The donation was accompanied by the following letter from the donor: "Hi. I found these in with family photos. Taken by family as Mamie McLeod was living in Fellows Street, Kew, so would be near there. Retain (or discard) as you see fit." [Donor's name and address withheld from public view]. To gain an insight into the flood levels at Kew, it is worth reading newspaper accounts of the event. The Age published an article - Valuable Gardens Destroyed at Kew - on 25 September 1916: "VALUABLE GARDENS DESTROYED AT KEW. From the heights of Studley Park, Kew, a splendid view of the flood waters can be obtained, and yesterday afternoon, despite continuous rain, crowds of citizens assembled there to witness the spectacle. There is a vast stretch of water some 300 or 400 yards broad, above the foot bridge connecting Gipps-street, Collingwood, and Studley Park. The river is only about 3 feet from the top of the embankment connecting with the ramp of the bridge on the Studiey Park side. When the upper llood waters come down it is almost a certainty that tne embankment will be submerged and the bridge rendered impassible. Below the bridge the waters again stretch out, and have submerged all the low-lying land on the Collingwood side and invaded the back premises ot the Kodak Co., Phoenix Biscuit Factory, a tannery adjoining thereto, the Shamrock Brewery, and Chinese gardens in the vicinity. At Walmer-street-bridge, at the end of Studley Park, the low-lying land on the Kew side is covered with water to the depth of many feet. Tlie land in question is owned in a great part by Mr Frank Lavers who haa gone in for intense culture on a pretty liberal scale on both the slopes of the hill and on the river flat. On the latter he is cultivating many acres of asparagus, and has at a considerable cost spent three years in preparing the ground and installing an irrigation system, reticulated from the Yan Yean water supply. This year the asparagus was put down, and the plants were in a promising condition. Tlie flood waters are now flowing fast over the land. The crop is ruined, and three years' work and expenditure destroyed. Mr. Laver's private residence fortunately is high above flood level, but two houses he owns off Young-street have been flooded out. Having been warned in time, the tenants removed their furniture hefore the water came down to Mr. Laver's residence, where they themselves have been given accommodation in the meantime. All the river flats in East Kew are under water. One or two low-lying houses have been flooded. Chipperfield's boat shed at Willsmere is nearly covered, and some Chinese gardens in the vicinity are several feet under water."This, and the other three photographs donated of floods in Kew are believed to be the earliest in the collection. Together with our original MMBW River Yarra map showing flood levels, these items, when compared allow researchers to gain a visual perspective of the extent of the flood in 1916. Panoramic view, believed to be looking north towards Fairfield from the Zig-Zag Bridge on the River Yarra. The inscription on the reverese identifies it as taken before 1920.Inscription on reverse in ink "(pre 1920) Flood from Zig-zag bridge Yarra River, Kew Vic."river yarra, kew, floods 1916, zig-zag bridge

The donation was accompanied by the following letter from the donor: "Hi. I found these in with family photos. Taken by family as Mamie McLeod was living in Fellows Street, Kew, so would be near there. Retain (or discard) as you see fit." [Donor's name and address withheld from public view]. To gain an insight into the flood levels at Kew, it is worth reading newspaper accounts of the event. The Age published an article - Valuable Gardens Destroyed at Kew - on 25 September 1916: "VALUABLE GARDENS DESTROYED AT KEW. From the heights of Studley Park, Kew, a splendid view of the flood waters can be obtained, and yesterday afternoon, despite continuous rain, crowds of citizens assembled there to witness the spectacle. There is a vast stretch of water some 300 or 400 yards broad, above the foot bridge connecting Gipps-street, Collingwood, and Studley Park. The river is only about 3 feet from the top of the embankment connecting with the ramp of the bridge on the Studiey Park side. When the upper llood waters come down it is almost a certainty that tne embankment will be submerged and the bridge rendered impassible. Below the bridge the waters again stretch out, and have submerged all the low-lying land on the Collingwood side and invaded the back premises ot the Kodak Co., Phoenix Biscuit Factory, a tannery adjoining thereto, the Shamrock Brewery, and Chinese gardens in the vicinity. At Walmer-street-bridge, at the end of Studley Park, the low-lying land on the Kew side is covered with water to the depth of many feet. Tlie land in question is owned in a great part by Mr Frank Lavers who haa gone in for intense culture on a pretty liberal scale on both the slopes of the hill and on the river flat. On the latter he is cultivating many acres of asparagus, and has at a considerable cost spent three years in preparing the ground and installing an irrigation system, reticulated from the Yan Yean water supply. This year the asparagus was put down, and the plants were in a promising condition. Tlie flood waters are now flowing fast over the land. The crop is ruined, and three years' work and expenditure destroyed. Mr. Laver's private residence fortunately is high above flood level, but two houses he owns off Young-street have been flooded out. Having been warned in time, the tenants removed their furniture hefore the water came down to Mr. Laver's residence, where they themselves have been given accommodation in the meantime. All the river flats in East Kew are under water. One or two low-lying houses have been flooded. Chipperfield's boat shed at Willsmere is nearly covered, and some Chinese gardens in the vicinity are several feet under water."This, and the other three photographs donated of floods in Kew are believed to be the earliest in the collection. Together with our original MMBW River Yarra map showing flood levels, these items, when compared allow researchers to gain a visual perspective of the extent of the flood in 1916. Small black and white photograph of flooded trees in Kew.Inscription on reverse in ink "Flood R. Yarra Kew Vicriver yarra, kew, floods 1916

The World War One windows in the Barkly Street Uniting Church resulted from a request made in 1919 from the Barkly Street Young Men's Club who raised money to pay for the project. The window was designed by the Fisher Company, and was unveiled on 14 March 1920 at a total cost of 171 pounds 10 shillings. The windows are considered to be one of the most remarkable war memorial windows in Victoria, and the 1800s English Gothic-style front facade is believed to be protected by a City of Ballarat heritage overlay. Historical experts believe the windows were designed by renowned stained-glass window-maker William Montgomery. The centre window depicts a young soldier bearing an Anzac badge underneath the British and Australian flags. The image of the solider is surrounded by 24 crosses, a single dove and a bugle. A number of colour photographs of the interior of the Barkly Street Uniting Church taken while the church was offered for sale.barkly street uniting church, barkly street methodist church, world war one, world war one memorial, stained glass, soldier, religion, church

Dr George Clendinning and others were trustees of the Church of England (St Paul's) A number of enlargements of the Ballarat East maps. .4) Bakery Hill, Humffray Street, Victoria Street, Ballarat Youth Council .5) Specimen Vale, Victoria Street, Eureka Street, Housing Commission .10) - Tomber Reserve, York Street, Spencer Street, Bennett Street, Wilson Street, Rodier Street, Richard Street, Fussell Street, Turpie Street, Stockade Street, Ballarat Rifle Range Lal La Street, Clayton Street, Eureka Street Sheet 2 - Yarrowee Creek, High Street, Dinney's Dam, Binney Street, Oliver Street, Humffray Street, Morres Street, Finch Street, Scotts Parade, Rice Street, HOrnby Street, Queen Street, Newman street, King Street, Napier Street, Sim Street. Sheet 3 - Russell Square, Victoria Street, Orphan Asylum, Ballarat Orphanage, Lofven Street, Haines Street, Yarrowee Creek, Ching Who Coey, Chinese, Stawell Street, Rice Street, Lane Street, Humffray Street, Nelson Street, Coffield Street, Morres Street, Western Highway, Rodier Street, Scott Parade, Canterbury Street Sheet 4 - Orphan Asylum, Ballarat Orphanage School, Fortune Street, Scotts Parade, Water Street, Ritchie Street, Humffray Street, Brophy Street, Thompson Street, Victoria Street,Humffray Street Church of England Reserve, Strickland Parade. Mount Xavier Recreation Reserve, Charlesworth Street Catholic Church Reserve. Sheet 5 - Western Highway, Mount Street, Fortune Street, Finlay Street, Jones Street, Ryan Street, Water Street, Brandbury Street, Humffray Street. Sheet 6 - Barkly Street, Ebden Street, Grenville Street, Cameron Street, Peel Street, Young Street, Victoria Street, Steinfeld Street, Haymes Street, Bond Street, Anderson Street, Eastwood Street, Mair Street, East Street, Haymes Crescent Sheet 7 - Murphy Street, Queen Street, Dyte Parade, Princes Street, Midland Highway, York Street, Dodds St, Wilson St Otway Street, Specimen vale, King Street, Gray Street, Little Dodds Street, Eureka Street. Sheet 9 - Richards Street, Fussell Street, Stockade Street, Orphan Asylum, Ballarat Orphanage, Elford Street, Russell Street, Ross Street, Charlesworth Street, Lalor Street, Stockade Street, Wilson Street, York Street, Eureka Street Sheet 10 - Eureka Street, York Street, Elford Street, Wilson Street, Mount Street, Turpie Street, Timber Reserve, Mount Xavier Sheet 11 - Yarrowee Creek, Humffray Street, Barkly Street, Morton Street, Cobden Street, Morton Street Wesleyan Church, Pryor Street, Albion Street, Bradshaw Street, Ballarat Woollen Mills, Tannery, Mount Pleasant. Sheet 12 - Magpie Street, Grant Street, Gladstone Street, Cobden Street, Fraser Street, Grenfell Street, Robertson Street, Bond Street, Barkly Street, Vine Street, Sovereign Hill, Ballarat Observatory, Pearce Street, Bond Street. Sheet 13 - Murphy Street, Larter Street, midland Highway, Geelong Road, gales Street, Lal Lal Street, Clayton Street, Dodds Street, Elsworth Street Sheet 14 - Eureka Street, Eureka Stockade Memorial Park, Eureka Stockade Reserve. York Street, Joseph Street, Kline Street, Charlesworth Street, Chamberlain Street, Trevor Street, Belford Street, Queen Street, Murray Street, Eureka Tiles, Orphan Asylum, Ballarat Orphanage. Sheet 18 - Scotts Parade, Stawell Street, Fortune Street, Victoria STreet, Railway Line, Haines Street, Eureka Street, Elford STreet, Brophy Street, York Street, Clayton Street, Elsworth Street, Barkly Street, Humffray Street, Midland Highway, Princes Street ballarat youth council, ballarat east, bakery hill, humffray street, victoria street, st paul's anglican church, humffray street state school

The New South Wales Railway Institute affectionately known as “the Institute”, was initially established to provide a higher standard of educational learning for NSW railway employees. As well as employment related training, the Institute was tasked with stimulating growth and intellectual development of employees in the arts, social, leisure, and physical recreations. The NSW Railway Institute was formally opened on the 14th of March 1891 and at the time was the only institution of its kind in the Commonwealth. The Albury branch of the Railways Institute was formed on March 1, 1921. This included the building of a Railway Institute building as part of the Railway precinct in 1921. On Tuesday 7 October 1952, the Daily Advertiser, Wagga reported that a move had started at Albury for the establishment of a third bowling club. The new club formed would be the Railway Institute Bowling Club and the suggested site was on Albury City Council land at the corner of Young and Smollett streets. The Albury Railway Institute opened its bowling greens in February 1956. It later became known as Windsor Park Bowling Club. In 2003, the Bowling Club was liquidated and was amalgamated with the Albury Soldiers Sailors & Airmen’s Club. After changes to their operating model, the club building was demolished in 2013. This badge is representative of the role played by the NSW Railway Institute for its members and its involvement in the broader community.Member's badge for the Railway Institute Bowling Club Albury. A small metal badge with enamel finish depicting the logo of the club in green, red, gold and white.Around the central logo "RAILWAY INSTITUTE BOWLING CLUB ALBURY/ 78-79"railway institute, bowling clubs, social activities albury

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

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

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

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

This photograph taken c1999/2000, depicts the Burke Museum’s granite façade and vestibule entrance. The museum's large red door is closed and there is a white sign is attached to the door. The museum site dates to the 1857 founding of the Beechworth Public Library and Athenaeum by a newly formed Young Men's Association (YMA). In 1863 the museum was dedicated as a memorial to former Beechworth police superintendent (1854-1858) and explorer Robert O’Hara Burke, following Burke’s death from malnutrition on the Burke and Wills expedition in 1861. Funded by the Victorian Government and the Royal Society of Victoria, the officially titled 'Victorian Exploring Expedition' was tasked with being the first European party to traverse Australia from south to north. The Burke Museum holds objects from the famous expedition and explores the multi-layered history of Beechworth and surrounds from the gold rush era to the present.This photograph is historically significant for its depiction of the Burke Museum c1999/2000. The Burke Museum is Australia’s oldest regional museum and part of Beechworth's Historic and Cultural Precinct, one of Australia’s best preserved historic-town sites and a popular tourist destination. Once the government centre for a vast gold fields region, this collection of nationally significant buildings tells the story of how Australia grew and prospered. The frequent use of honey-coloured local granite as a building material, which can be seen in the museum's fabric, gives Beechworth’s historic buildings a distinct and cohesive local character. This photograph captures this distinctive character and may be compared and studied alongside other images of historic buildings in the Burke Museum Photographic Collection.Rectangular colour photograph printed on photographic paper.Reverse: 7031 / Label: Burke Museum / 1999/2000 /burke museum, indigo shire, beechworth athanaeum, beechworth library, beechworth historic building, historic precinct, burke museum exhibition, from the liedertafel to the skating rink, honey-coloured local granite, robert o'hara burke, victorian gold fields, historic towns in victoria, colonial australia, liedertafel, colonial entertainments, beechworth brass band, historic victorian architecture, australia's oldest regional museum, burke and wills expedition, first europeans to cross australia, yound mens associations, beechworth tourism, things to see in beechworth, beechworth historic trail, young men's associations

This undated photograph depicts two people standing in the vestibule entrance at the Burke Museum, Beechworth. The museum site dates to the 1857 founding of the Beechworth Public Library and Athenaeum by a newly formed Young Men's Association (YMA). In 1863 the museum was dedicated as a memorial to former Beechworth police superintendent (1854-1858) and explorer Robert O’Hara Burke, following Burke’s death from malnutrition on the Burke and Wills expedition in 1861. Funded by the Victorian Government and the Royal Society of Victoria, the officially titled 'Victorian Exploring Expedition' was tasked with being the first European party to traverse Australia from south to north. The Burke Museum holds objects from the famous expedition and explores the multi-layered history of Beechworth and surrounds from the gold rush era to the present.This photograph is historically significant for its depiction of the Burke Museum and Loch Street streetscape. The Burke Museum is Australia’s oldest regional museum and part of Beechworth's Historic and Cultural Precinct, one of Australia’s best preserved historic-town sites and a popular tourist destination. Once the government centre for a vast gold fields region, this collection of nationally significant buildings tells the story of how Australia grew and prospered. The frequent use of honey-coloured local granite as a building material, which can be seen in the museum's fabric, gives Beechworth’s historic buildings a distinct and cohesive local character. This photograph may be compared and studied alongside other images of historic buildings in the Burke Museum Photographic Collection.Rectangular colour photograph printed on photographic paper.Reverse: 3440burke museum, beechworth athenaeum, beechworth library, beechworth historic precinct, robert o'hara burke, australia's oldest regional museum, indigo shire, beechworth athanaeum, beechworth historic building, historic precinct, honey-coloured local granite, victorian gold fields, historic towns in victoria, victoria's high country, colonial australia, beechworth tourism, things to see in beechworth, beechworth historic trail, historic victorian architecture, burke and wills expedition, first europeans to cross australia, young men's associations

The Grey Shrike-thrush is considered to be one of the best songsters in Australia, with hundreds, if not thousands, of different songs. The song has been described as glorious, pleasing and melodious, with sweet, mellow, rich and liquid notes. Whilst pleasant to humans, the song are less harmonious for nest birds, often hunted by the grey shrike-thrush. It has a varied diet consisting of insects, spiders, small mammals, frogs and lizards, and birds' eggs and young. Grey Shrike-thrushes most of Australia (with the exception of arid areas) and southern New Guinea. This specimen has been mounted in an accurate fashion. 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 Grey Shrike-thrush specimen is a mostly grey coloured bird, with the plumage around the shoulders a little browner. The underside and neck is paler, off-white with a white ring around the eye. The eyes are made of glass which is a brown colour and replace the original which do not survive the taxidermy process. This specimen stands upon a wooden platform and has an identification tag tied around its leg.27a / Harmonious Shrike-Thrush / See Catalogue Page 12 / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, bird, australian birds, thrush, grey shrike-thrush, harmonious thrush, colluricincla harmonica

Known for its distinctive ‘boo-book’ sound which gives it its name, the Southern Boobook owl inhabits a variety of environments, including woodland, rural, open desert and dense forest. It is found on mainland Australia as well as Tasmania and other costal islands. Some similar species can be located in New Zealand, New Guinea and Indonesia. Young Boobooks’ plumage is mostly off white, and there are slight variations in subspecies based on location - the Cape York rainforest owls are a larger, darker brown bird while the Tasmanian Boobooks are smaller and often have more white flecks on their plumage. Southern Boobooks hunt and eat nocturnally and, like most owls, their diet consists of smaller animals including smaller mammals and insects. While elements of this particular specimen are representative of the actual bird, the form and structuring of this specimen’s neck area appears to be somewhat out of shape in comparison to images of the actual bird, which present a distinct head structure. The eyes on this specimen are also problematic, as they are solely black - not aligning with accurate representations of this species that have a distinct golden yellow outer ring in their eyes around a large black pupil. 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 the most commonly found Australian species of owl, the Southern Boobook, or Mopoke as it is also known, is also Australia’s smallest owl. With a coating of dark chocolate brown coloured plumage on its wings, dorsal area, continuing onto the top of the head and around its eyes, the owl’s breast plumage is flecked with hazelnut brown and white feathers. Its chin and nose areas are a soft creamy white, and the owl’s beak is a darker grey. Traditionally, the eyes are yellow as are the legs and taloned feet. This particular specimen stands upon a wooden perch and an identifying tag hangs from its right leg.Swing-tag appears to read: '39. Boobook Owl / Catalogue page 53.' The 2 digit number at the beginning of the label could also be '3a'. taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, southern boobook, mopoke, australia, boobook, nocturnal, ninox novaeseelandiae, owl

This photograph depicts the façade of the Burke Museum in Beechworth. Originally built in 1857 by the Young Men's Association as the Beechworth Athenaeum, the building provided a public lecture hall and reading room for men at the peak of the gold rush era of Beechworth. In 1859, it became the Beechworth Public Library, which is why the writing embossed above the main entry says 'Library' rather than 'Museum'. The building was turned into a museum and renamed the Robert O'Hara Burke Memorial Museum in 1863 following the death of Robert O'Hara Burke on the Burke and Wills expedition in 1861, as Burke had been the Police Superintendent of Beechworth. The museum has had several additions built onto the property, most notably significant extensions in the 1970s, but the main façade depicted in the photograph has remained largely intact. The architecture is an example of provincial conservative classicism. The Burke Museum contains over 30,000 individual objects, including Gold Rush era items, taxidermy specimens, a Ned Kelly collection, and this very photograph.The Burke Museum itself is very significant to Victorian history. It is on both the Victorian Heritage Register and is part of the National Trust due to its relevance to the history of the Gold Rush period, its architectural features, and its significant collection. Photographs of it throughout its history are an important part of telling the museum's story. Although this is a modern photograph, it captures the façade of the building with similarity to the mid-nineteenth-century provincial conservative classicism style.A colour rectangular photograph printed on photographic paper.3440.1burke museum, beechworth, beechworth museum, australian museum, museum, architecture, classical architecture, conservative classicism, museum facade, library

The Snowy owl is a large and powerful bird. It is one of the largest species of owl, and in North America, it is on average the heaviest owl species. The adult male is virtually pure white, but females and young birds have some dark spots; the young are heavily barred, and dark spotting may even predominate. Thick plumage, heavily feathered taloned feet, and coloration render the Snowy owl well-adapted for life north of the Arctic Circle. This Snowy Owl example is slightly discoloured and in real life the Snowy Owl displays much more brilliant white feathers. 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 Snowy Owl adult male is virtually pure white with brown spot markings and a pale brownish wash. It has thick plumage and heavily feathered taloned feet. This specimen stands upon a wooden platform and has an identification tag tied around its leg.Swing tag: [torn] snowy owl / See catalogue, page 54 / Metal tag: 4054 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, owl, snowy owl, arctic circle

The Purple Swamphen can be readily located across eastern and northern Australia. They reside in areas with water including ponds, lakes, storm water drains, wetlands, swamps and marshes. These birds can often seen in urban locations including parks or along roadsides after a period of rainfall. Due to their adaptability, these birds often change environments. Purple Swamphens are omnivores and eat a wide variety of plants and animals. They live in large family groups and lay an average of five eggs which are the shared responsibility of both parents and occasionally the responsibility of young from a previous brood who may also assist caring for 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.This taxidermy specimen is of a Purple Swamphen which is styalised standing on a wooden platform and has a paper identification tag tied to its upper left leg. The Purple Swamphen has dark colouring on its back and head with a purple-blue coloured neck, breast and belly. The bill is oversized and is orange/red which is the same colour as the frontal shield on the bird's face. The eyes are made from a red and black glass and the legs of this specimen are orange. The legs are elongated and the toes also long and unwebbed. 17e. / Purple Gallinule / Catalogue Page 35 / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, swamphen, moorhen, purple bird, hen, purple swamphen, water bird

Taken in the early 1900s, the postcard depicts two girls dressed in old style, white knee length dress which was common for this period for young women. This compared to the ankle length styles which were acceptable for adult women. We can also see an example of early bridge construction and engineering, notably made from timber rather than from stone or steel, noted in the postcard as Snow's Bridge. Sepia rectangular postcard printed on card Obverse: Snow's Bridge/Beechworth Reverse: Dear Julie/ I received your pretty PB/ We haven't gone away yet. Mr Stokes/ asked me were you going to be/ married. He wished you luck/ (I wonder/ if he meant it.) We sent the Magpie to Annie to-day. I haven't got any/ word about going to a [unknown]/ yet. We had a great Friendly Societies/ day yesterday but it rained a bit/ Sally is going to get a [illegible] silk/ dress. When are you to be married?/ Mr Pounceby is back at Allen's shop./ [unknown]. We are going to Belle's for a [unknown] if we can. With Love from Lilly. bridge, beechworth, snow's bridge, children, childhood, postcard

Mr. Braz Borschman was born in Beechworth on the 1st of July 1914 at his parents home. He played for many years in the Towns volunteer Brass Band, a popular local band of about 30 members. Braz played the coronet and later the trombone. His first job was for the post office, but he spend most of his working life at the Beechworth Tannery. His interview contains lots of information about the tanning processes, including the story of 'Young Thomas', who lost his arm in a tannery accident. Braz recalls the open-air picture theatres of Beechworth, the many dances and balls, and distinct lack of cars. His testimony is rich with detail and filled with many other side-stories, including 'Blind Tommy', a self-sufficient, opium-smoking blind man of Chinese descent. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.Braz' interview is significant for the many historical details it provides about life, work, and leisure in Beechworth, particularly in relation to the period of the depression and after, which is the context which Braz' interview focuses on. His detail about the Beechworth tannery and the many open-air picture gardens is particularly rare and insightful to any social history of Beechworth. The oral history project more broadly is significant for its capture of the lives of ordinary Beechworth residents from incredibly divergent backgrounds, which has led to a rich, nuanced and diverse range of accounts of Beechworth.This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.listen to what they say, beechworth, oral history, braz borschman, brass band

Mrs Sheila Parkinson was born in Wagga in 1916 and came to Beechworth as a young woman around 1938. Sheila trained as a psychiatric nurse at Mayday Hills hospital prior to the second World War. At that time, unmarried women were accommodated and received nursing training on-site. Shiela was obliged to cease professional training and employment when she married in 1941, which disrupted completion of her final nursing examinations. Following post-war changes to the law that allowed married women to work, Sheila returned to Mayday Hills. Sheila's husband, Don, returned to Beechworth after four years abroad as a serviceman in the Australian Air Force. Beechworth's institutions were a major source of local employment throughout the twentieth century. As well as providing limited employment opportunities to young women like Shiela, post-war European migrants from Bonegilla Migrant camp found at Mayday Hills, encouraging European migrant settlement in the district. Mayday Hills was renamed several times since its establishment in 1867. At the peak of operations, it comprised sixty-seven buildings housing over twelve hundred patients patients and five hundred staff. The hospital officially closed in 1998. Today, the decommissioned two-storey Italianate style main building stands on eleven hectares of botanical gardens under National Trust protection. The site remains a popular cultural heritage destination for visitors. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. The cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.Employed as a psychiatric nurse at one of Beechworth's large welfare institutions, Mayday Hills, Mrs Sheila Parkinson recalls the conditions faced by staff and patients at the hospital, which cared for chronically ill people from the Ovens region and patients from the Yarra Bend Asylum, Melbourne, which closed in 1925. When Sheila first began her nurse training, Mayday Hills suffered from a lack of resources and rudimentary facilities and patients frequently suffered from the cold due to poor heating and inadequate clothing and bedding. However, as the twentieth century progressed, Sheila recalls how conditions and treatments improved as a result of increased government funding of services and advances in psychiatry and pharmaceutical medicine. Mrs Sheila Parkinson's oral history recording is historically and socially significant for its witness to life in Beechworth in the pre- and post-WWII period. Sheila's story enriches our understanding of processes of modernisation with regard to psychiatric and welfare services, while the course of Sheila's professional training and employment brings attention to systemic and socio-economic barriers faced by women, as well as the valuable contribution women and migrants make in the delivery of care and ancillary services. This oral history account is socially and historically significant as it is a part of a broader collection of interviews conducted by Jennifer Williams which were published in the book 'Listen to what they say: voices of twentieth-century Beechworth.' While the township of Beechworth is known for its history as a gold rush town, these accounts provide a unique insight into the day-to-day life of the town's residents during the twentieth century, many of which would have been lost if they had not been preserved.This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.Mrs Sheila Parkinson /twentieth century beechworth, mayday hills, psychiatric care, benevolent asylums, nursing, wwii, psychiatric treatment, country women, psychiatric hostpital, beechworth's institutions, local employment, government institutions, listen to what they say, oral history, burke museum, sheila parkinson, beechworth lunatic asylum, beechworth mental hospital, beechworth hospital for the insane, the kerferd clinic, bonegilla migrant camp, working women, white australia policy

Joan Jessup was born on the 17th November, 1926 at at Nurse Longmore's in High Street, Beechworth. In this recording, Joan recounts her childhood in Beechworth, her personal and working life as a young unmarried woman, and then later her marriage to Albert Jessup and her family life at Murmungee and Beechworth. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the BurkeThis recording of Joan Jessup's life in Beechworth and the local area during the 20th century is historically and socially significant to the cultural, historical, social, and religious heritage of the region. She details important historical events, local life, religious matters, and schooling in the region's history that had a lasting local, regional and national impact, including Australia during war time, economic struggles, and women's societal and working roles in a rural area. This oral history account is socially and historically significant as it is a part of a broader collection of interviews conducted by Jennifer Williams which were published in the book 'Listen to what they say: voices of twentieth-century Beechworth.' While the township of Beechworth is known for its history as a gold rush town, these accounts provide a unique insight into the day-to-day life of the town's residents during the 20th century, many of which will have now been lost if they had not been preservedThis is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.Joan Jessuplisten to what they say, joan jessup, beechworth, burke museum, jessup

Roy Phillips was born in 1907 in Yackandandah and moved with his family to Beechworth when he was five years old. His father was involved in dredging operations at Lake Sambell but his parents also had other family living in Beechworth, with whom they lived. Dr Phillips tells vivid stories about life in Beechworth in the first half of the Twentieth Century, from the daily lives of young children of the time to the town's relationship to the local Chinese community. He discusses features of the landscape such as 'The Rock' at which community concerts were held and 'The Echo' (an echo-sounding point over a nearby gully) which he states are no longer used in the same way. He also discusses changing community attitudes to various issues, for example, 'not being coddled' as a child but living in a town with very strict rules about people of different religions mingling. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.Dr Roy Phillips' account of his life in Beechworth in the early part of the 20th Century is historically and socially significant to the cultural heritage of the region. He describes town life from a child's point of view during a time of transition to life after the Gold Rush era, including social tensions existing between cultural groups such as the Chinese community and European-heritage townspeople and between people of different religious groups in Beechworth. This oral history account is socially and historically significant as it is a part of a broader collection of interviews conducted by Jennifer Williams which were published in the book 'Listen to what they say: voices of twentieth-century Beechworth.' While the township of Beechworth is known for its history as a gold rush town, these accounts provide a unique insight into the day-to-day life of the town's residents during the 20th century, many of which will have now been lost if they had not been preserved.This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.Dr Roy Phillips /beechworth, yackandandah, wangaratta, mining, dredging, 1910s, 1920s, 1930s, chinese community, typhoid, lake kerferd, reminiscences, memories, childhood, lake sambell, alcoholism, new year celebrations, transport, horses, foresters lodge, oddfellows lodge, funeral practices, child-rearing practices, star hotel, the rock, racism, chinese dragon, benevolent society, star lane coach building factory, outdoor concerts, gold, jimmy ingram, kelly gang, kelly family, churches, catholic, methodist, protestant, anglican, confuscionist, buddhism, women's christian temperance association, hotels, twentieth century, coronation of king george iv, echo point, the echo, tippany cat, marbles, children's games, cornish, cornwall, listen to what they say, oral history

This is a photograph of Lake Kerferd in Beechworth taken in the late nineteenth or early twentieth centuries. It depicts two women, two young boys and four young girls standing in front of the lake. The women seem to be either the mothers or caregivers of the children. This photograph is significant because it depicts a group of people enjoying a outing at Lake Kerferd. This demonstrates that Lake Kerferd was a place of enjoyment for the people that lived in Beechworth during this time period. Lake Kerferd itself was also Beechworth's main water supply. This makes it very important to the community who lived there. Sepia rectangular postcard printed on paperObverse: Lake Kerferd Beechworth / wade / Reverse: Postcard / 5568 / This space may be used for correspondence / (For Address Only) /children, lake kerferd, lake, sepia photograph, photograph, beechworth, mothers, young girls, young boy, trees, caregivers, victoria, outing

The photograph depicts two young men standing atop a prominent outcrop at Lake Sambell, with buildings visible on the further shore. The present day park and reserve occupies the site of the former Rocky Mountain Mining Company, an open-cut sluice mine that began operations in the mid-Nineteenth Century and operated until the early 1900s, through the peak of Victoria’s Gold Rush. It was converted into a park and leisure area in the 1920s. Lake Sambell was formally opened to the public on Friday 5th October 1928 and was opened by the Victorian Government’s Minister of Lands, Mr Bailey, as part of initiatives to boost the economies and development of country towns. The lake was named after Mr L.H. Sambell, a shire engineer and secretary of the Forward Beechworth Committee who was involved in promoting the transformation of the mining site and promoting plantation forestry and tourism as alternative industries. £300 to begin the process was provided by Mr J. McConvill, a former resident of Beechworth, who is remembered in a street name adjacent to the lake. An article in the Ovens and Murray Advertiser on Saturday, 5th May, 1917, gives some insight into issues in the Rocky Mountain Mining Company’s final years. The writer details the 1917 annual meeting of the Rocky Mountain Mining Company, stating that locals present appeared ‘well pleased this important local industry is in such a prosperous condition and that future prospects are so encouraging’. The author describes plans to give workers a bonus as evidence of profit-sharing that would ‘bridge the gulf between capital and labour’. The article concludes, however, with the statement that ‘there is a little arithmetical puzzle in the report in connection with the dredging operations I have been unable to solve.' The photograph is significant as it contributes to knowledge about how Beechworth reinvented itself after the Gold rush period, and more broadly how country towns repurpose and redevelop infrastructure and facilities to meet the present needs of their population. Sepia rectangular photograph printed on matte photographic paper. Obverse: nil. Reverse: 3471 / Velox (paper mark)beechworth, beechworth lake, lake sambell, l.h. sambell, mcconvill, rocky mountain mining company, rocky mountain mining co, minister of lands, forward beechworth committee, wallace park-lake sambell development scheme, wallace park lake sambell development scheme, lake, sambell, j. mcconvill, recreation, reserve, park, transformation, repurposed, redeveloped

This is a short study of Princess Elizabeth and Lieutenant Philip Mountbatten, written expressly to coincide with their wedding. It tells some of the stories behind the Royal romance as well as sketching the personalities and characters of the young Royal couple. The book probably belonged to Mary Gilbert, a prominent member of the Orbost community - a teacher and historian who was the first curator of the Orbost Museum. This book is a useful reference tool.A 64 pp dark blue hardback book with gold print on the cover - ELIZABETH and PHILIP and underneath a gold line - LOUIS WULFF, M.V.O. It contains b/w photographs and stories of Princess Elizabeth and Lieutenant Philip Mountbatten. It is authored by Louis Wulff, M. V. O.Inside front cover - in brown pencil - Gilbertsroyal-family princess-elizabeth gilbert-mary

These documents were used in the WW1 exhibition held in Orbost April 2015.This item is a useful reference tool.A white ring binder with plastic sleeves containing information on the Orbost men who died during WW1, On the ront is a coloured photograph of David Young kneeling beside a gravestone.ww1 soldiers-orbost

This was knitted by Marjorie Burton during WW11 in England. She used to knit while in an air raid shelter escaping the bombing with her young daughter. Air raid shelters were built specifically to serve as protection against enemy air raids. However, pre-existing structures such as underground stations (tube or subway stations), tunnels, cellars in houses or basements in larger establishments, and railway arches, above ground, were suitable for safeguarding people during air raids. This item is an example of a handcrafted item and reflects the handcraft skills of women necessary during WW11 when clothing became scarce. Clothes rationing began on June 1, 1941, two years after food rationing started. Clothes rationing ended on 15 March 1949.A hand-knitted orange/tan woolen jumper. It is a lady's long-sleeved jumper.handcraft knitting ww11

This was knitted by Marjorie Burton during WW11 in England. She used to knit while in an air raid shelter escaping the bombing with her young daughter. Marjorie Burton ( nee Whiteman), born 12 June, in Birmingham, England came to Orbost in 1995. In England she did office work – typing, shorthand and secretarial work - in accountants’ offices and also trained as a comptometrist with Burroughs in London. She came from middle-class working church-going family. Her mother was a milliner who mad all of Marjorie’s clothes, hats and outfits. Marjorie married in 1938 to a salesman who later became a mechanic in the R.A.F. during WW11. Her father served in Civil Defence during the war. Marjorie was in Birmingham during the war and remembered sheltering with her young daughter, Anne (Quaadgras) in the air raid shelter during bombing. This was knitted by Marjorie Burton during WW11 in England. She used to knit while in an air raid shelter escaping the bombing with her young daughter. This item is an example of a handcrafted item and reflects the handcraft skills of women necessary during WW11 when clothing became scarce. Clothes rationing began on June 1, 1941, two years after food rationing started. Clothes rationing ended on 15 March 1949.A brown cotton hand-knitted lacy jumper. it is a long-sleeved lady'e jumper with a tea-coloured crocheted collar sewn on. On each shoulder are two brown buttons.knitting jumper handcraft ww11 burton-marjorie

This was knitted by Marjorie Burton during WW11 in England. She used to knit while in an air raid shelter escaping the bombing with her young daughter. Marjorie Burton ( nee Whiteman), born 12 June, in Birmingham, England came to Orbost in 1995. In England she did office work – typing, shorthand and secretarial work - in accountants’ offices and also trained as a comptometrist with Burroughs in London. She came from middle-class working church-going family. Her mother was a milliner who made most of Marjorie’s clothes, hats and outfits. Marjorie married in 1938 to a salesman who later became a mechanic in the R.A.F. during WW11. Her father served in Civil Defence during the war. Marjorie was in Birmingham during the war and remembered sheltering with her young daughter, Anne (Quaadgras) in the air raid shelter during bombing. This item is an example of a handcrafted item and reflects the handcraft skills of women necessary during WW11 when clothing became scarce. Clothes rationing began on June 1, 1941, two years after food rationing started. Clothes rationing ended on 15 March 1949.Two hand-knitted lady's vests(singlets). Both have been knitted from left over wools. Both have crocheted necklines and ribbon straps and are fitted styles. 2483.12 is red and grey with a V neck. 2483.13 is pink, grey and blue with a V neck.ww11 knitwear handcraft nightgown sleepwear burton-marjorie

This was knitted by Marjorie Burton during WW11 in England. She used to knit while in an air raid shelter escaping the bombing with her young daughter. Marjorie Burton ( nee Whiteman), born 12 June, in Birmingham, England came to Orbost in 1995. In England she did office work – typing, shorthand and secretarial work - in accountants’ offices and also trained as a comptometrist with Burroughs in London. She came from a middle-class, working, church-going family. Her mother was a milliner who mademany of Marjorie’s clothes, hats and outfits. Marjorie married in 1938 to a salesman who later became a mechanic in the R.A.F. during WW11. Her father served in Civil Defence during the war. Marjorie was in Birmingham during the war and remembered sheltering with her young daughter, Anne (Quaadgras) in the air raid shelter during bombing. This item is an example of a handcrafted item and reflects the handcraft skills of women necessary during WW11 when clothing became scarce. Clothes rationing began on June 1, 1941, two years after food rationing started. Clothes rationing ended on 15 March 1949.A narrow, detachable hand-knitted lady's collar. It is hand-knitted in white brushed wool.women's -clothing accessory burton-marjorie

This is the second edition of "Personalities and Stories of Early Orbost which was collected and compiled by Mary Isabelle Gilbert. Mary Isabelle Gilbert was born in 1905 in Orbost, Australia. She was born to John Gilbert and Annie Cameron Gilbert, and had seven sisters and one brother. Four siblings died at a young age. .She was a teacher historian loved and respected by her family and the wider community.This is a useful research tool on the history of Orbost.Two copies of a 141 pp soft covered book titled "Personalities and Stories of the Early Orbost District". It has a light brown cover and is stapled. On the front cover below the title is a sketch of the Orbost Bean Factory in dark brown print. It contains personal reminiscences of early Orbost. There are also some b/w photographs and sketches.2267.1 - "Len and Mary Best Wishes Mary Gilbert" hand-written in blue pen. 2267.2 - in pencil on front cover "Ron Cameron".history-orbost gilbert-mary book-personalities-and-stories-of-early-orbost