Text from card: 'On the night of 24th April 1918, the Australians made a daring and clever counter attack in the darkness, recaptured Villers-Bretonneux, stopped the German advance and saved Armiens. This, and the Battle of Hamei, were only a prelude to the smashing advance which commenced on 8th August.' Contains illustrations of 'Australians Advancing from Villers-Bretonneux, August 8th 1918' from an original painted by AIF War Artist Captain Will Longstaff; 'Capture of Hamei Village, July 14th 1918, by Australians assisted by a Detachment of Americans' by War Artist A Pearse. Both paintings were made for the Australian Comforts Fund. The Australian Comforts Fund was an umbrella organisation for voluntary bodies set up on 24 August 1916, after the outbreak of World War I. It was dissolved on 16 April 1920 but was re-established in 1940, during World War II and dissolved again in 1946. Card made in England by Raphael Tuck & Sons Ltd, publishers to the King and Queen. Oblong sheet folded in half to create 4 pages, all printed in colour and including illustrations and very full documentation.'Graham Clarendon Hyde 14 Btn AIF' 'Given to Historical Society of St Kilda by Mr G Hyde N Zealand August 1980'aif, world war i, wwi, australian comforts fund, 14th battalion aif, villers-bretonneux, battle of hamei

Booklet contains photographs of: THH the Duke and Duchess of Cornwall and York; Earl of Hopetoun, Governor General, and Countess; Commonwealth Ministry; The Royal Party at Government House Melbourne; TRH the Duke and Duchess Landing at St Kilda Pier; The Mayor of Melbourne Welcoming His Royal Highness at the entrance to the City; Procession Passing down Bourke Street; Presentation of War Medals to Victorian Soldiers; The Duke of York and his Staff; St Kilda and Prahran Arch; City Arch; Procession passing Princes Bridge; Opening Ceremony at First Federal Parliament; Citizens' Arch; Queen Victoria Arch; Royal Yacht Ophir; Warships Gromoboi (Russian) and Brooklyn (USA); German Arch; Chinese Arch; State School Fete at Exhibition Building; The University Commencement; Group of Fijian Constabulary; Laying Foundation Stone, Soldiers' Memorial Ballarat; Visit to South Star Gold Mine, Ballarat; Illuminations at Princes Bridge and Flinders Street Station; Illuminations at Parliament House and Treasury; Illuminations at Town Hall and City ArchGold coloured paper cover embossed and tied with gold thread. Contains 16 pages of cream coloured paper printed in black, some with blue decorative margins.Handwritten inscription on title page: 'For the Boy from Grandfather in memory of a very happy time we spent together May 1901'duke and duchess of cornwall and york, royal visits, 1901, opening of parliament, federation arch, st kilda and prahran arch, city arch, german arch, chinese arch

A group of Australian soldiers photographed outside "The Dome of the Rock" shrine in Jerusalem. During the Second World War, Palestine was under a British mandate and Australian and New Zealand soldiers were back helping the British army to stop the Germans from capturing Egypt and the Suez Canal. They fought alongside several Palestinian brigades enlisted into the British Army under The Palestine Regiment. The soldier sitting second from right is Sergeant Stanley Swainson BEDFORD VX79894 2/24 Battalion. Bedford was born 30/12/1907 and enlisted at Caulfield on 18/5/1942 aged 34 years. He served in the Middle East between August 1942 and February 1942 and Milne Bay New Guinea between August 1943 and March 1944 prior to his discharge on 9/6/1945. He was the Battalion Tailor and is mentioned on page 251 of the book 2/24 - A history of the 2/24 Australian Infantry Battalion edited by R.P. Serle. World famous "Dome of the Rock", site of the ancient temple of Solomon and now a Muslim shrine. During the 7th century it served as a testament to the power of the new faith of Islam. The Dome of the Rock is one of the earliest surviving buildings from the Islamic world. This remarkable building is not a mosque, as is commonly assumed and scholars still debate its original function and meaning. With the exception of the two uniformed females, presumably nurses, one soldier if not all identified as serving with the 2/24th Battalion known as Wangaratta's Own.Original black and white photograph of soldiers standing in two rows and a row of soldiers and two females in uniform seated on step with ancient building in background.dome of rock, jerusalem, stanley swainson bedford

The British War Medal was instituted on 26 July 1919 for award to those who had rendered service between 5 August 1914, the day following the British declaration of war against the German Empire, and the armistice of 11 November 1918, both dates inclusive. The 13th Light Horse Regiment (AIF) was raised at Broadmeadows Victoria in March 1915. Following service at Gallipoli the regiment was broken up with squadrons going to France as Divisional Cavalry Squadrons of 2nd, 4th and 5th Divisions. The regiment was reformed as firstly 1st Anzac Corps Mounted Troops and later Australian Corps Mounted Troops. The regiment was raised as 13th Light Horse (Gippsland), a Citizen Forces unit. following WWI, and trained as a cavalry regiment till August 1940, when it converted from horse to mechanised initially as 13th Motor Regiment then 13th Armoured Regiment. It trained in Victoria and, as the Japanese threat to the mainland declined, was disbanded in October 1943 with men going to other units.. Two world War medals awarded to Regimental No 1336 Trooper H P C Cawsey 13th Australian Light Horse. Medals are British War Medal 1914-1918 and Victory Medal.cawsey, 13th, light horse, world war one, wwi

Portrait of Hans and Letitia Hecht with a description of the Trust they founded. Between them is a page outlining the work of the Trust they established. The description reads: "H. & L. Hecht Trust. Thanks for Sharing Our Vision. The Association for the Blind thanks the H. & L. Hecht Trust for their generous support of our Western Metropolitan Regional Low Vision Clinic. The trust was established by the late Hans Hecht, an immigrant from Germany who arrived in Australia in 1900. He married Letitia Robinson in 1911. A successful importer and manufacturer, he set up the H. & L. Hecht Trust to give something back to the community for the help he and his wife had received. Hans Hecht died in Melbourne in 1965, aged 84. Letitia died two years later aged 87. Their kindness lives on in the support which their trust has given for the work of the Association for the Blind through their trustees: Mr D W Rogers, Sir Peter Derham, Perpetual Trustees Victoria Limited."2 black and white photographs with central panel of text in grey frame association for the blind, h & l hecht trust

Henri MIERS was born in 1835 in Minden, Minden-Lubbecke, Nordrhein-Westfalen, Germany. When he was 32, he married Ann DOWLING, daughter of John DOWLING and Bridget KEANE, on 28 May 1867 in Melbourne, Victoria, Australia. Ann and Henri had a small house built c1860 near Ryans Creek and lived there with their four children, Henry, George, Thomas and Frederick. According to notes in Edna’s research the original house consisted of two rooms and was built by Russell, and more rooms were added later built by Paddy Burns, the grandfather of Nick Burns. Additions were made to extend the south veranda and north further skillion rooms were added. On 15 December 1886, Henry died accidentally as a result of a fall from a hay wagon which was being driven by Ralph Parkinson at the Darlingsford property. Henri called out you have killed me. He was taken home and died the next day. Henri MIERS was also known as Henry MYERS. Henry Myers gravestone at Melton Cemeterypioneer families

An aerial photo of the Somme in France during World War One. There are coordinates or numbers in some areas. Also labelled are the Johannes and Anvil Wood. Was with 11 other photos of World War One that had been mounted on board for display at Legacy House at some stage. When they were taken off display they were put in the archive cabinets. The founding legatees all served in World War One so these photos would have been of significant places for them. (see 01888 to 01899). From the AWM: Anvil Wood was a small wood to the north of Peronne that marked the centreline of an attack by the 14th Brigade on the morning of 1 September 1918. The northern approaches to Peronne were covered by numerous field and machine-guns, but the leading battalions of the brigade - the 53rd and 54th - pushed their attack home with determination, and sent the German defenders fleeing back to Peronne. The attack opened the way for the 14th Brigade to advance on to Peronne itself and break into the town's northern defences.Photos from World War One that would have been significant to the founding legatees.Sepia photo of the Somme battlefield in France during World War One.world war one, france, somme

Harry Gorry bid for & purchased on internet auction site. The seller's mother was putting these & other items up for auction. Her father/ the seller's grandfather was Dr. Bruno Koening, a German surgeon detained by Allied forces while fleeing New Guinea in 1941. He was detained & sent to be interned in Camp 3, Tatura. There he met the painter Cesare Vagarini & they became friends, thus 4 years later upon the end of the war Vagarini gave the surgeon the two paintings in thanks & in memory of their friendship. Dr Koening then passed the paintings down to his daughter, where they remained in the family for 60 years. The seller's mother decided it was time to sell & was happy that the paintings went to a good home, as the family was until now unaware of the connection between Vagarini and the Tatura Museum. Harry Gorry just happened to notice a familiar name in an auction that he came across by accident & purchased them for our benefit. (Most information copied from Tatura Bulletin article, April 2014).Watercolour painting, depicting barracks at Camp 3. Picture showing fencing posts & bare ground in foreground, and row of huts in background, with 4 trees behind them. at bottom left of picture. writing not legable.tatura, camp 3, vagarini

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

Stephen Wickham is an Australian photographer and painter who has been actively exhibiting his works since the 1980s. A long standing preoccupation with Mt Buffalo since the 1980's has seen the artist produce a number of photographic suites and exhibitions that have been likened to German Romantic iconography and associated heavily with the European migrant experience (Robert Nelson, The Age 16 June 2001). Born to Viennese parents, hiking in the mountains for Wickham represents a traditional European family pastime. This series of work is comprised of expeditionary photographs taken between 1980 and 1985. Charles Green describes Wickham's landscape photographs as sublime, transcendental, spiritual and symbolic (Art in Australia Spring 1988). Set in Victoria’s Mount Buffalo National Park, the Mount Buffalo series captures the mountain plateau during winter. Rather than focusing on a lush green landscape, Wickham presents the viewer with close-ups of the snow-covered flaura and fauna of the alpine region.Donated through the Australian Government's Cultural Gifts Program by Miriam Kenter in memory of Master George Willibrord Kenter

This tie was owned by Walter Alexander Scott. Joined RAF December 1940 to be trained as a pilot, he got his wings December 1941, became a night fighter pilot after OTU and posted to 219 Squadron. Was posted to 603 Squadron December 1942 flying Beaufighters on coastal command convoy escorts, desert patrols, supporting Sicilian and Italian invasions (all from the N.African desert, then on Greek Island " Armed Rovers" until 10 November 1943, just at the end of ops, when he was shot down in the Aegean Sea and became a POW the next day 11 November 1943. Transferred to Germany he was in Stalag IVB for 3 months, before exchanging ID with an Irish soldier ,in order to get out of the main camp into a working sub-camp in order to escape. Post war Walter returned to Australia, he became "Citizen of the Year" in Werribee 1992 for his service to the community. In 1993 he was awarded the Order of Australia Medal for services to youth and to the retired. Manufactured by Austico Australia

The inaugural service of the Eaglehawk Methodist Church, 6 Feb 1977. In September 1863 the foundation stone of the Eaglehawk Wesleyan Church was laid. The building was enlarged and completed in 1869. In March 1865 the Eaglehawk Primitive Methodist Church was opened. These two churches later known as the West and East Methodist Churches served Eaglehawk until December 31st 1976. On that day both churches ceased to exist, and on Sunday 2nd January 1977 the first service of a new church was held. Although using the property and buildings of the former West Methodist, the new church is now called the Eaglehawk Methodist Church. This church will have a short history, as it too will cease to exist in mid 1977 when it will close its' doors to reopen as the Uniting Church of Australia, a church formed from the present Methodist and Presbyterian Churches. The Inaugural Service of the new church was held on Sunday 6th February 1977. Enclosed is the order of service. Appropriately enough all hymns were of the pen of Charles Wesley with the exception of 784 which is a German hymn translated buy the founder of Methodism John Wesley.

The story of 90 years of wool classing between father & son begins in 1936, when a young boy by the name of Stanley James Hucker walked through the doors of the Gordon Technical School in Geelong. Born in 1921, Stanley was 15 years of age when he began his 3-year course in Wool Classing. 30 years later, Stanley’s second son Denis completed the same 3-year wool classing course. Beginning in 1966, Denis attended the same Gordon Technical School and walked the same halls as his father before him. Stanley finished his course in 1938. He went back to the family farm in Lake Bolac for a brief period before enrolling in the Second World War. At the completion of the war, Stanley returned home and married before gaining a soldier settler allotment, north of Willaura. This enabled Stan to use his wool classing knowledge. He ran between 1,500 and 2,000 sheep for many years, while his wool classer stencil also allowed him to go out and class at various sheds around the area. He held his stencil from 1938 until he retired at the age of 60 in 1981. On retirement, his second son Denis was working in the district, managing a local property while also leasing land himself. Upon his father’s retirement, Denis had the opportunity to lease his father’s farm, an opportunity he could not refuse. Denis had finished his wool classing course at the Gordon Technical School in 1968, graduating dux of his class. He began working with a local contractor and started classing wool in his team. Denis gained a great deal of experience working as part of this team in big sheds of up to 8 stands servicing between 10 & 20,000 sheep. It was not all smooth sailing for Denis however, and he soon learnt an important lesson. Class wool the way you’re taught, don’t listen to the owner standing over your shoulder. At a clip of Corriedales near Casterton, Denis was pushing too many fleeces into the line of fine wool. This resulted in a notice from the Australian Wool Exchange (AWEX) “mixing counts too much, submit three clips for inspection”. Denis was able to submit 3 clips with no further complaints, however, this proved a valuable lesson he would never forget over his long career classing wool. In the early 1980s, when Denis was leasing two properties including his father’s, things were going well until drought struck. February 1983 was the date of the Ash Wednesday bushfires, and saw Melbourne have three days over 40 °C for only the second time on record. This period saw Denis give away farming, turning towards contracting work instead. After the difficult times of the early 1980s, the next two decades were a good time for the sheep industry. 15 micron wool was selling for prices between 4 to 5,000 cents per kilo, double what you’d expect for the same wool in 2022. In 1995 a single bale of wool sold for a million dollars. This was a good time for Denis too. His contracting work saw him employing local shearers and shed staff. His team was involved with the shearing and classing of more than 130,000 sheep. After 20 years of contracting, it was time for Denis to transition into the next phase of his life. He gave up independent contracting, preferring instead to return to being a member of someone else’s team. In 2018, having completed 50 years of wool classing, it was time to call it a day and retire completely. At the annual Gordon Wool School Old Students Association dinner held in 2018, Denis was presented with his 50 years as a registered wool classer stencil awarded by the Australian Wool Exchange (AWEX). This is a rare honour achieved by few. As of February 2020, a total of 430 wool classers had achieved this 50-year milestone. For Denis however, his proudest achievement is achieving 90 years of wool classing with his father. The National Wool Museum is proud to share the collection of objects gained from 90 years in the wool classing industry by Stanley and Denis. This ranges from Stanley’s first stencil and Wool Sample book, started when he first attended the Gordon in 1936. The collection concludes 90 years later with Denis’ 50 years of wool classing Stencil. The collection contains many more objects, all telling the story of these 90 years, and the hard work invested by this dedicated father and son duo. This is the second in a series of 5 wool classing exercise books. They were written by Stanley Hucker in his time at the Gordon Technical College from 1936-1938. This book begins in a cover of black vinyl with a strip of red tape on the spine. A sticker label is also found on the front cover. It has been damaged with part of the sticker removed. Internally, the book is handwritten on yellowed pages with blue lines for the assistance in clarity of handwriting. The pages are also surrounded by a margin of red pen. The exercise book’s content is about the wool industry. It is handwritten and accompanied by an occasional hand drawn table. A selection of pages have been photographed to give an impression of the information taught in classes, 90 years ago. This includes information about: - Matching wool terminologies in different countries i.e. England, USA, France, and Germany - Charges deducted in the selling of wool i.e. insurance & commission - The duties of a Wool Classer - The history of Merino Sheep - Wool Selling figures from 1925-1932 - Statistics on the breed of sheep in Australia (as of 31st December 1929) - Australia’s portion of the global wool clip in 1934 gordon institute geelong, wool classing, 1930s sheep farming, 90 years wool classing between father & son

B&W postcard of an ESCo tram at the east end of Sturt St. Ballarat, with the Grenville St. shelter in the background. Shows buildings along both sides of Sturt St. Has a few pedestrians in the photo and some horse drawn vehicles in the background. Tram in style with destination box/lights at back of drivers canopy. Has title "Sturt Street - looking West, Ballarat" in top left hand corner. On rear "H.J. Summerscales, next Post Office, Ballarat - Printed in Germany" on left hand edge vertically. Post card dated 29/12/10 (1910), from E.H. Colson? at 49 Webster St. wishing the recipient a happy new year. Recipient - Mr. A. Steer, Glen Eira Rd. Elsternwick. Has a Ballarat Post office and stamp and Victorian 1d stamp (red). As well in pencil, a price "$15". See also scanned image file and prints from negative at Reg. Item 833. Image cropping is slightly different at the bottom to that of Reg. Item 833. Used in postcard display 2017-2018trams, tramways, esco, sturt st, postcards

The Musk Lorikeet is a bright coloured bird which commonly resides in south-eastern Australia. They also live in the drier areas of Tasmania. These birds are common in suburban and urban areas and are nomadic, meaning they are willing to travel significant distance to find flowering trees. The bright colours of this Lorikeet enable the bird to camouflage in dense foliage. 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 Musk Lorikeet is a beautiful species of parrot with mainly green plumage. it has a patch of yellow on the side of the breast which has faded to a grey on this specimen. This could be due to the impact of the taxidermy process or a product of time. The bird has an orange patch on the forehead and band through he eye to the ear coverts which has also faded from a brighter red colour. The crown of this bird is grey and would have been a grey-blue colour originally.87a / (89a)? Musk Lorikeet / See catalogue, page 24. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, lorikeet, musk lorikeet

The Musk Lorikeet is a bright coloured bird which commonly resides in south-eastern Australia. They also live in the drier areas of Tasmania. These birds are common in suburban and urban areas and are nomadic, meaning they are willing to travel significant distance to find flowering trees. The bright colours of this Lorikeet enable the bird to camouflage in dense foliage. 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 Musk Lorikeet is a beautiful species of parrot with mainly green plumage. It has a patch of yellow on the side of the breast which has faded to a grey on this specimen. This could be due to the impact of the taxidermy process or a product of time. The bird has an orange patch on the forehead and band through he eye to the ear coverts which has also faded from a brighter red colour. The crown of this bird is grey and would have been a grey-blue colour originally.88a / Musk Lorikeet / See Catalogue, page 24. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, lorikeet, musk lorikeet

Looking east along the unsealed main road heading into Eltham across the concrete bridge over the Diamond Creek circa 1939. The original wooden bridge was destroyed by flood waters in 1924. This glass plate negative was used to manufacture postcards (1:1 printing) for commercial sale by the Rose Sterograph Company and its subsidiaries. George Rose founded the Rose Stereograph Company in 1880 and was joined by Herbert (Bert) Cutts in the early 20th Century. The pair formed a lifetime working partnership and strong personal friendship. Assisted by George’s two sons, Herbert George and Walter, and later by Neil Cutts, the Rose Stereograph Company continued its operations for more than 140 years. The company was initially built on stereographs, but as cinema took over and stereographs fell out of fashion, the Rose Stereograph Company developed Australia’s first commercially viable photographic postcard business. Specialising in postcards of iconic historical moments and significant landmarks, The Rose Stereograph Company became a staple of the Australian travel industry.This remarkable collection of glass plate negatives, transparencies, and postcards – arguably Australia’s most significant photography collection outside of public hands – has been passed down through the generations, surviving war, relocation, and the harsh Victorian climate. The historic Rose Stereograph collection is the culmination of George Rose’s dream of capturing and preserving precious moments in time and remains the legacy of the Rose and Cutts families. It is with great sadness that the Cutts family says goodbye to a collection that spans five generations and 140 years. The Cutts family understands that for these historically important pieces to rest with one family is to deny others the pleasure of their custodianship.Glass Plate Negative Size: 9 x 14 cmApproach to Eltham, Valentine Series No. 3197, Copyrightbuildings, electricity lines, eltham, postcard, travel, rose stereograph company, valentine series postcard, main road bridge, glass plate negative, main road, peter and elizabeth pidgeon collection, diamond creek (creek), eltham south, rose stereograph

Eltham swimming pool was opened in December 1936. It was located adjacent to Central Park. The small children's pool in the foreground was opened in November 1938. This glass plate negative was used to manufacture postcards (1:1 printing) for commercial sale by the Rose Sterograph Company and its subsidiaries. George Rose founded the Rose Stereograph Company in 1880 and was joined by Herbert (Bert) Cutts in the early 20th Century. The pair formed a lifetime working partnership and strong personal friendship. Assisted by George’s two sons, Herbert George and Walter, and later by Neil Cutts, the Rose Stereograph Company continued its operations for more than 140 years. The company was initially built on stereographs, but as cinema took over and stereographs fell out of fashion, the Rose Stereograph Company developed Australia’s first commercially viable photographic postcard business. Specialising in postcards of iconic historical moments and significant landmarks, The Rose Stereograph Company became a staple of the Australian travel industry.This remarkable collection of glass plate negatives, transparencies, and postcards – arguably Australia’s most significant photography collection outside of public hands – has been passed down through the generations, surviving war, relocation, and the harsh Victorian climate. The historic Rose Stereograph collection is the culmination of George Rose’s dream of capturing and preserving precious moments in time and remains the legacy of the Rose and Cutts families. It is with great sadness that the Cutts family says goodbye to a collection that spans five generations and 140 years. The Cutts family understands that for these historically important pieces to rest with one family is to deny others the pleasure of their custodianship.Glass Plate Negative Size: 9 x 13.9 cmSwimming Pool, Eltham, Valentine Series No. 3198, Copyrighteltham, postcard, travel, rose stereograph company, valentine series postcard, glass plate negative, central park, eltham central park, swimming pool, peter and elizabeth pidgeon collection

View of St Katherine's Church from the path inside the Memorial Gate. Also visible several Mediterranean Cypress trees. A prominent gravestone for the Mapleton and Ellis families visible to the far left of the path. This glass plate negative was used to manufacture postcards (1:1 printing) for commercial sale by the Rose Sterograph Company and its subsidiaries. George Rose founded the Rose Stereograph Company in 1880 and was joined by Herbert (Bert) Cutts in the early 20th Century. The pair formed a lifetime working partnership and strong personal friendship. Assisted by George’s two sons, Herbert George and Walter, and later by Neil Cutts, the Rose Stereograph Company continued its operations for more than 140 years. The company was initially built on stereographs, but as cinema took over and stereographs fell out of fashion, the Rose Stereograph Company developed Australia’s first commercially viable photographic postcard business. Specialising in postcards of iconic historical moments and significant landmarks, The Rose Stereograph Company became a staple of the Australian travel industry.This remarkable collection of glass plate negatives, transparencies, and postcards – arguably Australia’s most significant photography collection outside of public hands – has been passed down through the generations, surviving war, relocation, and the harsh Victorian climate. The historic Rose Stereograph collection is the culmination of George Rose’s dream of capturing and preserving precious moments in time and remains the legacy of the Rose and Cutts families. It is with great sadness that the Cutts family says goodbye to a collection that spans five generations and 140 years. The Cutts family understands that for these historically important pieces to rest with one family is to deny others the pleasure of their custodianship.Glass Plate Negative Size: 9.2 x 14 cmSt. Catherine's Church, St Helena, Greensborough, Published by W. M. Butterworth No. 1postcard, travel, rose stereograph company, glass plate negative, greensborough, st helena, w. m. butterworth, st katherine's church, memorial gate, mapleton, ellis, mediterranean cypress, peter and elizabeth pidgeon collection

During World War II, Wanganella was converted to serve as an Australian Hospital Ship (AHS). Between 19 May 1941 and 1946, AHS Wanganella carried wounded and sick evacuees from the Middle East, New Guinea, Solomon Islands, Borneo and the South Pacific, travelling over 251,011 nautical miles (464,872 km) and transporting 13,385 wounded. A.H.S Wanganella 2/2nd Australian Hospital ship. Ref: "Hospital Ships" Rupert Goodman SLV LT 359.8364 0994 G62H Trip 8 Depart 12th Nov 1942 Melbourne Fremantle Aden 10th - 11th Dec 1942 Port Tewfik, Egypt 21st - 22nd Dec 1942 Colombo, Sri Lanka 01 Jan 1943 Fremantle Adelaide Melbourne Sydney Arrived 13th Jan 1943 Brisbane Wanganella left Colombo 22nd December 1942 for Fremantle, with patients who boarded at Port Tewfik in Egypt arriving on New Year's day 1943. The menu is printed on fawn cardboard. The menu has been torn along the spine and rearranged at some time to put on display. There is evidence of glue or tape damage at the back of each corner of the card. Some grease and finger marks are evident on the front and back of the card. The printing is very legible. The heading 'Christmas Greetings' is at the top of the front page and 'Christmas Day 1942' at the bottom of the page. Originally the menu was assembled as a leaflet with the menu on the inside of the second sheet. Since this time, the menu has been torn along the middle fold and the second page sheet taped to the first page. There is a red cross on the front page with a printed illustration of the Wanganella superimposed over the top. H.M.A.H.S. Wanganella and the dinner menu are printed in dark blue ink. The Christmas greetings and the names of the commander and officer in command of the troops are printed in light blue ink. h.m.a.h.s. wanganella, w.w.ii hospital ship

View at Eltham, Vic. Looking from Main Road near Henry Street towards Montmorency showing the railway trestle bridge. Henry Street road reserve on west side of Main road in foreground. c.1920 Copy of Rose Series Postcard P. 4348. (The Rose Stereograph Company) George Rose founded the Rose Stereograph Company in 1880 and was joined by Herbert (Bert) Cutts in the early 20th Century. The pair formed a lifetime working partnership and strong personal friendship. Assisted by George’s two sons, Herbert George and Walter, and later by Neil Cutts, the Rose Stereograph Company continued its operations for more than 140 years. The company was initially built on stereographs, but as cinema took over and stereographs fell out of fashion, the Rose Stereograph Company developed Australia’s first commercially viable photographic postcard business. Specialising in postcards of iconic historical moments and significant landmarks, The Rose Stereograph Company became a staple of the Australian travel industry. This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Negbridge street, eltham, eltham railway trestle bridge, postcard, rose stereograph company, shire of eltham pioneers photograph collection, trestle bridge

This ledger was used by the Shire of Orbost pound keeper from 15 june 1947 -12 June 1971. The item was donated to Orbost & District Historical society from P.R.O.V. as a Place of Deposit (POD) item for safe keeping by a local history group or museum. The shire covered an area of 9,347 square kilometres and existed from 1892 until 1994 when it became part of the East Gippsland Shire Council. Orbost was at first included in the Bairnsdale Shire from 1882 and was later part of the Tambo Shire. Because of travelling distances the Croajingalong Shire was created in 1892 (name changed to Orbost Shire 17.2.1893 with James Cameron as the first Shire President. In 1994 it amalgamated to become part of East Gippsland Shire Council. This book records the impounding of animals which have been found wandering on local roads or trespassing on land. Many are farm animals. Impounded animals were either claimed by their owners after payment of a fee or if unclaimed , they were sold. The Orbost Pound was situated on Martin Street.This book is a record of a practice which was necessary to remove stock which were wandering on local roads or trespassing on neighbours. It contains many local names and is of social interest. (ref. Vic. Collections)A rectangular hard cover leather bound ledger with fawn cloth spine, titled "POUND KEEPERS BOOK SHIRE OF ORBOST". Inside the back cover are several sales dockets and Shire of Orbost By-Law No 48. Pages are lined in blue and red and pages are headed in black . Entries are hand written in blue and black. The entries give particulars of the animal impounded and where found with name of council officer and owner, if known.orbost-pound orbost-shire-council

This ledger was used by the Shire of Orbost pound keeper from 1906 - 1914. The item was donated to Orbost & District Historical society from P.R.O.V. as a Place of Deposit (POD) item for safe keeping by a local history group or museum. The shire covered an area of 9,347 square kilometres and existed from 1892 until 1994 when it became part of the East Gippsland Shire Council. Orbost was at first included in the Bairnsdale Shire from 1882 and was later part of the Tambo Shire. Because of travelling distances the Croajingalong Shire was created in 1892 (name changed to Orbost Shire 17.2.1893 with James Cameron as the first Shire President. In 1994 it amalgamated to become part of East Gippsland Shire Council. This book records the impounding of animals which have been found wandering on local roads or trespassing on land. Many are farm animals. Impounded animals were either claimed by their owners after payment of a fee or if unclaimed , they were sold. The Orbost Pound was situated on Martin Street.This book is a record of a practice which was necessary to remove stock which were wandering on local roads or trespassing on neighbours. It contains many local names and is of social interest. (ref. Vic. Collections)A ledger with a black cover, brown binding. The page edges are marbled. It contains hand-written records of payments received by the treasurer of the Orbost Pound.on spine : inside a red box in gold lettering"Pound Cash Book" inside a black box in gold lettering"Shire of Orbost"orbost-shire-council orbost-pound accounts cash-book

Frank Wright wrote the following tribute to Percy Campbell which was printed in the Ballarat Courier. "With the passing of Percy Campbell, Ballarat has lost its best known and most distinguished musician. His was no ordinary talent, but an inborn musicianship touched with genius. He was a critic of the keenest perception and many able musicians sought his advice on technical matters over a wide range. His ear was of the most sensitive kind, and among his unusual accomplishments was that rarity among musicians, "absolute pitch." Those of us who knew him well will reflect with pride that we were privileged to journey with him for a little while along life's highway. Percy Campbell belonged to Ballarat, and to Ballarat's music. He was part of the city itself. Handicapped through partial blindness from birth, there can be no doubt that had he been in full possession of his faculties, and been able to travel, his name would have been known in every corner of the world."Four page programme printed in brown ink on cream paper. the concert was held at Albert Hall Ballaratfrank wright, j c rowe, albert hall, percy campbell, monica righetti, star for opera quest, william ritchie, robert lemke, ballarat soldiers memorial band, bert rasmussen, ellinor morcom, south street society, righetti, morcom