The Wedgetail Eagle (aquila audax) is one of the largest birds of prey located in Australia, Indonesia and Papa New Guinea. It feasts mostly on rabbits but can target mammals as large as koalas, wombats, possums and small kangaroos. The darker the colouring, the older the bird is. A mostly dark brown feathering can suggest over 10 years old, though females are usually paler. This species mates monogamously for life. They circle high in the sky to avoid temperatures close to the ground and to assert their dominance over their territory. This specimen is lighter than many documented photographs of the species. They're usually less patchy / speckled with lighter colours on the chest and back. Documenting the wingspan of this specimen would be of interest because some have been measured up to 230cm. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This wedgetail eagle is posed with the head turned to the left. It has mostly dark brown feathers which is common for older birds in this species. Speckled light brown and white feathers cover it's neck, chest and a middle strip across the wings. This specimen stands upon a wooden platform. The bill is light grey and long legs dark brown. taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, wedgetail eagle, aquila audax, birds of prey, australian bird, eagle

Alex Stone was in the 67th (Bendigo) Infantry.1. Photo of a framed larger picture. Pic shows a machine gunner in seated position, other soldiers in various poses. Two horses with kit are in the background. The original frame had green border. 2. Photo of an officer on a dark coloured horse. He is wearing a slouch hat and Sam Browne Belt. In the background are white "A" shape tents.1. The caption under 6664.1P is "Gisborne - encampment 1913". 2. Written on the rear is "Alex Stone". passchendaele barracks trust, 67 battalion

Posed studio photograph of Private A. C. Hill in Australian Army uniform. This photograph is printed in typical post card style by the photographer, Wilkie & Son, King St., Cork, Ireland. The reverse side of this post card is a letter to his wife dated 6th June, 1917 and posted from Cork, Ireland. (refer item 00325).

The hotel at Bonang was also known as Clancy's Hotel, Bonang, after its licensee, William Clancy. It operated from the late 1890s until early 20th century. William Clancy was aslo the postmaster at Bonang. A post office operated at Bonang from at least 1859. At the time Bonang was "a small, scattered collection of buildings marking the intersection of the Bonang Highway and the McKillops Bridge Road" ( from Regional Heritage Assessment 1996). As the mining activity declined the township became even smaller as many of the population moved to Orbost,, a larger settlement. This is a pictorial record of Bonang, a small settlement approximately 50 km north of Orbost. The buildings in the photograph no longer exist.A black / white photograph mounted on grey card. there are stains from water damage on the mount. It is a photograph of two single-storeyed timber buildings fronting a wide dirt road. On the right is the Bonang Hotel with four men in suits standing on a verandah. The building on the right is the Bonang Post Office and there are three men outside it. the photograph has been posed. on back - 'Grandma Clancy owned the hotel & Uncle Will had a gold mine which he worked"bonang bonang-post-office bonang-hotel clancy-william clancy's-hotel-bonang

Alexander Wright was killed whilst performing at the Birmingham Empire as the result of a German air Attack in October 1940. The theatre had a direct hit. The stage name of Alex Wright was 'Navarre' "Prince of Mimics". According to Frank Wright Alex was a great impersonator with a unique range Bass - tenor with many accents (not unlike Peter Dawson) "AUSTRALIAN KILLED An Australian, Alexander Wright, radio variety star, who toured Europe and Australia under the pseudonym of Navarre, was killed during a recent air raid in a Midland . town. His broth-er, Frank Wright, is musical director for the London County council."(Border Morning Mail, 22 Oct 1940) Frank Wright was a renown resident of Smeaton, where he was born. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and became the Australian Open Cornet Champion by the age of eighteen. Sepia formal photograph of a seated man with two boys, one standing on either side of him. They are posed in front of a backdrop showing one side of a window and its curtain, panelling and a painting. The boys are dressed in shoes, socks, knee pants, vests with a chain, white shirts and a jacket. The man is similarly dressed although with long trousers.frank wright, alex wright, navarre, alexander wright, william wright

Photograph from Mrs E Dowling collection. Black and White. Ten people posed in two rows. Bush backdrop. On reverse labelled - Uncle George's Family. Back row left to right - Eva, Nellie, Gilbert, Lansell, Elsie, Edna. Front Row - Edith, Dad, Mum, Hillier. Possibly related to Lithgow and Weir families.genealogy, family, lithgow, weir family, lithgow family

Two ladies hand brushes with porcelain 'doll' tops (handles). Figurines are different but both have lace (silk?) ribbon wound around 'hips' and 'dress' of fine brush material (hemp?). Both figurines are female in different poses with arms and head positions and varying coloured attire. Inscribed catalog number in ink - U2671 and U2672.domestic equipment, cleaning, brush

Photograph. The Patricia Coles (nee McLean) collection. Golden Square Residents, possibly in 1930s. Copy of a black and white original photograph. Nineteen men posed informally in three rows. The man in the middle back row is identified as Tom McLean, Hotelier, United Kingdom Hotel Golden Square, father of Shirley, June and Patricia McLean.bendigo, housing, golden square residents, golden square. mclean, thomas. united kingdom hotel.

Black & white photograph, Bert Graham Collection, at the Bendigo East Swimming Pool, six swimmers from the Bendigo East Swimming Club are posing at the side on the lawn, from left to right are:Back; Julie Dole; Cheryl Forbes, ? , ? Carter. And front ? , Cheryl Mc Lelland, as mentioned on the back. There are some people in the background and on the left is a young person.bendigo, clubs, bendigo east swimming club

This photograph was printed from a glass negative held in the Society's picture collection. The original glass negative is part of a set donated to the Society by Ian McKenzie, a professional photographer in Kew. Three generations, ca. 1910-ca. 1920. A portrait of four women, four young girls and an infant are posed for what may be a family portrait on the verandah of a house. The matriarch of the family sits at the centre of the group. The photo was printed from a glass negative in the collection. The original glass negative is part of a set donated to the Society by Ian McKenzie.family portraits, glass negatives

An item from an outstanding and diverse photographic collection, assembled by members of the Christian and Washfold families of Kew.Photographic positive. Sepia photo of red brick building occupied by business, No 179 F Lockington Coach Builder Tel 757 HAW with 4 horse and buggies and drivers posed in front, carts labelled with H Terry, Butcher, two men in butcher’s aprons. G E Finger, stationery and Fancy Goods at right, at no 180.washfold family, f lockington coach builder, christian-washfold collection

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. This item has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history.Three postcards and one greeting card. The postcards depict a photograph of a city with text reading "Board of Works" overlaid; a man posing with an early 1900s airplane; and an illustrated cartoon man and woman walking on a road in a rural area in Europe. The greeting card has text that reads "Loving Greetings" and a raised floral bouquet design made of plastic.haeusler collection, wodonga, postcards, postcard, post, mail, airplane, greeting cards

The Davis family are the group in the photograph. The two young boys standing in the back row are identified as Alfred Davis and Percival Davis on RHS.A photo of a family posed in a garden setting. The group comprises a man & woman, 3 young women, 3 young men & 2 girls. The dress is consistent with the late 19th century.The photo is mounted on a grey cardboard matt with areas of foxing, 2 top central pin holes and an area of residual staining from sticking tape.Matson and Frazer 264 Collins Street Back cover: Eric Boardman Collectiondavis family, davis, alfred, percival, george evans collection

A letter from Pat Hanna to Frank (presumably L/- Frank Doolan) about his request for information for Legacy's archive project. He mentions some of the outstanding events in the early days of Legacy were the wonderful holidays the children had at Somers Camp and outings for widows and their children to Luna Park. Pat posed for the iconic image of a digger taken by photographer Jack Cato in 1932. Pat wrote down his experience in a moving two page document 'The Story Behind the Picture', it tells how he was moved to imagine the action in France when posing (see 01400). This letter and another copy of the photo was stored with other items - see items 01400 to 01403. Pat Hanna was an entertainer, comedian, artist and producer of reveues, plays and movies. One of his first revues was performed just after the armistice in France. A popular stage show was 'Diggers' that performed in many towns in Australia post-war and was adapted into a film in 1931. He was born George Patrick Hanna, 18 March 1888 in Whitianga, New Zealand and served in the First World War, was a founding member of Melbourne Legacy and was involved with Legacy for many years.Pat Hanna was a founding member of Melbourne Legacy and an artist and producer. Legacy kept some of his works in the archive.Letter on Pat Hanna's letterhead in June 1972.Signed 'Pat' in black ink.hanna, solider

Relates to Acting Captain “John Eric Wiles” VX16067. Posted Middle East 1940. Part of his collection. Refer Cat. No. 5410P for his Service Details.Series of black and white/ sepia photos. 1. Portrait B & W photo of soldier standing in front of a snowman in Syria. 2. Landscape, sepia photo of an officer in uniform posed to camera. 3. Landscape B & W photo of Jack Wilks in a tent in an Army base in Syria. 4. Landscape B & W photo of the Officer's Mess in Australia.On back of photos; 1. "A snowman and myself. Syria - New Year 1942" 2. Stamp on back. G 17. 3. Detailed little message from Syria. 4. "Our Mess" Australia 44.postcards, captain john eric wiles

This railway station building was erected in 1887 and closed in 1990. Now a new chapter begins with a newly restored station building amd platform that re-opened in October 2010 to be used by the Wycheproof Community.The Wycheproof Railway station constructed by Hossack & Brown in 1887 is Heritage listed and is on the Government Buildings Register. This photo is one of only a few available of the early days of the Station.The complex is historically significant at a State level AHC A.4. The Railway station contains significant detailing such as in the turned timber posts and overall composition. This early photo of Wycheproof railway station, shows a construction of timber with corrugated iron clad roof,in c.1904. Features of the design are the timber verandah posts with decorative elements which include chamfers and supporting diagonal timber brackets. The gabled roof has finials on the east and west ends. Seven people pose on the platform,the staff in uniform of the times.Nilregister, , railways, wycheproof, historic buildings, 1900s

CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of four seagulls on a blue, orange and yellow diamond-shaped grid. The seagulls are created through black outline and shading. Seagulls are in various poses, all with wings extended. The grid alternates from blue diamond shapes to those which fade from orange at the top to yellow at the bottom. The grid is surrounded by a blue and white cloud-like border.Front: 12/20 Cape Nelson at Sunset. Catherine Taylor Back: 43

Displayed at History House. Original presented by Edward Henty Smallpage to Stokesley in around 1934Black and white photograph of a standing woman in 19th century dress. Her dress is a dark colour and she is wearing a white cap with trailing lace/fabric back. She is posed in a room with floral wallpaper, standing behind a chair with her hands clasped in front of her. At bottom of frame are the details of the donation of this item. Framed under glass in wooden frame.Front: PRESENTED TO THE TOWN OF PORTLAND BY THE PARISH COUNCIL OF STOKESLEY, ENGLAND 1984 (typed, upper case). Mrs. Jane Henty, wife of the Hon. Stephen George henty, M.L.C. The first white woman in Portland, the earliest permanent settlement in the State of Cictoria, Australia. Born at Stokesley, 8th February 1817, daughter of Captain Walter Pace. Landed at Portland, June 1836. Died at Hamilton, Victoria, 3rd February 1906. This portrait is presented on the Centenary Anniversary of the foundation of Victoria, 19th November 1934, by her Great Grandson, EDWARD HENTY SMALLPAGE, M.B., Ch.M. (Syd), F.R.C.S. (Eng).henty, jane henty, portrait photography

A walking group on an outcrop in the Grampians.The photo shows a group of ten people, seven women wearing long dresses, a man wearing dark trousers and jacket, a light coloured shirt and a hat, and two boys wearing dark clothes and caps, posed on a rocky outcrop/lookout. A number of people in the party are carrying long walking sticks. In the background another range can be seen across a valleyscenery, lookouts

Black and white photograph mounted on dark brown frame. 18 young men posing for photograph in 3 row structure - on the background, arena style sitting area - and serious man on top left, dressed in 'detective' style. They are all in Victoria Police Football Club uniform, white or dark shorts, socks to the knees, sporting boots and shirts with VFP letters.Handwritten in the front of the frame, bellow photograph: Victorian Police Football Club June 1926 Handwritten on the back of the frame: 41502 // Bill 20 years Victoria Police Football // Team 1926 // Premiers Mid Week Association // 1926 BILL POULTER // FRONT ROW EXTREM RIGHTvictoria police museum, police officers, police academy, police force, football, sports, vpfa, william, poulter, bill poulter, victoria police football team, victoria police football club

Black and white photograph mounted on grey frame. 17men pose for photograph in forma suits in 3 row structure (front ones hold hats on their laps). *Most of them wear Freemansonry waistcoast chain. Photograph was taken during King George time - VPRG They stand in terrace of open brick building (on the back), with large windows and some plants.Printed above photograph: POLICE COLLEGE << Course No.1 -- November, 1958 - June 1959 >> Printed bellow photograph: Left to Right, Back Row: Stn. Officer Mooney, Sgt. Sheather, Det-Sgt. Carter, Sgt. Poulter, Sgt. Mooring, Sgt. Pearson, Sgt. Comrie, Sgt. Sharkey, Det.Sgt. McKnight. Centre Row: Sgt. Scotney, Insp. Hynes, Sgt. Long, Sgt. Payne, Insp. Houghton, Sgt. Peach, Sgt. Moore, Sgt. Heath, Sgt. Rose. Front Row (Directing Staff): Mr. C. H. Smith, Det-Sgt. Warne, Insp. Quill, Insp. DeLany, Insp. Milner, Det-Sgt. Braybrook, Mr. R. Crowling.victoria police museum, police officers, police academy, police force, freemasonry, masons, free masons

The site of H A ("Herbie") Sherriff's business, Emerald Motors, was a former blacksmith's shop on the corner of Main Road and Kilvington Road. The sign over the shop bears the word "PLUME": This was a "motor spirit" (fuel) produced by Standard Oils and sold in Australia 1916-1954.The signage and the two cars visible (one late model and one early) establish the time the photograph was taken. Black and white photograph of shopfront of H A Sherriff's Emerald Motors business. White car (Austin?) visible in workshop entrance, dark older car in profile on right. Sign over garage shows Mobil "Pegasus" logo and word "PLUME" . Five men and a dog standing around casually, a sixth man (Herbie Sherriff?) posing next to white car. emerald motors, herbie sherriff

The large plaster Illisos depicted in the back of this image is still held by Federation University Australia. The Ballarat Technical Art School (No. 10) was part of the Ballarat School of Mines and was established in 1907. After conducting classes in various locations around Ballarat a custom built art school was erected on the site of the former Ballarat Circuit Court House, previously used as the initial building of the Ballarat School of Mines. Examples of drawings undertaken by students, as well as some plaster castes are held in the University of Ballarat Historical Collection. The Ballarat Technical art School is the oldest continuous Tertiary Art School in Australia. Sir Alexander Peacock opened the new Ballarat Technical Art School building in July 1915. It cost 10,000 pounds and was constructed by the Public Works Department from plans drawn by the then Art School Principal, Herbert H. Smith. The building contractors were Messrs Gower and Eddards. According to the SMB Annual Report of 1914 'the internal upholstering and fittings have all been carried out in Australian timbers, with Queensland maple largely used throughout.' The building could be described as federation-art deco in style. It features sandstone insertion with sandstone string coursing. The base of the building is rusticated sandstone. The building is functional in design with large metal windows in the south wall to ensure good light into the studios. The northern wall has standard double hung windows. The interior of the building features a carved wooden staircase and cast iron ceiling vents. The rear drawing studios could be made into one large studio by opening panelled timber doors. This opening features classical plaster pilasters with a pediment above. (http://guerin.ballarat.edu.au/curator/buildings/technical_art_school.shtml) Black and white mounted photograph showing eleven students of the Ballarat School of Mines Technical Art School drawing from plaster models of human bodies in various poses and of various scales. The students are in a room of the Ballarat Technical Art School which was custom built for teaching art. The image was reproduced in the 1920 Ballarat School of Mines Students' Magazine. drawing, ballarat school of mines, ballarat technical art school, art studio, plaster caste, gribble building, illisos, hercules, drawing from the antique, visual arts

Port of Portland Authority archivesFront: (no inscriptions) Back: Gordon Dunn/ Publicity Officer PHT (blue pen, centre)port of portland authority archives

Sepia photograph. Twenty nine mine workers posed in three lines. High stone retaining wall behind. Timber and iron buildings behind. Some men holding tools - blacksmiths with leather aprons holding hammers. One man holding a shovel, one man holding a saw. Inscriptions: on board in front of men 'Lansell's Big 180'person, group, mining

Group of six postcards depicting different actresses from theatre productions in Australia. They are addressed to either Mrs. A Stephens or Miss C. Palmer. (a) Miss Billie Bourke. (b) Miss Nance O'Neill. (c) Two girls posing in costume, names unknown. (d) Miss Zena Dare. (e) Miss Delia Mason. (f) Miss Edna May.Telma and Co. Melb. And Sydney Copyrightpostcard, actresses, a. stephens, c. palmer, nance o'neill, billie bourke, edna may, delia mason, zena dare

Photograph of four men and two women in wedding pose. The two women are standing either side of a male sitting in a chair, there are two other males standing behind them and on the right of the group is a clergyman. Bride is wearing an ankle length bridal frock with tiara and veil and white shoes, the other lady is also wearing white and both are carrying bouquetsperson, group, wedding party, wedding party

Copy of sepia photograph. On bottom of photo: 'Gravel Hill State School, Sandhurst, No. 1566, J. Bartley, Head Teacher'. Image shows brick school building, hundreds of school children posed in front of building. Boys and girls in separate groups. Written on back in biro ' school mum Pise (?) Carward ..... went to' Receipt number 355/16bendigo, business, carwardine soap and candle

Queen Victoria’s appreciation of German artist Franz Xaver Winterhalter (1805-1873) began after she saw portraits by him of other European monarchs. Accordingly, between 1842 and 1861 he made fifteen visits to England and painted over 100 portraits of Her Majesty, the royal family and other friends and dignitaries. In 1843 Winterhalter was commissioned to paint matching portraits of Queen Victoria and Albert, the Prince Consort. These originals hang in the Garter Throne Room at Windsor Castle and are part of the UK Royal Collection. Many legitimate copies of Winterhalter’s portrait were produced and presented to the Parliaments of the British Empire, including the Parliament of Victoria. Such copies are referred to as “After F. X. Winterhalter” and artists responsible include William Corden and John Prescott Knight. When creating copies, artists were not restricted by the size of the original portrait. Walterhalter’s original is 2.7m x 1.7m whereas copies can reach an impressive 4.5 metres in height. The portrait that hangs in Queens Hall at the Parliament of Victoria is not signed. Comparison with other copies of the work suggest that the Parliament’s painting may have been completed by William Corden. The Government Art Collection (United Kingdom), has a Queen Victoria copy in their collection and Parliament’s portrait has similar traits. A copy by John Prescott Knight which hangs in the Legislative Council in the Parliament of Tasmania is quite different, particularly with reference to the shape of the young Queen’s face, which is rounder in the Corden portraits.This portrait of Queen Victoria was presented as a gift by the British Government to the Parliament of Victoria in April 1860. Painted on fine linen supplied under Royal Warrant by the workshop Winsor and Newton, London, the frame has been embellished with elaborate wooden carvings. Framed portrait, oil on linen, of Queen Victoria. Victoria is posed in front of a curtain partially obscuring a building (possibly Buckingham Palace) in the background. Timber frame with a layer of gesso and decorative composition ornaments. There are rose, scotch thistle, clover leaf and Acanthus ornaments. A carved wood and composition element crown, resting on a tassled pillow sits on top of the frame.Canvas unsigned. Verso printed: ‘WINSOR AND NEWTON / Rathbone Place, London’. Embossed stamp into stretcher wood, stamped ‘Winsor and Newton’ in black ink.victoria queen of great britain, 1819-1901, winterhalter, franz xaver, 1805-1873, corden, william, queens hall, parliament of victoria