Sportwool® was developed to combine the physical performance attributes of synthetics with the comfort and breathability of a natural fibre. It is a lightweight, composite fabric consisting of a layer of machine-washable superfine Merino wool next to the skin and a layer of tough, easy-care polyester on the outside. As a result of this construction: - the wearer feels cooler more quickly and formation of liquid sweat is delayed - liquid sweat is carried away from the skin to the outside of the fabric, leaving - the inside dry and resulting in less ‘clammy’ garment cling - the wearer stays cooler when exercising - ‘post-exercise chill’ is reduced. In addition, Sportwool® is elastic, provides UV protection and does not retain odours. Sportwool® is constructed in weights ranging from ultra-light for jogging, to thicker, heavy-duty fabric for football jerseys. It is easily printed in bright colours and designs, including information about sponsors and players. Sportwool® can also be dyed in solid colours. The development of Sportwool® was funded by The Woolmark Company (now Australian Wool Innovation Limited). Source: https://csiropedia.csiro.au/sportwool/9095.1 - Long sleeve blue sports top with with orange and navy striped detail. 9095.2 - Clothing label tag featuring a black silhouette of a tennis player, with organe and white text and orange and blue graphics on a black background. 9095.3 - Four page fold out clothing label tag, front features printed text, silhouette sports graphics and a background of an orange and blue landscape.9095.1 Australian Open / Sportwool / Sportwool 9095.2 - front: [printed] Australian Open / OFFICIAL / LICENSED / PRODUCT 9095.3 - front: [printed] SPORTWOOL / Vapour Management Technology / www.sportwool.comsportswool, australian open, athletes, clothing, the woolmark company, csiro division of textile and fibre technology, uniforms

Wool and polyester khaki dress trousers. Two pleats at the front. Fob pocket on the right front. Front zip with metal closure and button tag.. Pockets on the left and right hips. Pocket on the back right side with hidden button and button hole.Seven belt loops on waist band. Four small horizontal loops on the waist band, two at the front and two at the back. Label on the inside on the lining of the back pocket states - A.G.C.F. (Australian Government Clothing Factory) Vic 1989. 8405.66.018.5545. Macquarie 89. Batch U. Size 87.5L W.87.5 IL.82 Army No. Name. Dry clean only. re press on original creases use damp cloth or medium to hot steam iron. White tag on the waist band on the right back stating - Size 87.5L. Tag on the right hand side on the back above the pocket stating - This tag is for identification only. Please remove before wearing. Docket No. 1106512 Order No. 29743836 Size 87.5L Garment No. 20851A Remarks 6I11Manufacturer - A.G.C.F. VIC 1989polyesters, dress trousers, wool polyester

This uniform belonged to Sapper Hughes 3795948 of the Royal Australian Engineers Corps. By the date on the uniform, it is assumed that he served C 1968.This uniform has significance as an example of a uniform worn by soldier ranks for daily work and dress parades.Khaki coloured long trousers with attached suspenders. They have a button up front (5 brown plastic buttons). There are two pockets on either side of the trousers and one button up pocket on the back right with a flap that is fastened with a single brown plastic button. There are three extra brown plastic buttons on the back exterior of the waistband and six belt loops on the whole length of the waist band. The interior pocket fabric is more light weight and a slightly more green in colour. The interior of the right back pocket includes a white patch of fabric with printed inscriptions and further inscriptions written in black ink just above. The suspenders are composed mostly of blue, grey, beige, black and cream striped thick fabric. There are also silver coloured metallic components (which include inscriptions) and leather sections, most of which have a reddish/brown coating on the exterior and a white coating on the interior. One leather component has inscriptions in black ink on the interior as opposed to a white coating. The suspenders are attached to the trousers by six brown plastic buttons on the interior of the waistband. Back pocket interior inscriptions on the green fabric: HUGHES / 3795948 Back pockket interior inscriptions on the white fabric: E.W. P/LTD. / SOUTH AUSTRALIA / 1968 / (a symbol of a broad arrow) / Class 8405-66-025-6405 / Batch 67 / Mill / Size and Waist 28C / Matching Jacket 35 /36C / DRY CLEAN ONLY / CREASES SET BY SIROSET / REPRESS ON ORIGINAL CREASES / MENDING PATCH ATTACHED / NAME HUGHES. J.W. / ARMY No. 3795948 8PL Bcoj Identical metallic clip inscriptions on two of the suspenders: POLICE / (embossed image of a police baton)royal australian engineers, warrnambool rsl, warrnambool, engineer, hughes, sapper hughes, 3795948, hughes 3795948, uniform, army uniform, trousers, army

Donated by Lewe who is a local member of Beechworth RSL.The social significance is that it represents Lewe’s service and is shared by donating his jacket.Jacket service dress blue grey with insignia rank for leading aircraftsman on the upper sleeves of both arms.Shoulder flashes with the word,Australia , on both shoulders.8 gold buttons in parallel columns of 4.2 buttons one on each breast pockets.Gold airforce eagle on both upper lapels.Label on outside of inside right breast pocketCloth label 75mm wide by 80mm long. Faint grey no,s - “12 “at top left corner”,8051” at right corner and “12” on bottom left corner. Ink wording as follows: “KENTISH CLOTHES “ on top first line of label,”S.A./1972/Gov,t or Defence arrow sign/8405-66-037- 4802/size 39 REGULAR/MATCHING TROUSERS/35 WAIST/SERVICE NO” with dotted line for wearer to write on.This is blank. “NAME” with dotted line also blank.” DRY CLEAN ONLY/REPRESS WITH DAMP CLOTH/DO NOT SIRO-SET” on bottom of wording.jacket, service, dress

The Aerial Drip Torch (ADT) was an idea conceived in Canada in the 1970s by John Muraro It was developed in 1982 by the New Zealand Forest Service to become the Ashley Aphid Helitorch. Forestry Tasmania acquired one of the machines and modified it in February 1987. Also known as a dragon helitorch it consisted of a large 135-litre tank containing jellied petrol, a displacement pump, propane ignition system, burner nozzle and fire extinguisher system. It was first trialled in Victoria at Swifts Creek in 1991 and the Aerial Drip Torch (ADT) has now become standard practice.Two Aerial Drip Torches (ADTs) were built in the 1990s by the Fire Equipment Development Centre at North Altona, They were developed in conjunction with the Department of Conservation and Land Management in Western Australia. The first was trialled during the 1991/92 autumn burning season. The machine proved to be successful and a second machine was introduced in 1998 to assist with burning operations across the State. The ADTs were commonly used for regeneration burning (controlled burning of logging slash). The first ADT introduced in 1992 had a dry weight of 160kg and a capacity of 130 litres, providing about an hour of operation. Following initial use, systematic modifications were adapted including improved ignition of gel at the drop tube, installation of an air bleed valve at the pump to assist pump priming and improved mounting brackets for the CO2 bottles and propane canister attached to the machine. The second, and lightweight ADT, introduced in 1998 had a dry weight of 68kg and a capacity of 200 litres due to a smaller lightweight frame and plastic (Polyfin) tank. In operation the ADT is suspended below a helicopter via four strops attached to the vessel and a cable to the helicopter cargo hook. Gelled fuel is dispensed via a drop tube which is attached to the pump outlet of the machine, and ignited via a gas torch. Safety features built into the first ADT were: a brass melting plug designed to be activated at 200 C bursting disc designed to burst at170 Kpa should the vessel over pressurise. a pressure relief valve set to 35 Kpa ( vessel operated between 16 &34 Kpa) a low pressure sensor designed to shut down the machine should the vessel pressure drop below 15Kpa. the vessel is filled with CO2 above the gelled fuel to eliminate ignition with in the vessel. CO2 is used to expel any residue of ignited gel from the drop tube to prevent ignition when flying outside the boundaries of the burning area. See FIRE EQUIPMENT NOTE - 46 [ https://drive.google.com/file/d/1CKtcH-3rUlrtbE9dkNP27PYT2-raVVhF/view ]forests commission victoria (fcv), bushfire, bushfire aviation, planned burning

This image shows a view of a properties bordering a river in the vicinity of Beechworth in approximately 1900. Although the exact location of the photograph is yet to be determined, the water source pictured may feed into the bigger system that flows through Beechworth Gorge. A man wearing a hat, possibly the photographer, is silhouetted in the foreground of the picture. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, photographer, beechworth gorge, river, stream, water source, 1900s

This image shows a semi-aerial view of commercial and official properties lining Ford Street, Beechworth, in approximately 1900. The tower of Christ Church of St Peter and St Paul can be seen in the middle section of the photograph, on the left-hand side of the street. The Church was constructed in 1858 with the tower added to the structure in 1864. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and commercial and official infrastructure in the early Twentieth Century, around the time of Australia's Federation into one nation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, ford street, christ church of st peter and st paul, church tower, landmarks, 1900, shopping facilities, public buildings, 1900s, built environment, streetscape

Sir Henry Bolte, premier of Victoria, renamed Cape Everard at Point Hicks during the Centenary of Cook's Landings on April 20, 1970. There is no land feature at Cook's coordinates of 38°0'S and 148°53'E, a point which lies several miles out to sea and under 50 fathoms of water. Captain Cook invented Point Hicks so that he could conceal Bass Strait and the insularity of Tasmania. The Admiralty had issued its usual instructions to hide strategically important discoveries that could become security risks. Captain Hicks was James Cook`s senior lieutenant. There has been some dispute as to whether Zachary Hicks actually saw Point Hicks or whether he saw Ram Head about 20 kilometres further up the coast. Although Cook named the promontory Point Hicks it was changed to Cape Everard in 1843.. In 1970 the Victorian government changed the name Cape Everard to 'Point Hicks'. It lies on dry land, about 22 nautical miles (41 km) northeast of Cook's phantom Point Hicks, where it preserves the story of Cook's first landfall in Australia. This is a contemporary pictorial record of a significant event in East Gippsland's history.A black / white photograph of a man in a suit making a speech with the audience standing behind him. He is standing in front of an octagonal-shaped directional marker set ointo a stone support. There is a policeman behind him. In the background to the right is a lighthouse.on front - "20th April 1970, Sir Henry Bolte renames C. Everard as Pt Hicks" handwritten in block letterscook-james-point-hicks cape-everard bolte-henry

The White-faced Heron is a common bird located throughout Australasia, including New Guinea, Torres Strait, Indonesia and New Zealand. It can be found in all parts of Australia with the exception of areas which are too dry. The White-faced heron typically resides in wetland habitats including reefs, rock pools, swamps and rivers. They feed on small aquatic animals. These birds get their name from their characteristic white face which contrasts to the ashen grey plumage of their bodies. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The White Faced Heron is stylised in a standing position on a wooden platform, looking forward. The bird has small brown glass eyes in place of the original. The Heron has long dark legs and is mostly covered in grey-brown plumage. Around the face, the plumage is a cream colour. The bill is black. This particular specimen has a paper identification tag tied around its left leg.....[missing] Heron / ....[missing] page 34. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, heron, white faced heron

This photograph depicts four men standing near a large unidentified building. This building is the entrance to a deep lead mine shaft. There is a bridge entering the building, which was used to access the elevator to the shaft. Deep lead mining involved placing large shafts into the ground which miners use to access deeper locations in order to excavate the rocks in the search for lead. Deep lead mining was highly dangerous as roofs could cave in of the soil was loose. Therefore, this particular mining considered to be highly undesirable profession as many miners did not want to work long hours nor risk their lives in the search for lead. Indigo Shire was a large area where deep lead mining took place, and thus the landscape and environment was largely impacted by these mining businesses. The Indigo Shire grew in population and wealth in the early 1850s when people came into this location in the hopes of finding gold and making a fortune. Ultimately, the accessibility and availability of gold and precious metals decreased once the gold reserves dried up and alongside this, the large population moved away. The Ovens was also heavily impacted environmentally as deep mining resulted in the change in land formation.The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray an open cut sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about the methods used to find gold in Indigo Shire. It also shows a location where deep mining was undertook which provides insight into the impact of deep mining on the environment at a time when it was done. This image is important for current research into the history of Indigo Shire, a region in Victoria's north-east. Therefore, this image has the capacity to be beneficial for research into society and the motivations of those living and working in this region during this period and therefore, has social significance. The Beechworth Burke Museum has additional images relating to deep lead mining and Indigo Shire which can be analysed and studied alongside images like this one.Sepia coloured retangular photo printed on gloss photographic paper.Reverse: 1997, 2510/ A02570/ Deep Lead Mining/ page 94/ 65%/ Burke Museum, Photo 44beechworth, burke museum, indigo shire, deep lead mining, mining, gold, gold mining

Bushfire perimeter rather than bushfire area is the main control problem for firefighters on the ground. A conundrum rapidly compounded by spot fires. A small 5 ha fire can be nearly 1 km around the perimeter. That's a long way to build a control line by hand in rough bush. Dry firefighting techniques by hand were mostly confined to “knocking down” or “beating out” the flames, as well as "digging out". Digging or raking a “mineral earth” trail down to bare dirt proved most effective in forest fuels which, unlike grass, tend to retain heat and smoulder. Early tools were whatever happened to be close at hand. They were simple and primitive and included shovels, slashers, axes, hoes, beaters and rakes. A cut branch to beat the flames was often the only thing available. Farming and logging tools, developed over centuries of manual labour, and readily available at local hardware stores came into use, but little thought was given to size, weight, and balance. For years foresters experimented with combination tools. In about 1952 fire beaters and other implements were being replaced with Rakuts.Fire tool used before the introduction of RakehoesRakut - Fire Rake and cutting toolGreen and red coloured handle and 020 marking indicated which FCV District the tool belonged tobushfire

Feed for sheep farming is crucially important. Whether growing a sheep for breeding, wool or meat, it is vital to ensure that all sheep at whatever stage of life are maintaining or growing in weight. Sheep are often pictured grazing in paddocks; however, the grass available in a paddock is often not enough to maintain a sheep’s weight. In addition, if a sheep eats grass too low in a paddock then corrosion can affect the soil preventing any grass from growing in this location. For these reasons, supplementary feed is introduced to sheep’s diets. In most occasions’ food high in protein such as Lupins is sought. In times such as drought or to makeup a sheep’s roughage; feed such as silage, hay and straw may be required in the feeding of sheep. This is where the sickle is introduced to sheep farming. Although modern-day machines are used to harvest cereals, in times past the sickle was used for harvesting these crops. Once harvested, these crops can be fed to sheep freshly cut or dried. This sickle has been on display for 30 years at the National Wool Museum. It was at the entrance to Gallery One in the “A New Europe” wood hut display case. It was taken off display in 2021 with the “On the Land” redevelopment of this gallery space.Curved Metal serrated blade extending from carved dark wooden handletools of the trade, sheep feed, sheep farming

Residents of the Fernleigh Flats Retirement village are understood to be well and strong enough to care for themselves and need to be over the age of 55 years. Fernleigh Flats is owned and operated by the Seventh Day Adventist Church. "TO LET, a Brick House, corner of Urquhart and Ripon Streets. Apply Owen Cazaly, Mining Exchange."(Ballarat Star, 16 Aug 1867) "SALE BY AUCTION, Corner of Urquhart and Ripon streets, 07 COMFORTABLE COTTAGE PROPERTY. M'GREGOR BROTHERS, instructed by the owner, Mr Bradbury, who has bought another property, will sell by public auction, on Monday, 16th May, at half-past 12, His six-roomed substantially-built RESIDENCE. The owner has, under his own supervision, spared no expense in making this a most comfortable and convenient dwelling, situated on a quarter of an acre allotment, at the corner of Urqhuart and Ripon streets, high and dry. Garden laid out with choice young fruit trees; ground capable of growing anything. Fowl yard fenced off. making It a most desirable residence. For a family residence or as An investment this is a good opportunity. Inspection invited. Auctioneer, R. M'GREGOR. (Ballarat Star, 12 May 1893.)A retirement village on the corner of Urquhart Street and Ripon Street, Ballarat. The street trees surrounding this property include a number of trees (blue cedar?) and suggest the demolition of an older stately home on this site. fernleigh flats, residences, architecture

This slide depicts an image of elephants from a travelling circus being marched through Camp Street in Beechworth in the early 1900s. Travelling circuses began operation in Australia in the 1860s as a way of providing entertainment to towns across Australia. Many of these traveling circuses use to have exotic animals such as elephants as part of their performances. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's social amenities and religious infrastructure in the late Nineteenth Century. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with an oval image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, circus, travelling circus, elephants, circus elephants, exotic animals, 1900s, entertainment

This image shows 5 nurses of Mayday Hills Mental Asylum gathered on the porch and staircase of a building. Beechworth has a long history of nursing, beginning with the establishment 3 medical facilities in the mid-1800s, the Ovens District Hospital (opened in 1857), the Ovens Benevolent Asylum (opened in 1863), and the Mayday Hills Hospital (opened in 1867). Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniquesThis glass slide is significant because it provides insight into Beechworth's social amenities and religious infrastructure in the late Nineteenth Century. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, nurses, nursing, mayday hill hospital

This slide depicts an image of elephants from a travelling circus being marched through Camp Street in Beechworth in the early 1900s. Travelling circuses began operation in Australia in the 1860s as a way of providing entertainment to towns across Australia. Many of these traveling circuses use to have exotic animals such as elephants as part of their performances. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's social amenities and religious infrastructure in the late Nineteenth Century. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, circus, travelling circus, elephants, circus elephants, exotic animals, 1900s, entertainment

Arthur William Knight Tuck (1871-1942) took over from Veterinary Surgeon Desmond in Warrnambool in 1897 and was a prominent vet in Warrnambool for a great number of years.These labels are of great interest as they show the variety of medicines used by veterinary surgeons in the early 20th century- Wound Powder, The Electuary Poison for sore throats, Liquid Blister, Colic Draught, Liquid Soap for dogs, Stimulating Embrocation for sprains, bruises etc. .1,.2,.3 Yellow and orange rectangular labels with black text and a decorative border paper. All are slightly damaged. .4 Ochre coloured rectangular label with black text and a decorative border. It is damaged. .5 White rectangular label with red text and a decorative border. It has horizontal lines on which to write. It is discoloured. .6 White rectangular label with dark blue text and a plain border. .7, White rectangular label with dark blue text and decorative border top and bottom.It is damaged. .8 White rectangular label with black text and plain border. .9 White rectangular label with red text and plain border. . . .1,.2,.3 The ELECTUARY POISON FOR SORE THROATS, INFLUENZA, COUGHS, COLDS &C Directions- Two teaspoonfuls to be placed on the back of the tongue with a flat smooth piece of wood, three or four times a day A.W. Knight -Tuck , V,S., G.M. V.C., Market Buildings, Warrnambool Phone 119. .4 Wound Powder For Drying Up and Healing Open Wounds and Foul Running Sores DIRECTIONS Dust a little of the Powder on twice a day. KEEP IN A DRY PLACE. A.W. KNIGHT-TUCK, V.S.,G.M.V.C. Veterinary Surgeon MARKET BUILDINGS, WARRNAMBOOL Telephone 119 .5 To...... FROM A.W. KNIGHT - TUCK.V.S.,G.M.V.C. Veterinary Surgeon, Telephone 119 MARKET BUILDINGS,WARRNAMBOOL Modern Print Warrnambool .6 Liquid Blister FOR VETERINARY USE. POISON DIRECTIONS (Detailed in fine print) A.W. KNIGHT-TUCK ( as above for profession and location ) .7 . LIQUID SOAP FOR WASHING DOGS etc. (as above for profession and location) .8 STIMULATING Embrocation FOR Sprains, Bruises, Sore Throat, Strangles, Rheumatism, &c .DIRECTIONS ( detailed in fine print) A. W KNIGHT - TUCK (as above for profession and location) .9 Colic Draught FOR Colic or Gripes DIRECTIONS FOR USE ( detailed in fine print) A.W KNIGHT -TUCK (as above for profession and location) a.w. knight -tuck

Coorongite is a dark, rubber-like, highly resilient structureless algal deposit. In the Coorong district of South Australia it occurs in moderate quantities associated with the coastal swamps and sand dunes which extend for a considerable distance east of the mouth of the Murray. This particular specimen was recovered from the south of the Coorong River, South Australia. A type of sediment rich in organic matter, Coorongite is the unlithified end-member of the sapropelic coal series. The members of the sapropelic coal series can be ranked in order as sapropel (the unlithified form), sapropelic-lignite, and sapropelic-coal (the lithified forms) based on increasing carbon content and decreasing volatile content. Sapropel (Coorongite) is an unlithified dark, pulpy, fine organic mud containing concentrations of algae and miospores that are more or less identifiable. Coorongite is typically found as an algae like substance, that can be found in irregular size pieces. Coorongite was believed to be dried up oil due to its rubber-like texture. The Coorongite is also soft to the point where it can be cut into with a knife or it can be broken and torn by hand. Otherwise known as 'Kurangk', the Coorong River is home to the Ngarrindjeri people, which acts as both a place for gathering food and a spiritual place. In 1852 the first sight of Coorongite was found along the Coorong River. The finders mistook the Coorongite for dried up oil, which lead to the belief that there were oil reserves under the Coorong River. Between the 1860s and the 1930s the Coorong River became a place where mining oil and Coorongite became precedent. Nowadays, the local council and the South Australian Government are working together with the Ngarrindjeri people to sustain and preserve the Coorong River and the culture that is with it. Soon after gold was discovered in 1851, Victoria’s Governor La Trobe wrote to the Colonial Office in London, urging ‘the propriety of selecting and appointing as Mineral Surveyor for this Colony a gentleman possessed of the requisite qualifications and acquaintance with geological science and phenomena’. Alfred Selwyn was appointed geological surveyor in Australia in 1852 which began the Geological Survey of Victoria. Selwyn went on to collect geological samples and catalogue thousands of specimens around Australia. In 1853-69 the Geological Survey issued under Selwyn's direction sixty-one geological maps and numerous reports; they were of such high standard that a writer in the Quarterly Journal of the Geological Society of London bracketed the survey with that of the United States of America as the best in the world. During his years spent in Australia, Selwyn collected numerous significant geological specimens, examples of which are held in collections such as the Burke Museum.Coorongite is considered to be a mineral with a unique texture, where it can be both hard and soft. Coorongite can also be considered to be a rare mineral, as it is only located along the Coorong River and due to the mining of it, has left very few sources. It was believed at one point that Coorongite could be used to replace oil. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.Three solid varyingly hand-sized pieces of wooden appearing organic matter derived from the river in the Coorong District in South Australia. A rubber-like, highly resilient structureless algal deposit.Specimen 245 page 69 / in Descriptive Register / "Elcestic Bitumen, / Coorangite" South of / Coorung River, South Australia . / C. WIllman / 15/4/21burke museum, beechwoth, indigo shire, beechworth museum, geological, geological specimen, mineraology, coorong, coorong river, kurangk, ngarrindjeri, south australia, coorongite, coorongite specimen

Thermals, top and pants, jungle green colour, polyester/spandex fabric, grid structure and fleece lining. Nylon and metal zipper. 1. Top - polo shirt shape with collar, long sleeves with thumb hole and half zipper front closure. Black colour polyester manufacturers label, back below collar. 2. Pants - Long Johns - elastic waistband, front fly opening, long legs. Manufacturers label, back below waistband - black colour polyester fabric.Manufacturers information on label - white and gold print. 1. "GEN111/ SIZE M/ LONG SLEEVED TOP/ LEVEL 2/ HELIKON.TEX.COM/ ART.ID: BL-UH2-PO/ STOCK NO. 9415-09-229-1357/ NATO SIZE 7585/ 9404/ ACCORDING TO U.S. ARMY / SPECIFICATION." 2. "GEN111/ SIZE M/ LONG-JOHNS/ LEVEL 2/ HELIKON.TEX.COM/ COMFORT DRY/ HELIKON-TEX.COM/ 95% POLYESTER 5% SPANDEX/ AVOID USE OF FABRIC SOFTENERS/ ART.ID: SP.UN2.PO/ STOCK NO. 9415-09-229-1357/ NATO SIZE 7585/ 9404/ ACCORDING TO U.S. ARMY / SPECIFICATION." "PO#1325" uniform, army, underwear, thermals

Joan O'Shea Collection. Central Deborah Gold Mine Bendigo Violet Street (off High Street) Bendigo Pamphlet. Buff and Sepia double-sided A4. The Bendigo Trust in conjunction with the City Family Hotel present the opening of the Central Deborah Gold Mine Underground Project, by Premier John Cain, 20th June, 1986 featuring the City Club Dancers. Includes a brief chronological history of the mine and photographs courtesy of Phillip Beer on recto side. The verso side contains a map of the site of the Central Deborah Gold Mine and also various photographs with further detail of areas of interest including: poppet legs and shaft, the change rooms, caretakers or rag pickers room where clothing was searched, the drying room, the first aid room, carbide light room, underground tours, carpenters shed, ore bins and loading bays, stamper battery, wilfley table, berdan plans, laboratory, display room, boiler, stoke hold, winding engine, boiler feed pump, electric driven compressor, steam driven compressor and the blacksmith's shop.Central Deborah Gold Mine Bendigobendigo, gold mining, central deborah gold mine

Booklet (2 copies) with brownish photo of Amy Castles and Sir John Quick on the front cover, titled Footprints on the Sands of Time: Bendigo's Citizens, the 1909 Bendigonian Annual and Community History by Professor Jeff Brownrigg. La Trobe University, Bendigo. The Ninth Sir John Quick Bendigo Lecture 2 October 2002. Photos in the book include: Sir John Quick, Amy Castles, Amy and Eileen Castles, Anthony Palamountain, John Quick's birthplace in Cornwall and Professor Jeff Brownrigg. Sir John Quick, Robert Garran, The Bendigonian, Bendigo Evening News, Bendigo Advertiser, Nellie Melba, Bendigo Independent, Amy Castles, Alice Crawford, Edward Allan Bindley, Joseph Castles, Lili Sharp, Eileen Castles,Frank Cusack, David Horsfall, Louis August Samuels, Kate Samuels, Madame Benda, Bertha Rossow, Anthony Palamountain, Dorothy Penfold, Penfold Gallery, Pauline Bindley, Convent of Mercy, Masonic Hall, Ashman's Dry-Cleaners, The Ninth Sir John Quick Bendigo Lecture are mentioned in the book.footprints on the sands of time: bendigo's citizens, the 1909 bendigonian annual and community history, professor jeff brownrigg, research and outreach screensound australia, la trobe university, sir john quick, robert garran, the bendigonian, bendigo evening news, bendigo advertiser, nellie melba, bendigo independent, amy castles, alice crawdord, edward allan bindley, joseph castles, lili sharp, eileen castles, frank cusack, david horsfall, louis august samuels, kate samuels, madame benda, bertha rossow, anthony palamountain, dorothy penfold, penfold galery, pauline bindley, convent of mercy, masonic hall, ashman's dry-cleaners, the ninth sir john quick bendigo lecture

Eastern Meadowlarks live throughout the grasslands and farms in eastern North America. On the ground, their brown-and-black dappled upperparts camouflage the birds among dirt clods and dry grasses. When in flight or perching, they reveal bright-yellow breasts and bellies, and a striking black chevron across the chest. The Eastern Meadowlark has a diet which consists of mainly insects and seeds. These birds forage by walking on the ground and taking insects and seeds from the ground and from low plants. In winter, these birds may choose to forage in flocks. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. This Eastern Meadowlark has a yellow breast and throat with black plumage in the shape of a 'V' on it's throat. This particular specimen has a long pointed bill which is in the shape of a spear. The crown of the bird is a dark brown and it also has lighter brown/yellow stripes on the brow. The back, wings, and tail are light brown with dark brown mottling. This specimen stands upon a wooden platform and has an identification tag tied around its leg. The legs are long and the specimen has been styalised in an upright position.Label: [illegible] Ant-Eating Thrush / Catalogue, Page 66. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, american birds, eastern meadowlark, meadowlark

The Little Black Cormorant is mainly found in freshwater wetlands in Australia and Tasmania. It nests colonially and can sometimes be seen among Heron or Ibis colonies. This specimen has dark webbed feet which enable the bird to catch its prey underwater by diving and using the feet for propulsion. Interestingly, this species have nictitating membranes which cover the eyes underwater protecting them. The feathers of this species are not waterproof despite being commonly located in wetlands and therefore, can often be seen perched with wings outstretched in an effort to dry them after hunting for food in the 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 in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Little Black Cormorant is a slim and small specimen of entirely black colouring with some lighter specks on the back. The bill is grey and is slender and hooked at the tip. The bird has been stylized with glass eyes and is placed on a wooden mount designed to look like a perch. The neck is long and the bird is looking over its right wing. It has dark webbed feet and is standing on the platform with a paper identification tag tied the right leg. 12a. /Little Pied Cormorant / See Catalogue Page 42 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, tasmania, australia, birds of australia, cormorant, little black cormorant, wetlands

This image shows a semi-aerial view of a property along a river adjacent to Beechworth in approximately 1900. The photographer has capitalised words in the label, indicating that 'The Precipice' may have suggested a particular rather than a general vantage point to local people at the time. Although the exact location of the photograph is yet to be determined, Beechworth Gorge is popular today with hikers and nearby Mt Stanley is noted for its views. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.Obverse: Image from The Precipice. /burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, views, landscapes, farmsteads, rivers, beechworth gorge, mt stanley, emulsion, the precipice

A scotch eye auger is perfect for quickly making holes in dry or wet wood for making chairs, stools, and any number of woodworking projects. The scotch eye serves as a peg gauge and whatever peg you make to go into the hole should fit into the augers eye. Robert Sorby & Sons: The forbearer's of Robert Sorby had been cutlers in the Sheffield region of England, dating from the mid 17th century. Robert Sorby and Sons were registered in Sheffield in 1828 as a manufacturer of edge tools, saws, scythes and hay knives. In addition to manufacturing tools, they also diversified into the manufacture of crucible steel for tool manufacture. From circa 1860-1967, the Sorby factory in Sheffield was known as the “Kangaroo Works”. The Kangaroo Brand of tools was made by Robert Sorby & Sons. During the 19th century, they had a large trade in Australasia. By the early 20th century, they were manufacturing carving tools, planes and plane irons, circular saws, wood saws, butchers saws and cleavers, garden tools, pruning knives, coopers’ knives, bricklayers tools and joiners tools. In 1923 Robert Sorby & Sons was bought by Sheffield company Hattersley and Davidson. They are today one of the few remaining British tool manufacturers.The company has a long tradition of making edged tools for various uses and exporting them to Australia, however the subject item was probably made from the early 20th century up until 1967 when the company stopped exporting to Australia.Scotch Eye Auger, Double Twist with Lead Screw, square shaft, socket set at right angleRob Sorbey Sheffield stamped on shaft with Kangaroo trade markflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ring auger, carpenders tools, hole drilling, rob sorby & sons

This set of kitchen dry food canisters is made of metal; each container has a different height, width and capacity. The rolled thin metal has created a strong, round design with decorative rings on the circumference. The base and close-fitting lid protect the contents from vermin and most insects, and the handle on top aids in the removal of the lid. Metal containers like these are reusable and can be re-purposed, which is advantageous when living in regional or rural areas. The type of manufacture indicates that the set was made in the late 19th to early 20th century. Gradually, colourful and attractive plastic kitchenware began to replace metalware. One of the canisters is labelled 'coffee'; coffee plants and seeds were transported from Brazil into Australia in 1788 when the First Fleet arrived although their growth was unsuccessful. However, by the 1920s, a tenth of the Australian population was drinking readily stored coffee. Large quantities of harvested grains such as maize, wheat and barley were protected from pests by being stored in airy buildings, often raised from the ground. This was an age-old practice used by civilizations such as the ancient Egyptians and early Hebrews. Smaller quantities of food for short-term use in the homes were stored in woven baskets or clay pots.This set of kitchen food containers is an example of colonial food storage used in a domestic setting to store and preserve dry ingredients. These canisters give a snapshot of early domestic life in Australia. Canister set; four cylindrical cream coloured metal canisters with domed lids that have lift-up handles on top. They are made from rolled metal and the bases and lids have a side seam. Each canister is a different size and displays a label for different contents. The adhesive labels are vertical, and a gold colour with black vertical text. The cream paint has brush strokes and small areas have exposed green paint under the cream. The insides of the bases are painted dark grey but the lids have no paint underneath. The empty canisters can fit one inside the other. Labels, in descending order: "FLOUR" "RICE" "SAGO" "COFFEE"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, canister set, kitchen storage, food storage, metal canisters, dry food storage, food packaging, kitchen container, vintage, flour, rice, sago, coffee, kitchenalia, late 19th to early 20th centuries, nesting canisters

a) Nagaoka Record Anti-Static & Disc Guard Kit The Nagaoka STAT-10 is a record protecting agent that serves both to protect your records from static and to significantly reduce record and stylus wear. By using this product you will improve the sound that you hear from your records, but will also protect your records. The unique charge reducing formula significantly reduces the amount of static electricity present on the surface of the vinyl recording. It also reduces the irritating noise produced by the scratches present on the surface of the vinyl recording. This record protecting agent also contains a special lubricant / protecting fluid agent.This lubricant / protecting fluid reduces record wear so that your recordings are as good as new. b) 'PAROSTATIK' Disc preener -: Use while rotating record slowly on Turntable. Press gently during one or two revolutions. Dust collected on plush surface should be removed before re-use. Device has "built-in" anti-static requiring occasional moisture replacement. Remove cap from centre tube withdraw and moisten wick (when dry) with clean water and replace Always return "Parostatik" to case when not in use. Vinyl records became very popular mid 20thC and cleaners were used to preserve the audio quality of the record surface.A box containing Vinyl record cleaning equipment manufactured by a) Nagaoka Pty Ltd Japan and b) 'Parostatik' C.E Watts Pty Ltd England a ) Box : NAGAOKA / A / trademark / NAGAOKA / AUTOMATIC RECORD CLEANER / ORIGINAL BEST PRODUCTS / NAGAOKA & CO LTD. MADE IN JAPAN / AUTOMATIC / RECORD CLEANER / AUTO 1 / NAGAOKA ORIGINAL BEST PRODUCTS b) Packet ; THE / "PAROSTATIK" PATENT .... REGD./ IMPROVED / DISC PREENER / FOR PERFECT RECORD MAINTENANCE Cylinder; Watts / "PAROSTATIK" / DISC PREENER / For perfect record maintenancerecord players, music, vinyl records, moorabbin, bentleigh, cheltenham, japan, nagaoka pty ltd ,, watts c. e. pty ltd, parostatik disc preener, england

Maker unknown. This blanket was part of the standard army issue kit and belonged to Lois Denshams father, who served at Gallipoli during the first world war. Before donating the blanket to the Running stitch collection, it was kept by Lois' Aunty Nita. Lois remembers that it was kept in her fathers original kit bag and kept at her aunts place because of sad memories about the war which her mother found difficult. The humble army blanket had many uses during war times. Issued with two blankets, it was all a soldier had as a bed to keep warm or without a tent, all they had to provide shelter from the sun, rain or wind. (They were supplemented with a woollen army 'great coat', but soldiers still had to huddle together as keeping warm and dry was a desperate game.) The Lighthorsemen used them under their standard leather saddles for extra padding and in the hospitals they were sometimes the only bedding for the wounded. This blanket belonged to Lois Denshams' father who served in the Australian Army in the First World War, landing at Gallipoli. Since the war, army blankets have come to be regarded as the basic type of blanket -no frills. This blanket was used in the Densham family since that time for camping trips.Grey woollen army blanket with stripes near either ends.world war i, running stitch group, running stitch collection

The 1924 building of the Glenormiston Butter and Cheese Factory Company Limited is one of the more intact butter factories in the state. This building, together with the 1936 addition, stand free on the site and make up the total complex. Architecturally interesting, Glenormiston gains visual importance from the bi-chromatic banded chimney, one of the best diary industrial chimneys in the state, and the elegant design and detailing of the complex which indicated the added importance placed on the industry in the western district over and above mere commercial concerns. The factory is noted for its aesthetic impact gained by being situated outside the township in a clear rural situation at the foot of Mount Noorat. The Glenormiston/Trufood connection is technologically significant for its innovative role in establishing the dried skim milk powder industry, once a site of high tourist importance. Historically the well known Black family, Western District pioneers and large land holders, played an important role in establishing both Glenormiston and Trufood and the family connections operated to maintain the unusual trading links between the two.(http://vhd.heritagecouncil.vic.gov.au/places/69388/download-report, accessed 31 January 2017) In 2015 the building was neglected and in a ruinous condition. A number of colour digital images of the Glenormiston Butter & Cheese Factory Company.glenormiston butter & cheese factory company, glenormiston, factory, dairy