Inspected by Joanna Freslov, archaeologist 2/6/2008. Hunting boomerangs were used by the Australian Aboriginals, mainly for injuring or killing animals or enemies. Hunting boomerangs fly at high speed close to the ground and can easily kill a small animal or knock down a larger one. As well these boomerangs were used as hand-held weapons, as musical instruments and for sport. Some of the other uses were, religious ceremonies, digging, clearing fire sites, unearthing ants and lizards. Hunting boomerangs are normally made from the curving roots of trees. (ref. boomerangshack)The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. this item is an example of a hunting boomerang used by early Indigenous people in the Northern Territory.A hand carved hooked boomerang of a deep red wood. Possibly used for fighting.boomerang aboriginal hunting weapon

The lil-lil is a type of club which was made and used only in eastern Australia. It was a dangerous weapon when used in battle.The necessary tools and equipment for hunting, fishing and warfare were some of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This lil lil club is an example of a wooden weapon used by the Indigenous people of Eastern Australia.A handmade wooden lil-lil club with a long handle and axehead shaped club at one end. Intricately carved with a turtle on one side of the club head and a wild dog on the other.hunting fishing challenge-stick aboriginal

A woomera is a wooden Australian Aboriginal spear-throwing device . It is an extension of the human arm that enables a spear to travel at a greater speed and force than possible with the unaided arm.The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This woomera is an example of an implement used by early Indigenous people.A flat hand-made dish like wooden spear thrower with curved edges. It has a small spike tied at one end and hardened black gum at the other.woomera aboriginal hunting spear-thrower

A waddy, nulla nulla or hunting stick is an Australian Aboriginal war club.It was used in hunting, fighting and as a ceremonial tool.The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This item is an example of a wooden weapon used by the early Indigenous people of eastern australia.A hand-made wooden pointed stick, a nulla nulla. One end is thicker that the other. Designs have been burnt into the wood.nulla-nulla waddy aboriginal weapon

A returning Boomerang is one that comes back to you when you throw it. These were used for hunting smaller creatures such as birds, but more so for sport. This type of boomerang has a simple curved shape and is much lighter than a non-returning boomerang. returning Boomerangs were only developed in the last 200 years.The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This returning boomerang is an example of a wooden tool used by the Indigenous people of Eastern Australia.A very old hand-made wooden returning boomerang that is black in colour. Very dinted.boomerang aboriginal hunting

Boomeramgs were necessary tools and equipment for hunting, fishing and warfare, and were one of the very few items that Aboriginals carried with them from place to place. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This item may be a more modern tourist souvenir.Single piece of wood with fluted upper concave surface, decorated with incised images of a kangaroo in the left quadrant, bullrushes in the central quadrant and two emus in the right quadrant.boomerang, hunting, aboriginal warfare, central australian, arnhem land

A coolamon is an Indigenous Australian carrying vessel. It is a multi-purpose shallow vessel, or dish with curved sides, ranging in length from 30–70 cm, and similar in shape to a canoe. Coolamons or pitchis were traditionally used by Aboriginal women to carry water, fruits, nuts, as well as to cradle babies. The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This container is an example of an implement used by the early Indigenous people of Eastern Australia.A large shallow elongated hand-made wooden receptacle used by Australian aborigines as a container for food and drink or for carrying babies.pitchi coolamon aboriginal container

A coolamon or pichi is an Indigenous Australian carrying vessel. It is a multi-purpose shallow vessel, or dish with curved sides, ranging in length from 30–70 cm, and similar in shape to a canoe. Coolamons or pichis were traditionally used by Aboriginal women to carry water, fruits, nuts, as well as to cradle babies. A shallow hand-made wooden dish used for carrying food, water and sometimes small babies. It is decorated on outside with burnt incisions.pitchi coolamon aboriginal container

Inspected by Joanna Freslov, archaeologist 2.6.2008. Ground-edged axes first appeared in south-eastern Australia about 4,000 years ago and were used either with handles or hand-held. Stone tools were used for a variety of purposes, in ways similar to those of steel knives, axes, hammers and chisels. Ground-edge tools are made from fracture-resistant stone, such as basalt. This is able to withstand repeated impact making it suitable for use in objects such as stone axes. The stone was quarried, and then roughly shaped into a tool blank with blows from a hammerstone. The edges were then sharpened and refined by grinding the tool against a coarse, gritty rock. The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This item is an example of a stone tool used by the early Indigenous people of Eastern australia.A handmade stone Aboriginal axe head.axe-head aboriginal tool stone-artefact

Inspected by Joanna Freslov, archaeologist 2.6.2008. -unusual axe head. Ground-edge tools are made from fracture-resistant stone, such as basalt. This axe would able to withstand repeated impact. The stone would have been dug or found and then roughly shaped into a tool blank with blows from a hammerstone. The edges were then sharpened and refined by grinding the tool against a coarse, gritty rock. Ground-edge tools could be held in the hand, or fashioned to be fixed onto a haft or handle.The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This stone axe head is an example of a ground-edge tool used by the early Indigenous people in Eastern Australia.A handmade stone Aboriginal axe head.aboriginal tool aboriginal stone-artefact

Inspected by Joanna Freslov, archaeologist 2.6.2008 Ground-edged axes first appeared in south-eastern Australia about 4,000 years ago and were used either with handles or hand-held. Stone tools were used for a variety of purposes, in ways similar to those of steel knives, axes, hammers and chisels. Ground-edge tools are made from fracture-resistant stone, such as basalt which is able to withstand repeated impact, and so is suitable for use in objects such as stone axes. The stone was quarried, and then roughly shaped into a tool blank with blows from a hammerstone. The edges were then sharpened and refined by grinding the tool against a coarse, gritty rockThe necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This item is an example of an early axe head used by the Indigenous people of East Gippsland.A handmade stone Aboriginal axe head.aboriginal tool stone-artefact axe-head

Inspected by Joanna Freslov, archaeologist 2.6.2008. Stone tools were used for a variety of purposes, in ways similar to those of steel knives, axes, hammers and chisels. Ground-edge tools are made from fracture-resistant stone, such as basaltwhich is able to withstand repeated impact, and is suitable for use in objects such as stone axes. The stone was quarried, and then roughly shaped into a tool blank with blows from a hammerstone. The edges were then sharpened and refined by grinding the tool against a coarse, gritty rockThe necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This axe head is an example of an early stone tool used by the Indigenous people of Eastern Australia.A handmade stone Aboriginal axe head.aboriginal tool stone-artefact axe-head

Inspected by Joonna Freslov, archaeologist 2.6.2008. Stone tools were used for a variety of purposes, in ways similar to those of steel knives, axes, hammers and chisels. Ground-edge tools are made from fracture-resistant stone, such as basalt which is able to withstand repeated impact, and is suitable for use in objects such as stone axes. The stone was quarried, and then roughly shaped into a tool blank with blows from a hammerstone. The edges were then sharpened and refined by grinding the tool against a coarse, gritty rock.The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This axe head is an example of an early stone tool used by the Indigenous people of Eastern Australia.A handmade stone Aboriginal axe head. Finger grips are clear.axehead aboriginal tool stone-artefact

This box was donated by Mary Gilbert who was the Orbost Red Cross Superintendent. Australian women's efforts on the home front to support the nation during WWI and WWII were monumental. They worked tirelessly for Red Cross in response to the national emergency, serving the humanitarian needs of the nation. Women produced millions of pounds worth of in-kind support through volunteer labour and goods, sending an astonishing volume of goods overseas to servicemen and prisoners of war. They knitted and sewed socks, towels and vests for soldiers.A black Red Cross box containing training cards, forms and badges. The box is made of card and covered in black fabric.red-cross gilbert-mary world-war-11

Taken during World War I on the Western Front, this photograph depicts four soldiers dressed in full uniform and kit walking through muddy trenches on wooden duckboards.On the Western Front, the war was fought by soldiers in trenches. Trenches were long, narrow ditches dug into the ground where soldiers lived. They were very muddy, uncomfortable and the toilets overflowed. These conditions caused some soldiers to develop medical problems such as trench foot. There were many lines of German trenches on one side and many lines of Allied trenches on the other. In the middle was no man's land, which soldiers crossed to attack the other side. 'Duckboards' (or 'trench gratings') were first used at Ploegsteert Wood, Ypres in December 1914. They were used throughout the First World War being usually placed at the bottom of the trenches to cover the sump-pits, the drainage holes which were made at intervals along one side of the trench. This made it easier to pump out the pits when necessary. The raised edges of the boards in theory helped protect men's feet from accumulated water; walking along them (especially at night and in the wet) was something of an art as it was easy to lose one's footing and slip or trip on the fequently misaligned sections.Sepia rectangular reproduced photograph on matte photographic paperReverse: 6528/ (A copyright and reproduction notice from the Australian War Museum, printed in blue ink)/burke museum, military album, trench warfare, duckboards, soldiers, ww1, wwi, world war 1, world war i, western front

Taken some time between 1914-18, the photograph depicts an aerial view of trenches in France. The image mostly shows rural landscape, although there is a house in the bottom right corner. A dotted line has been drawn across the photograph, marking the section of trenches that belonged to British forces during World War I. It is believed that the line marking on this record denotes a section of the Western Front. The Western Front was the main theatre of war during World War I. Following the outbreak of war in August 1914, the German Army opened the Western Front by invading Luxembourg and Belgium, then gaining military control of important industrial regions in France. The German advance was halted with the Battle of the Marne. Following the Race to the Sea, both the French-British and German armies dug in along a meandering line of fortified trenches, stretching from the North Sea to the Swiss frontier with France. Between 1915 and 1917 there were several offensives along the Western Front. The attacks employed massive artillery bombardments and massed infantry advances. Entrenchments, machine gun emplacements, barbed wire and artillery repeatedly inflicted severe casualties during attacks and counter-attacks and no significant advances were made. Among the most notable of these offensives were the Battle of Verdun (1916), the Battle of the Somme (1916), and the Battle of Passchendaele (1917).The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Sepia rectangular photograph printed on matte photographic paper.Obverse: A.3FE.O.146 / G2R 29 . 6 . 18 (Y p.m) / F= 10 1/4 / British Line / ------------------------------------------ / P. 250 1040 / 0. 30d. 0010 / 0. 30d. 3070 /military album, military, war, wwi, world war i, france, great britain, trenches, village, rural, western front

Taken some time between 1914-18, the photograph depicts an aerial view of trenches in France. The image mostly shows rural landscape, although there is a cluster of houses in the top right corner. It is believed that this record denotes a section of the Western Front. The Western Front was the main theatre of war during World War I. Following the outbreak of war in August 1914, the German Army opened the Western Front by invading Luxembourg and Belgium, then gaining military control of important industrial regions in France. The German advance was halted with the Battle of the Marne. Following the Race to the Sea, both the French-British and German armies dug in along a meandering line of fortified trenches, stretching from the North Sea to the Swiss frontier with France. Between 1915 and 1917 there were several offensives along the Western Front. The attacks employed massive artillery bombardments and massed infantry advances. Entrenchments, machine gun emplacements, barbed wire and artillery repeatedly inflicted severe casualties during attacks and counter-attacks and no significant advances were made. Among the most notable of these offensives were the Battle of Verdun (1916), the Battle of the Somme (1916), and the Battle of Passchendaele (1917).The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Black and white rectangular photograph printed on matte photographic paper.Obverse: A.3.FE.2.291 / 62D O.20bd.P.25O.C / 16.7.18 / 12 / F 8 1/4 / Reverse: 6532military album, military, army, war, wwi, world war i, france, trenches

It is believed that the photograph on the obverse side of the postcard was taken in 1918. Depicted are ten Australian male soldiers. Their names are transcribed in pencil on the reverse side of the postcard. Each soldier is dressed in a formal military uniform. It is believed that these soldiers were part of The Australian Imperial Force during World War I. This can be inferred by the chevron rank insignia visible on the uniforms of nine of ten men. The placement of this insignia on the sleeves of their right arms suggests that they were either Warrant Officers or Non-Commissioned Officers (NCO). Specifically, the number of chevron stripes - here, nine men have three - are believed to signify a Corporal rank. The men pictured on this postcard are also wearing 'Rising Sun' collar badges on their coats. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force. Another characteristic of the Australian Imperial Force uniform are the rectangular colour patches worn by all men on this postcard. In March 1915, a new scheme of unit identification was devised to replace the wearing of unit titles. This consisted of cloth colour patches on the upper arms of a soldier’s tunic. The black and white nature of the record means that we cannot establish which battalion these soldiers were part of. However, one of the handwritten signatures on the reverse side of the postcard reads "W.A. Griggs". This was the signature of Sergeant William Archibald Griggs. Further research shows that Griggs was part of the 5th Australian Division Signals Company. Therefore, it is believed these soldiers were part of the ANZAC Signal Companies. The main role of the Signal Companies during World War I was the laying and maintenance of telephone cables and switchboards, used to connect various units in their area. Furthermore, the man standing in the back row, third from the left side, has an Overseas Service chevron patch on his coat. In January 1918, the Australian Imperial Force approved the wearing of the overseas service chevrons which had been adopted by the British Army. These were embroidered or woven inverted chevrons worn above the cuff on the right arm. Due to a shortage of supply, some men had chevrons privately made. For each year of war service, a blue chevron was awarded, and those men who had embarked in 1914 received a red chevron to indicate that year’s service; however, the black and white nature of the postcard makes it difficult to determine what colours are on this man's patch.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Black and white rectangular postcard printed on paper.Obverse: Oh 'Serg!' / Reverse: CARTE POSTALE / 6537 / Correspondance / Adresse / w.a. Grigg / J. Fain / Ruckling / R.J Farrar / (?) / Clarke / L (?) / GFFisher / R. M. Forrest / With Compliments / Sgt's Mess / November 1918 /military album, army, aif, uniform, military, wwi, world war i, rising sun badge, william archibald griggs, anzac, signal companies, postcard, patches, chevron

The photograph on the obverse side of the postcard was taken some time between 1914-1918. Depicted are five unidentified Australian soldiers. They are all dressed in military uniforms. It is believed that these soldiers were part of The Australian Imperial Force during World War I. This can be inferred by the 'Rising Sun' collar badges on their coats. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force. Another characteristic of the Australian Imperial Force uniform are rectangular colour patches. One is visible on the soldier in the front row, first from the left on this postcard. In March 1915, a new scheme of unit identification was devised to replace the wearing of unit titles. This consisted of cloth colour patches on the right arms of a soldier’s tunic. The sepia nature of the record means that we cannot determine the colour, and therefore cannot establish which battalion this soldier was part of. Furthermore, the man seated in the middle of the front row has an Overseas Service chevron patch on his coat. In January 1918, the Australian Imperial Force approved the wearing of the overseas service chevrons which had been adopted by the British Army. These were embroidered or woven inverted chevrons worn above the cuff on the right arm. Due to a shortage of supply, some men had chevrons privately made. For each year of war service, a blue chevron was awarded, and those men who had embarked in 1914 received a red chevron to indicate that year’s service; however, the sepia nature of the postcard makes it difficult to determine what colours are on this man's patch.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Sepia rectangular postcard printed on paper.Reverse: CARTE POSTALE / hyossest (?) / 6538 /military album, army, aif, australian imperial force, postcard, wwi, world war i, portrait, soldiers

This photograph depicts the third battle of Ypres (Battle of Passchendaele). Depicted is a trench battlefield that has been turned to mud. Two army tank vehicles have been buried in the mud of the trenches. A single soldier stands in the background surveying the battlefield.After mid-1917, and following mutinies in the over-strained French Army, the British Forces had to assume an even greater role in the war on the Western Front. For Field Marshal Sir Douglas Haig, the British commander-in-chief, this provided an opportunity to launch an offensive that he had long wanted. Attacking from Ypres in Belgium, he planned to drive the Germans from the surrounding dominant ridges and even hoped to reach the Belgian coast. Following on the success at Messines in June, he unleashed his great attack on 31 July 1917. Fighting went on, often in appalling weather and despite crippling losses, until November. Finally, with the army stuck in muddy fields churned up by the artillery fire, the bloody offensive came to an untidy close. Many would afterwards call this offensive, actually a series of battles, after the name of the village that had become the last objective – 'Passchendaele'. In the Battle off Passchendaele, the 1st, 2nd and 3rd Australian Divisions captured Broodseinde Ridge on 4 October 1917. It was a vital victory. But, then it began to rain. Five days later the 2nd Australian Division suffered heavily in a further attack in the mud. Finally, on 12 October, another attack, involving the 3rd Division assisted by the 4th, was made against the village of Passchendaele atop the main ridge. In the face of heavy fire, the men fought in the mire while struggling to keep up with their artillery barrages. Ground was taken but it could not be held. In wretched conditions, with casualties mounting at an appalling rate, the Australians had to fall back. The troops were finally exhausted and could do no more; by 15 November they handed over to the Canadians.Black and white rectangular reproduced photograph printed on mate photographic paperReverse: 6523/ (A copyright and reproduction notice from the Australian War Museum, printed upside-down in blue ink)/military album, burke museum, beechworth, military vehicle, trenches, trench warfare, wwi, world war one, world war 1, ypres, belgium

Taken some time between 1914-18, the photograph depicts an aerial view of Villers-Bretonneux in France, a region which was part of the Western Front during World War I. The image mostly shows rural landscape. The Western Front was the main theatre of war during World War I. Following the outbreak of war in August 1914, the German Army opened the Western Front by invading Luxembourg and Belgium, then gaining military control of important industrial regions in France. The German advance was halted with the Battle of the Marne. Following the Race to the Sea, both the French-British and German armies dug in along a meandering line of fortified trenches, stretching from the North Sea to the Swiss frontier with France. The First Battle of Villers-Bretonneux occurred between 30 March - 5 April 1918. It took place during Operation Michael, part of the German Spring Offensive on the Western Front. The offensive began against the British Fifth Army and the Third Army on the Somme, and pushed back the British and French reinforcements on the north side of the Somme. The capture of Villers-Bretonneux, close to Amiens, a strategically important road and rail-junction, would have brought the Germans within artillery-range. In late March, troops from the Australian Imperial Force were brought south from Belgium as reinforcements to help shore up the line. In early April, the Germans launched an attack to capture Villers-Bretonneux. After a determined defence by British and Australian troops, the attackers were close to success until a counter-attack by the 9th Australian Infantry Brigade and British troops late in the afternoon of 4 April restored the situation and halted the German advance on Amiens. The Second Battle of Villers-Bretonneux occurred between 24 - 27 April 1918, during the German Spring Offensive to the east of Amiens. It is notable for being the first occasion on which tanks fought against each other. A counter-attack by two Australian brigades and a British brigade during the night of 24 April partly surrounded Villers-Bretonneux, and on 25 April, the town was recaptured. On 26 April, the role of the Moroccan division of the French army was crucial in pushing back German units. Australian, British and French troops nearly restored the original front line by 27 April.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. Additionally, the record's significance is enhanced by its depiction of Villers-Bretonneux. The battles that occurred in this town during World War I are especially historically significant to Australia as this is where the Australian Imperial Force had one their greatest World War I victories. An Australian flag still flies over Villers-Bretonneux in the present. Furthermore, a plaque outside the Villers-Bretonneux Town Hall recounts the battles fought to save the town in 1918. Kangaroos feature over the entrance to the Town Hall, and the main street is named Rue de Melbourne. More officially, recognition of the significance of the battle in Villers-Bretonneux is found at the Australian National Memorial, which was built just outside the town. It commemorates all Australians who fought in France and Belgium and includes the names of 10,772 who died in France and have no known grave. Each year, a small ceremony is held at the memorial to mark the sacrifice made by the soldiers. Lastly, the record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Sepia rectangular photograph printed on matte photographic paper.Obverse: yAE.2.35. / 125 / 62d.2834.35.36.VA.5. / 12.G.18-11 / F.-(?)" /military album, wwi, world war i, villers-bretonneux, australian imperial force, aif, france, war, army, conflict, germany, 1918, battle

This clock was made by Charles Frederick Falck who was a watchmaker and jeweller in Beechworth from 1863-1908. Falck was born in Körlin, Prussia on May 22nd in 1833 and died at the age of 75 in 1908. Ovens and Murray Advertiser, Beechworth: edition June 13, 1908 OBITUARY: Falck was brought up to the business of watch-making, in which he developed exceptional mechanical ingenuity. Attracted by the favourable prospects held out by the Australian discoveries of gold he, like many other young adventurous spirits, left his native land to seek his fortune in the great southern Eldorado, arriving in Adelaide in 1854, and shortly after came to Melbourne where he worked as a journeyman, and subsequently started in business on his own account. Feeling inclined to test his fortune on the goldfields, he went to Blackwood but, meeting with little success, he returned to Melbourne where he was married. In 1862, he moved to Beechworth, where he commenced business as watchmaker and gold-buyer. He then embarked in vine-growing on the Sydney road, but eventually resumed his business avocations. His skill in practical horology was evinced in a clock of his own design and manufacture, surmounted by a golden eagle, which was exhibited at the first Melbourne Exhibition in 1856, and which afterwards formed a pre-eminent attraction in the window of his business premises in Ford Street. For many years, he filled the position of timekeeper to the Beechworth Racing Club, with complete satisfaction also at various sports meetings. He leaves a family of six sons and one daughter (Mrs. Jas. Broadfoot) all arrived at maturity. The funeral, which was well attended by a number of residents, took place at the Beechworth Cemetery on Sunday, the burial service being performed by the Ven. Archdeacon Potter. The cortege was capably supervised by Mr. D. Wilson, undertaker. The clock was returned to Beechworth in 2020 through the generous support of the Copland Foundation. Given that Mr. C. F. Falck traded as a watchmaker and jeweller in Beechworth for 45 years and traded with the 1855 clock mounted in his front window, there is a direct link between the clocks and the social, cultural and economic life of nineteenth century Beechworth at time when the town was developing and expanding in response to gold mining. This clock represent the significant skill and expertise of Charles Falck as an horologist. Medium-sized pendulum clock featuring a carved gilt wood eagle with wings outstretch (épandre - expanded with wing-tips directed upwards) and perched above a pendulum rod that holds a silver dial clock face within a reeded sunburst surround. The clock has an eight-day fuse movement with dead beat escapement wound from the clock face. C. F. F. FALCK / EXHIBITION 1856 / MELBOURNEburke museum, copland foundation, beechworth, leonard joel, auction, purchase, clock, pendulum, eagle, eagle clock, charles frederick falck, c. f. falck, falck, horology, pendulum clock, melbourne

This clock was made by Charles Frederick Falck who was a watchmaker and jeweller in Beechworth from 1863-1908. Falck was born in Körlin, Prussia on May 22nd in 1833 and died at the age of 75 in 1908. Ovens and Murray Advertiser, Beechworth: edition June 13, 1908 OBITUARY: Falck was brought up to the business of watch-making, in which he developed exceptional mechanical ingenuity. Attracted by the favourable prospects held out by the Australian discoveries of gold he, like many other young adventurous spirits, left his native land to seek his fortune in the great southern Eldorado, arriving in Adelaide in 1854, and shortly after came to Melbourne where he worked as a journeyman, and subsequently started in business on his own account. Feeling inclined to test his fortune on the goldfields, he went to Blackwood but, meeting with little success, he returned to Melbourne where he was married. In 1862, he moved to Beechworth, where he commenced business as watchmaker and gold-buyer. He then embarked in vine-growing on the Sydney road, but eventually resumed his business avocations. His skill in practical horology was evinced in a clock of his own design and manufacture, surmounted by a golden eagle, which was exhibited at the first Melbourne Exhibition in 1856, and which afterwards formed a pre-eminent attraction in the window of his business premises in Ford Street. For many years, he filled the position of timekeeper to the Beechworth Racing Club, with complete satisfaction also at various sports meetings. He leaves a family of six sons and one daughter (Mrs. Jas. Broadfoot) all arrived at maturity. The funeral, which was well attended by a number of residents, took place at the Beechworth Cemetery on Sunday, the burial service being performed by the Ven. Archdeacon Potter. The cortege was capably supervised by Mr. D. Wilson, undertaker. The clock was returned to Beechworth in 2020 through the generous support of the Copland Foundation and the Friends of the Burke. Given that Mr. C. F. Falck traded as a watchmaker and jeweller in Beechworth for 45 years and traded with the 1855 clock mounted in his front window, there is a direct link between the clocks and the social, cultural and economic life of nineteenth century Beechworth at time when the town was developing and expanding in response to gold mining. This clock represent the significant skill and expertise of Charles Falck as an horologist. Large swinging clock featuring a carved gilt wood eagle with its wings outstretched (abaisé - expanded with wing-tips lowered) and perched above a pendulum rod that holds a silvered dial clock face within a reeded sunburst surround. (Similar to #2019.056.01) The clock has an eight-day fuse movement with dead beat escapement wound from the clock face. C. F. FALCK / WATCHMAKERburke museum, copland foundation, beechworth, leonard joel, auction, purchase, clock, pendulum, eagle, eagle clock, charles frederick falck, c. f. falck, falck, horology, pendulum clock, melbourne

The Great Crested Grebe is a medium to large sized bird located in Australia, New Zealand, Europe, Asia and in parts of Africa. They reside in large bodies of fresh water and are renowned for their elaborate mating dances. When breeding, the Great Crested Grebe has tawny cheek "fans" and black crests; however, in the non-breading seasons the plumage of this bird turns white. 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 and the National Museum of Victoria, as well as individuals such 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 Great Crested Grebe is a medium to large sized bird. It typically has cheek "fans" on the sides of the face and elaborate crest feathers which are shed after breeding, as is the case for this specimen. This bird is in a tall standing position with its neck stretched upwards and facing left. The small dark eyes have been made from glass and a large pointed bill. It has a metal tag tied to its left leg engraved with the numbers "4401". The skin surrounding the toes are flat which assists the bird when swimming.On tag 4401taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, great crested grebe, bird

The Red-Necked Grebe is a medium sized bird with a long neck and pointed bill. During the non-breeding months, this bird has grey, white and brown plumage. During the breeding seasons, the Red-necked Grebe has a rusty red coloured fore-neck and breast with a black bill and white cheeks. This species can be located in freshwater lakes of the northern hemisphere. 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 and the National Museum of Victoria, as well as individuals such 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.A Red-Necked Grebe of medium size stylised in a standing position with the face positioned forward. The bird stands on a wooden pedestal with two tags around its legs. One tag is paper and documents cataloguing information and the second is metal and lists the number 4403. This Red-Necked Grebe has pale feathers of white, grey and browns typical of this species in the non-breeding months. The face is positioned towards the front and the small eyes are made from dark glass.On metal tag 4403. On paper tag "32. Red-Necked Grebe.Catalogue, page, 43"taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, red-necked grebe

The Great Crested Grebe is the largest bird in the Grebe family. It has a long neck with a black crown and orange/black "fans" on the sides of the face. This bird can be found in all Australian states and territories and typically resides in open bodies of fresh water. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such 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.A Great Crested Grebe in a tall position standing on a wooden pedestal. It has a long neck and bill with coloured plumage. The crest is black with orange and black cheek "fans" on the sides of the face. The eyes are made of glass and are a red/black colour. On paper tag: "[Austra]lian... [G]rebe... [pa]ge, 42" taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, great crested grebe

The Red-Necked Grebe is a medium sized bird with a long neck and pointed bill. During the non-breeding months, this bird has grey, white and brown plumage. During the breeding seasons, the Red-necked Grebe has a rusty red coloured fore-neck and breast with a black bill and white cheeks. This species can be located in freshwater lakes of the northern hemisphere. 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 and the National Museum of Victoria, as well as individuals such 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.A Red-Necked Grebe of medium size stylised in a standing position with the face positioned forward. The bird stands on a wooden pedestal with two tags around its legs. One tag is paper and documents cataloguing information and the second is metal and lists the number 4492. This Red-Necked Grebe has pale feathers of white, grey and browns typical of this species in the non-breeding months. The face is positioned towards the front and the small eyes are made from dark glass.Paper tag: 32a Red-necked Grebe Catalogue, Page, 43. Metal tag: 4492taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, red-necked grebe

The Pelican is commonly found throughout Australia, Papua New Guinea and Western Indonesia. The large throat pouch plays an important part in the diet of this species. The bill enables the Pelican to locate fish in murky water because of its sensitivity and it also has a hook at the end of the upper mandible which is used for gripping slippery foods. Pelicans work together large flocks to catch food by driving fish into one location by using their large bills and by beating their wings. A wild Pelican may live between ten to 25 years or more. 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 Pelican is a large specimen of white, black, orange and pink colouring. This specimen has the characteristic elongated bill with a large throat pouch. The bill and throat pouch are a combination of orange and light pink colouring. The neck is pale white which continue onto the specimen's back. The wings are tipped with black and the stomach has light brown colouring. The feet are large and webbed and are stood on a wooden platform. The eyes are made of glass and surrounded by pink coloured folds.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, pelican

The Masked Lapwing is a grown-dwelling bird with distinctive large yellow wattles that hang from the sides of its face. The bird has white feathers with black and brown markings. This particular Masked Lapwing has black decorating its hind neck on the sides of the breast which reveal this specimen to be a southern subspecies. The Masked Lapwing appears throughout Australia and is also common in Indonesia, New Guinea, New Caledonia and New Zealand. The Masked Lapwing is known to be fearlessly defendant of its nest and will dive at people who intrude. 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 and the National Museum of Victoria, as well as individuals such 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 Masked Lapwing is standing on a wooden platform. Its wings are slightly elevated and head is turned towards right wing in a slight decline. The stomach feathers are mostly white and the wings are brown. Black feathers decorate the top of the head, the hind neck and the sides of the breast. The bird has tall legs and long yellow wattles covering its face. The small eyes are made from glass.2... Plover See Catalogue, page, 32.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, masked lapwing, plover

The Australaisn Bittern is a partly nocturnal bird who resides in costal and sub-coastal locations in south-west mainland Australia, south east Australia and Tasmania. They can be found in wetlands, swamps and among reeds. These birds are mostly brown and yellow in colour and with short legs and a stocky body. The "woomph" sound made by the Bittern late at night is thought to have been the origin of the traditional Aboriginal myth of the Bunyip. The Bunyip, like the Australasian Bittern, was believed to reside in reedy swamps. 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 and the National Museum of Victoria, as well as individuals such 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 Australaisn Bittern is a stocky bird with mainly yellow and brown colouring. This colouring makes the bird difficult to see in the dense, reedy vegetation it resides amongst in shallow freshwater wetlands. When threatened, the Australaisn Bittern will raise its bill skyward in a pose which helps it camouflage. This specimen has streaked yellow-brown feathers, a yellow bill and legs which are a yellow-green colour. It stands on a wooden platform.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, bunyip, myths, australaisn bittern, bittern