimen looked like while alive.Label: 5a / Australian Bee-Eater / See catalogue page 7 / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, rainbow bee-eater

The spotted quail thrust is a heavily patterned bird native to Australia. It expresses many calls, including a long, very high-pitched "seeeeeep” and a long sequence of doubled whistles, but the main call in inaudible to humans. Due to their heavy camoflague pattern, they are often very difficult to observe. They are often found on the forest floor. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. The spotted quail thrush is characterised by yellow and brown tones with black spots on the flanks. The females (10056) have a yellow ochre-coloured throat patch. This particular quail has lost its tail feathers. This specimen stands upon a wooden platform and has an identification tag tied around its leg.Label: 43a. / Spotted Ground Thrush / See Catalogue, page 15. /taxidermy mount, taxidermy, burke museum, beechworth, australian museum, spotted quail thrust, quail

The diamond firetail bird is native to inland southeastern Australia, inhabiting woodland regions. It is often described as one of the most stunningly coloured birds of the finch family. The nest is built by both partners but only the female does the weaving. Both partners incubate the eggs and care for the young. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. The diamond firetail finch it characterised by the top of its body being ash brown, with crown, forehead and neck grey. The under feathers are white with a crimson rump. There is a black band across its neck which continues down the flank to be dotted with white. The bill and eye ring are coral, and the legs and feet are dark grey. The female is similar to the male although sometimes smaller. 10057 comprises of one male and one female. This specimen stands upon a wooden platform and has an identification tag tied around its legLabel: 41a./ Firetialed Finch / See Catalogue, Page 15. /taxidermy mount, cancel, taxidermy, burke museum, beechworth, australian museum, finch, diamond firetail

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

The Mistle Thrush is native to Ireland and Scotland, North Africa and parts of Asia. It is known as a large, aggressive and powerful bird. They have several different calls: the main call, given by both sexes, is a dry chattering 'krrrr', louder when the birds are alarmed or excited. There is also a squeaky 'tuk' contact call. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. The Mistle Thrush has a pale grey-brown upperpart and a greyish-white chin. The yellow/buff breast and off-white belly are marked with round black spots. The long tail has white tips on the outer feathers, and the underwing coverts are white. The glass eyes are dark brown and the bill is blackish with a yellow base to the lower mandible. The legs and feet are yellow/brown. There is no plumage differences between the male and the female Mistle Thrush. This particular specimen stands upon a wooden platform and has an identification tag tied around its leg.Label: 111a. / Mistle Thrush / Catalogue, Page 28. / Other Label: 57. / Turdus viscivorus /taxidermy mount, cancel, taxidermy, burke museum, beechworth, australian museum, bird, mistle thrush

The white-browed babbler is a a very active bird and is often found in noisy social groups. It lays two nests: one to lay its eggs in, and a separate nest to roost in. The Babbler is located in dry sclerophyll woodlands throughout mainland Australia. The diet of this species is varied: including insects, spiders and other invertebrates, small amphibians, crustaceans and reptiles. These birds will also eat fruits and seeds. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. The White-browed Babbler is a small bird with dark brown/grey plumage. It has a white throat, a white tipped tail and a long, pointed curved bill. This species have a distinct white brow and dark eye stripe which inspired its name. The specimen stands upon a wooden mount and has an identification tag tied around its leg.Label: 68a. / White-[illegible] Pomatostomus superciliosus /See Catalogue, page 20 /taxidermy mount, cancel, taxidermy, burke museum, beechworth, australian museum, bird, white browed babbler

The spotted pardalote is the smallest of all Australian birds. It has a tendency to nest in a long horizontal tunnel, often dug into the soil of creek banks, the embankments of railway cuttings, and quarries. Its call is characterised by a very clear and repetitive double "ding". The spotted pardalote is common in woodlands and eucalypt forest areas in Australia. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. One of Australia's smallest native birds, the male spotted pardalotte is covered with small, distinct white spots. Males have a pale eyebrow, a yellow throat and a red rump. Females are similar but have less-distinct markings. 10060 comprises of one male and one female. This specimen stands upon a wooden platform and has an identification tag tied around its legLabel: 14a. / Spotted Diamond Bird / See Catalogue, page 9. /taxidermy mount, cancel, taxidermy, burke museum, beechworth, australian museum, bird, spotted pardalote

Eastern Meadowlarks live throughout the grasslands and farms in eastern North America. On the ground, their brown-and-black dappled upperparts camouflage the birds among dirt clods and dry grasses. When in flight or perching, they reveal bright-yellow breasts and bellies, and a striking black chevron across the chest. The Eastern Meadowlark has a diet which consists of mainly insects and seeds. These birds forage by walking on the ground and taking insects and seeds from the ground and from low plants. In winter, these birds may choose to forage in flocks. 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 Meadowlark has a yellow breast and throat with black plumage in the shape of a 'V' on it's throat. This particular specimen has a long pointed bill which is in the shape of a spear. The crown of the bird is a dark brown and it also has lighter brown/yellow stripes on the brow. The back, wings, and tail are light brown with dark brown mottling. This specimen stands upon a wooden platform and has an identification tag tied around its leg. The legs are long and the specimen has been styalised in an upright position.Label: [illegible] Ant-Eating Thrush / Catalogue, Page 66. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, american birds, eastern meadowlark, meadowlark

Photograph taken in the early 1900s at Fiddes Quarry, a granite quarry used as a source of stone for many of Beechworth's historic buildings.This item is of historic significance as it provides evidence of the type of industrial and mining activities occurring historically around Beechworth as well as providing context to the source of the granite used in local buildings.Black and white rectangular photograph printed on matte photographic paperquarry, fiddes quarry, granite, industrial, beechworth, stone

large black and white photograph of a cut rock face with tool markings on some of the rocks. a quarry face.Black and white rectangular photograph printed on matte photographic paperfiddes quarry, rock face

This photograph shows a group of workmen standing outside the Ford Street office of the Ovens and Murray Advertiser in Beechworth. The Advertiser was a local paper, first printed as a weekly in 1855, and then as a daily in 1857. It continues to be printed today, albeit in a different form. The Advertiser was launched by architect Francis Hodgson Nixon with assistance from businessman John Henry Gray, and newspaperman Richard Warren. Warren was sole owner from 1860 until his death in 1906, and it responsible for much of the paper’s success. Its goals included coverage of local events, as well as of global news, and the promotion of economic liberty, arts, and sciences. Beyond these initial goals, the Advertiser was instrumental in local politics, particularly Beechworth’s association with conservatism and constitutionalism in the 1860s and 1870s. Numerous other papers sprung up to contest the Advertiser’s hold during the latter half of the nineteenth-century, but none were able to completely oust it from its post. As well as representing a key chapter in Beechworth’s history, the Advertiser can be used as a key source for the stories and figures of historic Beechworth. This photograph has historic significance for its relationship to the history of the Ovens and Murray Advertiser, which is a key example of of successful nineteenth-century business in Beechworth.Faded sepia rectangular photograph printed on photographic material, mounted on board. Obverse: The Owens and Murray Advertiser Reverse: Parkinson (crossed out) BMM 7725 15/ Failey/ [logo Farrell and Martin Landscape Photographers]ovens and murray advertiser, the ovens and murray advertiser, newspaper, printing, ford street, richard warren, journalism, advertising, 1800s, 1800s beechworth, #beechworth, local business, advertiser, workmen, hats, printers, journalists

This photograph shows a group of workmen standing outside the Ford Street office of the Ovens and Murray Advertiser in Beechworth. The Advertiser was a local paper, first printed as a weekly in 1855, and then as a daily in 1857. It continues to be printed today, albeit in a different form. The Advertiser was launched by architect Francis Hodgson Nixon with assistance from businessman John Henry Gray, and newspaperman Richard Warren. Warren was sole owner from 1860 until his death in 1906, and it responsible for much of the paper’s success. Its goals included coverage of local events, as well as of global news, and the promotion of economic liberty, arts, and sciences. Beyond these initial goals, the Advertiser was instrumental in local politics, particularly Beechworth’s association with conservatism and constitutionalism in the 1860s and 1870s. Numerous other papers sprung up to contest the Advertiser’s hold during the latter half of the nineteenth-century, but none were able to completely oust it from its post. As well as representing a key chapter in Beechworth’s history, the Advertiser can be used as a key source for the stories and figures of historic Beechworth. This photograph has historic significance for its relationship to the history of the Ovens and Murray Advertiser, which is a key example of of successful nineteenth-century business in Beechworth.Black and white rectangular photo printed on paper, unmounted. Copy rather than original. Obverse: The Ovens and Murray Advertiser Inverse 2581 PH246 ovens and murray advertiser, the ovens and murray advertiser, newspaper, printing, ford street, richard warren, journalism, advertising, 1800s, 1800s beechworth, #beechworth, local business, advertiser, workmen, hats, printers, journalists

This photograph shows a group of men standing outside the Ford Street office of the Ovens and Murray Advertiser in Beechworth. This group includes the Advertiser''s manager, Richard Warren, who is bearded man standing in the doorway and who's name is written on the reverse of the photograph. The Advertiser was a local paper, first printed as a weekly in 1855, and then as a daily in 1857. It continues to be printed today, albeit in a different form. The Advertiser was launched by architect Francis Hodgson Nixon with assistance from businessman John Henry Gray, and newspaperman Richard Warren. Warren was sole owner from 1860 until his death in 1906, and it responsible for much of the paper’s success. Its goals included coverage of local events, as well as of global news, and the promotion of economic liberty, arts, and sciences. Beyond these initial goals, the Advertiser was instrumental in local politics, particularly Beechworth’s association with conservatism and constitutionalism in the 1860s and 1870s. Numerous other papers sprung up to contest the Advertiser’s hold during the latter half of the nineteenth-century, but none were able to completely oust it from its post. As well as representing a key chapter in Beechworth’s history, the Advertiser can be used as a key source for the stories and figures of historic Beechworth. As well as managing the Advertiser, Richard Warren's owned or managed multiple businesses in Beechworth, founded the Ovens hospital and Benevolent asylum, invested in local companies, and participated in a range of religious brotherhoods and societies. He married Mary Ann Mitchell when he was twenty-six, and, while the couple were unable to have children, they adopted one son, who began managing the Advertiser in the late-nineteenth century. This photograph has historic significance afor its relationship to the history of the Ovens and Murray Advertiser, which is a key example of of successful nineteenth-century business in Beechworth, and for including an image of Richard Warren, a key figure in the period. Sepia rectangular photograph, faded, printed on photographic material and mounted on board. Obverse: The Ovens and Murray Advertiser Reverse: Or M A/ Printing Office/ Ford Street About 1860/ Beechworth/ R Warren [logo: R & M Harvey/Authorised Newsagents/ and Gift Shop/ Beechworth Phone 114]ovens and murray advertiser, the ovens and murray advertiser, newspaper, printing, ford street, richard warren, journalism, advertising, 1800s, 1800s beechworth, #beechworth, local business, advertiser, workmen, hats, printers, journalists, warren, mary ann mitchell, mary ann warren, 1860s, 1860s beechworth, r warren, r & m harvey

This photograph shows a small timber house in Wooragee. In 1855, the Ovens district made a shift towards farming development that included the sales of land in the Wooragee Valley. This shift came because of miner's demands and concern about stabilising the area around the goldfield. Continual migration needed to be supported, unlucky diggers needed alternative employment, and there was a lack of affordable fresh produce available on the goldfields. Initially, the cost of land in areas like Wooragee was prohibitive, and miners chose to squat rather than overpay for poor land. Throughout the 1850s and 1860s, land reform was a key topic for miners and politicians, as they attempted to improve land access and protect financial interests. This photograph is an example of rural development in the Wooragee area, showing the cottage, tents, and garden beds. While the date is unknown, the image nevertheless links us to the 1850s-1860s story of rural development in Indigo Shire. Black and white rectangular photo, copy of original, printed on paper. wooragee, timber, timber cottage, corrugated iron, cottage, housing, tents, gardening, farming, farming and agriculture, construction, garden bed, flowers, verandah, squatting, tent, field

In 1906, the Anglo-Australian Brewery Company had purchased the Spring Creek brewery after the death of Frederick Allen. A.A. Billson, M.L.A., by then a director of Anglo-Australian Brewery, then converted the premises into a jam and fruit preserving works. The Beechworth District Jam, Pickle and Fruit Preserving Company Ltd started fruit preserving in 1907. In 1912, the jam works was sold to a Melbourne company, who traded as S.S. Jam Co./S.S. Jam Factory until around 1915. Three rectangular photographs - one sepia postcard and two black and white copies printed on paper3121.1 (reverse): Post Card / Correspondence. [vertical centre-line] Address only. / [stamp placement of rectangular "Kodak.Austral." wordmarks] Employees Beechworth / Jam Factory / about 1900 / 84-213-1 / 3121.1 / 97 2326 / 10 / Factories / 3121.2 (reverse): Employee's / Beechworth Jam Factory / (previously Allens Brewery) / early 1900s / 84-213-1 (Repro) / 3121.2 / Factories / [yellow sticky-note: factories] / 3121.3 (reverse): SS Jam Factory / B'worth Jam Factory / Railway Avenue / B'worth / 97 2326 / PH 213 / 3121.3 / jam, jam factory, railway street, fred allen brewery, frederick allen, a.a. billson, beechworth brewery, 1910s beechworth, beechworth factories, twentieth century beechworth, fredrick allen, beechworth district jam pickle and fruit preserving company ltd, s.s. jam factory, s.s. jam, s.s.jam co., preserves, fruit preserving, the anglo-australian brewery company, anglo-australian brewery company, cordial manufactory beechworth, ecks, spring creek brewery, blackberries