Barking Owls are a nocturnal, medium sized bird of prey native to Australia, parts of Papua New Guinea, and the Moluccas. Average size ranges between 390-440mm in length. Females are generally slightly smaller than males and they are only one of a small number of owl species that do not exhibit marked sexual dimorphism. Barking Owls have characteristic vocalisations, ranging from a 'woof woof' barking dog sound, to shrill, human-like screams, which reportedly alarmed early European settlers to Australia. The Barking Owl's shrill and explosive vocalisation is sometimes associated with Bunyip mythology or referred to as 'the screaming woman call'. The female call is slightly higher in pitch than the male, and males and females often duet, contrasting low and high pitches. Barking Owls may be vulnerable in some parts of Australia due to woodland habitat loss. 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 female Barking Owl is of an average size. It has brown, grey and white spots and vertical streaks. The face and breast are lighter in colour than the wings and the dorsal plumage. The glass eyes are large and dark in colour while the tarsi and toes are yellowish. This specimen stands on a wooden perch with identification tags attached to its leg. [torn] / 16. / Winking Owl / See catalogue Page, 4 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, owls, barking owls, screaming woman call, yowing, woodland birds, birds of prey, australian owls, endangered, loss of habitat, woodland habitat, bunyip, australian early settler mythology

The Morepork is a small brown and white spotted owl found in New Zealand, Tasmania and Norfolk Island. It is known by around twenty different names which are all onomatopoeic which emulate the birds distinctive two-pitched call. They are mostly nocturnal and carnivorous (eating insects and small vertebrates). They reside in habitats with trees, they sleep in roosts and hunt mainly in the evenings and early morning. Females are slightly bigger than males. This species attains full plumage in its third or fourth year. They can turn their heads 270 degrees." In Māori tradition the morepork was seen as a watchful guardian. It belonged to the spirit world as it is a bird of the night. Although the more-pork or ruru call was thought to be a good sign, the high pitched, piercing, ‘yelp’ call was thought to be an ominous forewarning of bad news or events." (NZ Department of Conservation). 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 Morepork (also known as the Masked Owl) is covered in brown and white plumage on its head and body. The white feathers delineate its round yellow eyes. Its belly and back are brown and white with the white feathering appearing spotted. This Morepork specimen sits on a wooden perch with his head turned to the left. A swing tag is attached to its left leg.Swing tag: 10 / Masked Owl / See Catalogue, page 3 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, ruru, spotted owl, tasmanian spotted owl, morepork, mopoke, new zealand owls, new zealand birds, tasmanian owls, tasmanian birds, norfolk island owls, norfolk island birds

The Black Shouldered Kite is commonly found throughout mainland Australia in grasslands and other open habitats. It is a raptor (bird of prey) that will eat mice and other small rodents. The species is monogamous and will find a mate by the male giving food to the female while both are in flight. It is sometimes confused with the letter-winged kite though there undercarriages when in flight are very different with the letter-winged showing the letter W or M and the black shouldered kite showing black wing tips with white towards its belly area. The feathers of this species when alive and in the wild are more white than this specimen. The iris is usually red in mature birds so this specimen may not have been a mature bird as its eyes are brown. However, this is difficult to ascertain because it is also possible that the taxidermist who replaced the original eyes with the current glass ones provided a colour which was not accurate to the age/species of the bird. 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 Black Shouldered Kite has a white face and front of body with a grey posterior from the top of its head to its tail. It has black on its wings/shoulders. Its face is white with its eyes delineated by small black apostrophe like shapes from the inner eye to the top of the eye. The specimen stands on a wooden perch and has a swing tag tied around its right leg. Its eye colour is brown rather than red, indicating it is not a mature specimen.9. / Black Shouldered Kite / See Catalogue, page 3 / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, black shouldered kite

The Morepork is a small brown and white spotted owl found in New Zealand, Tasmania and Norfolk Island. It is known by around twenty different names which are all onomatopoeic which emulate the birds distinctive two-pitched call. They are mostly nocturnal and carnivorous (eating insects and small vertebrates). They reside in habitats with trees, they sleep in roosts and hunt mainly in the evenings and early morning. Females are slightly bigger than males. This species attains full plumage in its third or fourth year. They can turn their heads 270 degrees." In Māori tradition the morepork was seen as a watchful guardian. It belonged to the spirit world as it is a bird of the night. Although the more-pork or ruru call was thought to be a good sign, the high pitched, piercing, ‘yelp’ call was thought to be an ominous forewarning of bad news or events." (NZ Department of Conservation). 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 Morepork (also known as a Masked Owl) is covered in brown and white plumage on its head and body. The white feathers delineate its round yellow eyes. Its belly and back are brown and white with the white feathering appearing spotted. He sits on a wooden perch with his head turned to the left. A swing tag is attached to its leg.11 / Masked Owl / See Catalogue, page 3 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, ruru, spotted owl, tasmanian spotted owl, morepork, mopoke, new zealand owls, new zealand birds, tasmanian owls, tasmanian birds, norfolk island owls, norfolk island birds

This photograph depicts people attending the 'Spotlight on Fox' event watching a demonstration. The event was conducted as part of an awareness campaign highlighting damage done to farm and domestic animals and native wildlife in April 2004. This date is suggested by the photograph's position in the 2004-2005 Wooragee Landcare Group Coordinator's Report folder. A note accompanying the item suggests an alternative date of February 2004, however. This event raised awareness about the impacts of foxes in rural areas and provided practical training in techniques to control their populations. Flyers contained in the parent folder suggest that baiting may have been agreed as a method of fox control as the event depicted was followed by a two week baiting campaign a fortnight later. Pictured in this photograph, left to right: unknown; Sue Berwick ; Jerry Alexander; rest unidentified. A note accompanying the items suggests the photograph may have been taken by Karen Bowley or Maree Missen. Regional areas like Wooragee are susceptible to fox attacks due to the availability of food such as rubbish, scraps, native wildlife and livestock. Foxes can have a huge impact on native wildlife and domestic life as they are known to chew through irrigation systems, dig-up and defecate in gardens, raid rubbish bins and harass other domestic animals. Ground-dwelling native species are particularly susceptible to predation by foxes, which when combined with loss of habitat can endanger these species. Affected species include Speckled Warblers, Plovers, Diamond Firetails, Spotted Quail-Thrushes, Turquoise Parrots, Dunnarts, Bandicoots, Phascogales, skinks, geckos and legless lizards. This photograph is significant as an example of awareness raising and threat control programs undertaken by Wooragee Landcare Group in the 2000s in Indigo Shire.Landscape coloured photograph printed on gloss paperReverse: WAN NA 0ANA2N0 NNN 0 8743 / [PRINTED] (No. 13) / 259wooragee, wooragee landcare, indigo shire, north-east victoria, foxes, fox, pest control, vermin, conservation, baiting, trapping, events, 2004, wildlife, speckled warbler, plovers, diamond firetails, spotted quail-thrush, turquoise parrots, dunnarts, bandicoots, phascogales, skinks, geckos, legless lizards, farming, chickens, ducks, guinea-pigs

The dusky antechinus was first described in 1840 by English naturalist George Robert Waterhouse, making it the second species of antechinus to be formally recorded. It was named in honor of zoologist and artist William Swainson, with the holotype likely originating from the Tasman Peninsula in Tasmania, collected by Swainson’s associate, Thomas Lempriere. The dusky antechinus is distributed across southeastern Queensland to southwestern Victoria, as well as in Tasmania. It is most frequently found in mountainous areas, including Kosciuszko National Park and the Brindabella Ranges, where it inhabits alpine heath and tall open forests with dense understorey vegetation. While the species is not considered threatened, some local populations have declined due to habitat loss caused by controlled burning and the replacement of native forests with pine plantations. Additionally, predation by cats and red foxes is believed to negatively impact its numbers. This specimen was originally identified as a bandicoot and is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.Small sized dusky antechinus with a pointy snout, small rounded eyes made of glass, a thin tail, small rounded ears, and sharp clawed legs. The fur in colouring is golden brown with streaks of dark brown, and is of medium length and fine.On wooden mount: BMM5896/ On Catalogue Tag (attached to left foreleg): Bandicoot Mou(...)/ Catalogue, Page. 45/ burke museum, taxidermy, taxidermy mount, fauna, animal, animalia, reynell eveleigh johns, bandicoot, marsupial, peramelemorphia, dusky antechinus, antechinus swainsonii, swainson's antechinus, dusky marsupial mouse

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. Like many species of quail, the Brown Quail is often difficult to see, as it inhabits rank, overgrown grassy areas, often in damp, low-lying patches beside wetlands. They are difficult to flush from this cover, preferring to squat among the grass or run quickly off through the vegetation rather than fly off. As is the case with many species that inhabit dense habitats, the Brown Quail may be heard more often than it is seen, with its characteristically mournful two-note call whistle often heard at dawn and dusk. The Brown Quail is found across northern and eastern Australia, from the Kimberley region in Western Australia to Victoria and Tasmania, as well as in south-western Australia. It is also found in Papua New Guinea and Indonesia, and has been introduced to New Zealand. The Brown Quail feeds in the early morning or evening, on the ground, mainly on seeds and green shoots, but also on insects. In some area, quails will readily cross roads and may be seen feeding along roadsides.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 Brown Quail is a small, plump ground-dwelling bird. It is variable in colour, ranging from red brown to grey brown with fine white streaks and black barring above, and chestnut brown below. The eye is red to yellow, the bill black and the legs and feet orange-yellow. In Tasmania, this species is called the Swamp Quail and tends to be larger and darker than mainland birds, with a pale yellow eye. Female Brown Quails are larger and may be more heavily marked with black and paler below than males. Young birds are like adult females, with less distinct markings and a dark brown eye.Label: 33. / Swamp Quail / See Catalogue, page 30 / Mount: 09/taxidermy, quail, brown quail, taxidermy bird, burke museum taxidermy

The Barking Owl is a nocturnal, medium sized (390-440 mm) bird of prey native to Australia, parts of Papua New Guinea, and the Moluccas. Males are generally slightly larger by weight than females and they are only one of small number of owl species that do not exhibit marked sexual dimorphism. Barking Owls have characteristic vocalisations, ranging from 'a 'woof woof' barking dog sounds to shrill, human-like scream sounds, which reportedly alarmed early European settlers. The Barking Owl's shrill and explosive vocalisation is sometimes associated with Bunyip mythology or referred to as 'the screaming woman call'. The male call is slightly lower in pitch than the female, and males and females often duet, contrasting low and high pitches. The owls are brown-grey in colour with white spots on the wings and vertically streaked chest. Their eyes are large and yellow. Barking Owls may be vulnerable in some parts of Australia due to woodland habitat loss. 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 male Barking Owl is average sized with brown, grey and white spots and vertical chest streaks. The face and breast are lighter in colour than the wings and dorsal plumage. The eyes are large and dark and the legs and feet are yellowish. The eyes are large and yellow irises and the legs and feet are yellowish. The specimen stands on a wooden perch pedestal with identification tags attached to its leg. 17. / Bookook Owl / See catalogue page, 4 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, owls, barking owls, screaming woman call, yowing, woodland birds, birds of prey, australian owls, endangered, loss of habitat, woodland habitat, bunyip, australian early settler mythology

The Common buzzard, a medium-sized raptor, is found across Europe and Asia, and in Africa in the winter months. It is the UK’s commonest bird of prey, found in nearly every county. Due to their large size and their brown color, they are often confused with other species, especially the Red kite and the Golden eagle. They may look the same from a distance, but the Common buzzard has a very distinctive call, like a cat’s mew, and a distinctive flying shape. When soaring and gliding, the tail is fanned and its wings are often held in a shallow 'V'. The colour of individuals varies from dark brown to much lighter, though they all have a finely barred tail and dark wingtips. This species occurs across Europe and Russia, and parts of Northern Africa and Asia in the cooler winter months. It lives in a range of habitats, especially woodland, moorland, pasture, scrub, arable land, marsh bog, villages, and sometimes towns and cities. This particular specimen has been mounted in a correct stylised fashion. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Common Buzzard is brown in colour with lighter markings on the chest. It has a white patch of feathers on the back of its head and it has darker wingtips and yellow feet. This specimen stands upon a wooden platform and has an identification tag tied around its leg.Swing tag: 30 / Buzzard / Catalogue page 52. / Metal tag: 4043 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, common buzzard, bird of prey

This photograph depicts fox behaviour specialist Camille Veselsky demonstrating the use of a fox bait trap at an event conducted as part of an awareness campaign highlighting damage done to farm and domestic animals and native wildlife in April 2004. Camille Veselsky is a specialist in fox behaviour who worked for the Hume Rural lands Protection Board on pest animal control for 27 years. This date is suggested by the photograph's position in the 2004-2005 Wooragee Landcare Group Coordinator's Report folder. A note accompanying the item suggests an alternative date of February 2004, however. This event raised awareness about the impacts of foxes in rural areas and provided practical training in techniques to control their populations. Flyers contained in the parent folder suggest that baiting may have been agreed as a method of fox control as the event depicted was followed by a two week baiting campaign a fortnight later. Pictured in the photograph are Helmut Wiemann, Ursula Wiemann, Camille Veselsky and two other people (unknown). A note accompanying the items suggests the photograph may have been entered by Karen Bowley or Maree Missen. In the folder, an printed label accompanying the photograph states: 'A marker to identify the bait station will not deter the fox.' Regional areas like Wooragee are susceptible to fox attacks due to the availability of food such as rubbish, scraps, native wildlife and livestock. Foxes can have a huge impact on native wildlife and domestic life as they are known to chew through irrigation systems, dig-up and defecate in gardens, raid rubbish bins and harass other domestic animals. Ground-dwelling native species are particularly susceptible to predation by foxes, which when combined with loss of habitat can endanger these species. Affected species include Speckled Warblers, Plovers, Diamond Firetails, Spotted Quail-Thrushes, Turquoise Parrots, Dunnarts, Bandicoots, Phascogales, skinks, geckos and legless lizards. This photograph is significant as an example of awareness raising and threat control programs undertaken by Wooragee Landcare Group in the 2000s in Indigo Shire.Landscape coloured photograph printed on gloss paper. Reverse: 26 / [HANDWRITTEN] WAN NA 0ANA2N0 0 8743 / [PRINTED] (No. 14) / 260 / wooragee, wooragee landcare, indigo shire, north-east victoria, conservation, pest control, fox, foxes, vermin, baiting, trapping, camille veselsky, hume rural lands protection board, 2004, speckled warbler, plovers, diamond firetails, turquoise parrots, dunnarts, bandicoots, phascogales, skinks, geckos, legless lizards, chickens, ducks, guinea-pigs

This photograph was taken at Wooragee Hall on Wednesday the 28th of April 2004 called 'Queries about Quolls' and shows a Quoll Presentation by Andrew Murray at Mt Pilot, Chiltern Mt Pilot National Park. The photograph shows (L - R) Jerry Alexander, Unknown, Unknown, Mary Prowse, Tony Prowse. The event was hosted by the Wooragee Landcare Group and was led by Andrew Murray (of Parks Victoria), President of the South-East Forest Spotted-tailed Quoll Working Group and one of Victoria's leading authorities in quolls. As the name of the event would suggest, this session provided attendees with insight and general information on quolls, including the characteristics of quolls, the habitat of quolls and the techniques that can be used when searching for quolls which was part of a wider project aimed at protecting the endangered species of the tiger quoll, also known as the spotted-tailed quoll, an animal that once inhabited Mount Pilot-Chiltern National Park. This particular photo shows a group of attendees looking at a typical quoll nesting site in a rock crevice. According to an article included in the Wooragee Landcare group coordinators annual report 2004 and 2005 album (record 00001), Andrew Murray had been tasked to train a team of Department of Sustainability and Environment staff and volunteers from the local area (Beechworth and Wooragee) in the detection skills needed to establish whether the tiger quoll still inhabited the Mount Pilot-Chiltern National Park and had survived after a bush fire in 2003 had burned through the area where they would normally have been found. The Tiger Quoll is the largest of the quoll species. Largely resembling a cross between a possum and a cat, the quoll is distinctive due to the white spots that are often found all over its brown fur.This photograph is significant as it provides evidence of a project undertaken by the Wooragee Landcare Group to educate themselves and members of the public on the tiger quoll in the early 2000s in an attempt to better understand and protect the species. The Wooragee Landcare Group has been instrumental in the co-ordination of programs relating to biodiversity protection in the local area, providing great assistance to landholders.Landscape coloured photograph printed on gloss paperReverse: WAN NA 0ANA2N0 AN2 0 1636 / [PRINTED] (No.4) / 918wooragee, wooragee hall, wooragee landcare, wooragee landcare group, quoll, spotted-tailed quoll, tiger quoll, queries about quolls, south east forest spotted-tailed quoll working group, andrew murray quolls, mount pilot chiltern national park, quoll species, endangered quoll, andrew murray, beechworth, landcare group, mount pilot

The red wattlebird is a passerine bird native to southern Australia. Measuring 33–37 cm (13–14.5 inches) in length, it ranks as the second-largest species among Australian honeyeaters. The species was first described by John White in 1790, and three subspecies are currently recognised. The red wattlebird is found across southeast Queensland, New South Wales, Victoria, South Australia, and southwest Western Australia, inhabiting open forests, woodlands, and urban gardens or parks. Known for its loud and conspicuous presence, the red wattlebird primarily forages in trees, although it occasionally searches for food on the ground. As one of the world's largest nectar-feeding birds, it consumes nectar from a wide variety of flowering plants, supplementing its diet with insects. Territorial and sometimes aggressive, it defends rich nectar sources from other bird species. Breeding occurs throughout its range, with the species constructing cup-shaped nests in trees and raising one or two broods annually. Despite localized declines due to habitat loss, the red wattlebird is listed as Least Concern on the IUCN Red List. This specimen was falsely identified as a yellow wattlebird in original catalogue records and 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 red wattlebird has predominantly grey-brown plumage, featuring red eyes, pale pinkish-red wattles on each side of the neck, white streaking on the chest, and a prominent yellow patch on the lower belly. Swing-tag: 58a. / Wattled - Honeyeater / See catalogue page 18taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, bird, yellow wattlebird, tasmanian wattlebird, anthochaera paradoxa, australian birds, wattlebird, red wattlebird

The Australasian swamphen is a visually striking and socially complex bird found across Oceania. It can be found in eastern Indonesia (specifically the Moluccas, Aru, and Kai Islands), Papua New Guinea, New Zealand, and Australia. As a member of the rail family (Rallidae), it belongs to the diverse order Gruiformes, which also includes cranes and other rail species. Like other rails, it possesses relatively short wings and a strong, elongated bill, both adaptations suited to its semi-aquatic wetland habitat. This swamphen is easily identified by its deep blue-purple plumage, prominent red frontal shield, and sturdy red legs. It primarily inhabits swamps, marshes, and other wet lowland areas, though its range has expanded to include pastures, roadsides, and farmland due to significant landscape modifications over the past 150 years. Unlike many wetland birds, it is highly adaptable and thrives in both natural and human-altered environments. Its diet is similarly flexible, consisting mostly of plant material such as grass stems, shoots, and leaves, but also including invertebrates and, on occasion, the young of other bird species. This specimen was misidentified as a Purple Swamphen in original catalogue records and is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This taxidermy specimen is of a Australasian swamphen which is mounted standing on a wooden platform and has a paper identification tag tied to its upper left leg. The specimen has dark colouring on its back and head with a purple-blue coloured neck, breast and belly. The bill is oversized and is orange/red which is the same colour as the frontal shield on the bird's face. The eyes are made from a red and black glass and the legs of this specimen are orange. The legs are elongated and the toes also long and unwebbed. 17e. / Purple Gallinule / Catalogue Page 35 / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, swamphen, moorhen, purple bird, hen, purple swamphen, water bird

Barn Owls are the most widely distributed owl species in the world and one of the most widespread of all bird species, including in Australia. Barn Owls are sedentary and prefer open habitats such as grasslands, farmlands, and open woodlands, where they forage and hunt small mammals, particularly rodents, at night. Barn Owls nest in deep hollows in old trees, especially eucalypts, but also in caves, rock cavities, and sometimes cavities in buildings. Barn Owl's have a highly distinctive white heart-shaped face and pale underbelly feathers. They can be seen circling low above grassland areas at dusk or at night, and their drawn-out shrieking, hissing, and 'eerie' rasping sounds have led some rural populations to consider they have magical powers. Barn Owls vary in size but average 330-390mm in length, with wing spans between 800-950mm. Females are larger than males and most are a mix of white, pale brown and shades of grey speckled with fine black tear-shaped spots. They have a distinctive flat heart-shaped facial mask with oversized oblique black eye-slits and black irises. A ridge of feathers sits above the beak resembling a long nose. The feet vary in colour from pink to grey, and beaks can be pale to dark buff, corresponding to general plumage hue. 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 Barn Owl is medium sized with long wings and a short squarish tail. Its underbelly is pale and speckled with dark spots. The wings and tail feathers are light brown, grey and white with small, dark, tear-shaped speckles on the upper parts. It has a distinctive white heart-shaped facial disc with large black eyes and curved beak. This specimen stands on a wooden perch pedestal and it has metal and paper identification tags attached to its legs. Swing tag: 36. / Barn [torn] / Catalogue [torn] / Metal tag: 4058 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, owls, birds of prey, tyto alba, heart-shaped faced owl, nocturnal birds, predator birds, 'harbingers of misfortune', demon owl, ghost owl, death owl, magical animals, lich owl, birds as omens, barn owl, carnivore, hissing owl

This photograph depicts fox behaviour specialist Camille Veselsky demonstrating the use of a fox bait trap at an event conducted as part of an awareness campaign highlighting damage done to farm and domestic animals and native wildlife in April 2004. Camille Veselsky is a specialist in fox behaviour who worked for the Hume Rural lands Protection Board on pest animal control for 27 years. This date is suggested by the photograph's position in the 2004-2005 Wooragee Landcare Group Coordinator's Report folder. A note accompanying the item suggests an alternative date of 24th June 2004, however. This event raised awareness about the impacts of foxes in rural areas and provided practical training in techniques to control their populations. Flyers contained in the parent folder suggest that baiting may have been agreed as a method of fox control as the event depicted was followed by a two week baiting campaign a fortnight later. Pictured in this photograph, left to right: unknown, unknown, Quentin Mansfield, Graeme Missen, unknown, Helmut Wiemann, presenter Camille Veselsky, Ursula Wiemann, unknowns. A note accompanying the items suggests the photograph may have been taken by Karen Bowley or Maree Missen. In the folder, the photograph is accompanied by a printed label stating: 'Sensible precautions must be taken when handling FOXOFF.' Regional areas like Wooragee are susceptible to fox attacks due to the availability of food such as rubbish, scraps, native wildlife and livestock. Foxes can have a huge impact on native wildlife and domestic life as they are known to chew through irrigation systems, dig-up and defecate in gardens, raid rubbish bins and harass other domestic animals. Ground-dwelling native species are particularly susceptible to predation by foxes, which when combined with loss of habitat can endanger these species. Affected species include Speckled Warblers, Plovers, Diamond Firetails, Spotted Quail-Thrushes, Turquoise Parrots, Dunnarts, Bandicoots, Phascogales, skinks, geckos and legless lizards. This photograph is significant as an example of awareness raising and threat control programs undertaken by Wooragee Landcare Group in the 2000s in Indigo Shire. Landscape coloured photograph printed on gloss paper. Reverse: WAN NA 0ANA2N0 NNN+ 3 8743 / [PRINTED] 24 / [HANDWRITTEN] (No. 1 1) / 257 [PRINTED}wooragee landcare, wooragee, north-east victoria, indigo shire, landcare movement, 2004, fox control, pest control, native animal protection, farming, farm life, foxes, vermin, baiting, traps, speckled warbler, plovers, diamond firetails, spotted quail-thrush, turquoise parrot, dunnarts, bandicoots, phascogales, skinks, geckos, legless lizard, chickens, ducks, guinea-pigs, camille veselsky, quentin mansfield, graeme missen, helmut wiemann, ursula wiemann, karen bowley, maree missen

This photograph depicts fox behaviour specialist Camille Veselsky demonstrating the use of a fox bait trap at an event conducted as part of an awareness campaign highlighting damage done to farm and domestic animals and native wildlife in April 2004. Camille Veselsky is a specialist in fox behaviour who worked for the Hume Rural lands Protection Board on pest animal control for 27 years. This date is suggested by the photograph's position in the 2004-2005 Wooragee Landcare Group Coordinator's Report folder. A note accompanying the item suggests an alternative date of February 2004, however. This event raised awareness about the impacts of foxes in rural areas and provided practical training in techniques to control their populations. Flyers contained in the parent folder suggest that baiting may have been agreed as a method of fox control as the event depicted was followed by a two week baiting campaign a fortnight later. Pictured in the photograph, left to right: unknown, Quentin Mansfield; four unknown people; Mary Prowse; two unknown people; Helmut Wiemann; unknown person. In the folder, the photograph is accompanied by a printed label stating: 'Train foxes to take free feeds before using the 1080. Small traces of fish oil can help attract foxes to the bait station.' Regional areas like Wooragee are susceptible to fox attacks due to the availability of food such as rubbish, scraps, native wildlife and livestock. Foxes can have a huge impact on native wildlife and domestic life as they are known to chew through irrigation systems, dig-up and defecate in gardens, raid rubbish bins and harass other domestic animals. Ground-dwelling native species are particularly susceptible to predation by foxes, which when combined with loss of habitat can endanger these species. Affected species include Speckled Warblers, Plovers, Diamond Firetails, Spotted Quail-Thrushes, Turquoise Parrots, Dunnarts, Bandicoots, Phascogales, skinks, geckos and legless lizards. This photograph is significant as an example of awareness raising and threat control programs undertaken by Wooragee Landcare Group in the 2000s in Indigo Shire.Landscape coloured photograph printed on gloss paper. Reverse: 25 / 2 [HANDWRITTEN] WAN NA 0ANA2N0 NNN+ 1 8743 / [PRINTED] (No.12) / 258wooragee, wooragee landcare group, indigo shire, north-east victoria, fox, foxes, pest control, vermin, conservation, baiting, trapping, farming, wildlife, speckled warblers, plovers, diamond firetails, spotted quail-thrush, turquoise parrot, dunnarts, bandicoots, phascogales, skinks, geckos, legless lizards, camille veselsky

Ural Owls are one of the largest nocturnal birds of prey and are distributed across Northern hemisphere land masses from Scandinavia in the west, across Russia and China to Japan in the east. They average between 500-640mm in length, have large ears, a very long tail, and wing spans up to 1340mm. Ural Owls display reverse sexual dimorphism. They have a range of calls and sounds that vary between regions and among subspecies. Ural Owls prefer mature primary forest habitats that are not too dense, but adapt to a range of environments, including damp heathland and high elevation mountain forests. The species is considered nocturnal but may be more correctly described as ‘cathemeral’, due to frequent daylight activity in the taiga zone. Ural Owls are non-migratory and highly territorial. They prefer to hunt from a perch into open areas of forest, seeking small mammal prey, such as voles, as well as birds, amphibians, and invertebrates. Ural Owls have a broad, rounded head and a well-developed round facial disc with a small V-shaped indentation. They tend to be plain greyish-brown to whitish overall, though some subspecies display darker colour variation. The underparts are pale cream to grey-brown and boldly overlaid with dark brown streaking. Ural Owls lack the richer colour tones of other Strix owls. Their flight style gives the appearance of a large bird. The eyes are dark brown and relatively small, and the bill is yellowish. Tarsi and toes are feathered grey and the talons are yellowish brown with darker tips. 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 Ural Owl is an average sized specimen with a broad, rounded head and characteristic V-shaped facial marking between the eyes. Overall plumage is plain and consistent in colour and pattern, with white, brown and grey streaks. The eyes are large and the bill is small and yellow. This specimen stands on a wooden perch with identification tags attached to its leg.Swing tag: Strix noctua / Athene noctua, [illegible] / near leiden / 26 Mai 1860. / Holland / Other tag: N38 / Strix noctua / Holland. / Metal tag: 4062 /taxidermy, taxidermy mount, burke museum, australian museum, owls, birds of prey, heart-shaped faced owl, nocturnal birds, predator birds, carnivore, territorial owl, animalia, large owl, long-tailed owls, ural mountains, taiga zone owls, cathemeral, monogamous, iucn red list, strix, wood owl, attacking owl, long-tailed owl, large-eared owl, owls with facial disc

In 1919 J.B. North, a violinist with the then Melbourne Symphonic Orchestra, and Monsieur Leon Lambert, a French architect, who later designed the Glaciarium Ice Skating Rink, purchased three available farms, Looker's, Wright's and Taylor's, approximately 60 acres, the area running along the creek and being bordered by the present day Ryans Road, Karingal Drive and Sherbourne Road. The farms were used for orchards and market gardens. Leon Lambert designed and built two homes on the farm site, one for the North family, ‘Tralford’, and the other, ‘Glen Ellen’, for himself and his wife. The homes were considered as "brother and sister" and they each included in their design an identical bay window in the main living area. "Glen Ellen" originally comprised kitchen, lounge room, inglenook, dining room, bath room and sleepout. Although the home has been extended over the years, much of the original architecture has been retained including timber panelling and three fireplaces. The land was subdivided in approximately 1966 with "Glen Ellen" retaining approximately one half acre of land fronting Meruka Drive. The property then passed from the Charleston family to Gerald and Margaret Sutton in 1976 and again was sold in 1980 and lastly sold again in 1994. The Norths named their house 'Tralford'. According to Marjorie North, the name Meruka was suggested by Alan Gardner and so was apparently not used by the North family. The name appears to be of Indian origin and its connection with the land is not known. ‘Tralford’ stayed in the North family for many years. Eltham Council acquired the house to create Meruka Park. The house was used for some years by the Council as a community arts facility and as emergency accommodation. It fell into disrepair and was demolished about 1990. The Meruka Child Care Centre has been built on the site and incorporates some of the architectural features of the old house. The Co-op was opened in April 1994. The original drive flanked by large old cypress trees remains. These trees are considered to be of local heritage significance and for this reason Meruka Park is covered by a Heritage Overlay under the Nillumbik Planning Scheme. Part of the park has been preserved as habitat for rare local flora. LL's house, named ‘Glen Ellen’, remains in a well-preserved state and fronts Meruka Drive.cr pam sladden, eltham, meruka child care co-operative, meruka house, meruka park

In 1919 J.B. North, a violinist with the then Melbourne Symphonic Orchestra, and Monsieur Leon Lambert, a French architect, who later designed the Glaciarium Ice Skating Rink, purchased three available farms, Looker's, Wright's and Taylor's, approximately 60 acres, the area running along the creek and being bordered by the present day Ryans Road, Karingal Drive and Sherbourne Road. The farms were used for orchards and market gardens. Leon Lambert designed and built two homes on the farm site, one for the North family, ‘Tralford’, and the other, ‘Glen Ellen’, for himself and his wife. The homes were considered as "brother and sister" and they each included in their design an identical bay window in the main living area. "Glen Ellen" originally comprised kitchen, lounge room, inglenook, dining room, bath room and sleepout. Although the home has been extended over the years, much of the original architecture has been retained including timber panelling and three fireplaces. The land was subdivided in approximately 1966 with "Glen Ellen" retaining approximately one half acre of land fronting Meruka Drive. The property then passed from the Charleston family to Gerald and Margaret Sutton in 1976 and again was sold in 1980 and lastly sold again in 1994. The Norths named their house 'Tralford'. According to Marjorie North, the name Meruka was suggested by Alan Gardner and so was apparently not used by the North family. The name appears to be of Indian origin and its connection with the land is not known. ‘Tralford’ stayed in the North family for many years. Eltham Council acquired the house to create Meruka Park. The house was used for some years by the Council as a community arts facility and as emergency accommodation. It fell into disrepair and was demolished about 1990. The Meruka Child Care Centre has been built on the site and incorporates some of the architectural features of the old house. The Co-op was opened in April 1994. The original drive flanked by large old cypress trees remains. These trees are considered to be of local heritage significance and for this reason Meruka Park is covered by a Heritage Overlay under the Nillumbik Planning Scheme. Part of the park has been preserved as habitat for rare local flora. LL's house, named ‘Glen Ellen’, remains in a well-preserved state and fronts Meruka Drive.eltham, meruka child care co-operative, meruka house, meruka park, cr. peter graham, peter staples, richard allen, sheryl garbutt, bill penrose

In 1919 J.B. North, a violinist with the then Melbourne Symphonic Orchestra, and Monsieur Leon Lambert, a French architect, who later designed the Glaciarium Ice Skating Rink, purchased three available farms, Looker's, Wright's and Taylor's, approximately 60 acres, the area running along the creek and being bordered by the present day Ryans Road, Karingal Drive and Sherbourne Road. The farms were used for orchards and market gardens. Leon Lambert designed and built two homes on the farm site, one for the North family, ‘Tralford’, and the other, ‘Glen Ellen’, for himself and his wife. The homes were considered as "brother and sister" and they each included in their design an identical bay window in the main living area. "Glen Ellen" originally comprised kitchen, lounge room, inglenook, dining room, bath room and sleepout. Although the home has been extended over the years, much of the original architecture has been retained including timber panelling and three fireplaces. The land was subdivided in approximately 1966 with "Glen Ellen" retaining approximately one half acre of land fronting Meruka Drive. The property then passed from the Charleston family to Gerald and Margaret Sutton in 1976 and again was sold in 1980 and lastly sold again in 1994. The Norths named their house 'Tralford'. According to Marjorie North, the name Meruka was suggested by Alan Gardner and so was apparently not used by the North family. The name appears to be of Indian origin and its connection with the land is not known. ‘Tralford’ stayed in the North family for many years. Eltham Council acquired the house to create Meruka Park. The house was used for some years by the Council as a community arts facility and as emergency accommodation. It fell into disrepair and was demolished about 1990. The Meruka Child Care Centre has been built on the site and incorporates some of the architectural features of the old house. The Co-op was opened in April 1994. The original drive flanked by large old cypress trees remains. These trees are considered to be of local heritage significance and for this reason Meruka Park is covered by a Heritage Overlay under the Nillumbik Planning Scheme. Part of the park has been preserved as habitat for rare local flora. LL's house, named ‘Glen Ellen’, remains in a well-preserved state and fronts Meruka Drive.eltham, meruka child care co-operative, meruka house, meruka park, cr. john cohen

In 1919 J.B. North, a violinist with the then Melbourne Symphonic Orchestra, and Monsieur Leon Lambert, a French architect, who later designed the Glaciarium Ice Skating Rink, purchased three available farms, Looker's, Wright's and Taylor's, approximately 60 acres, the area running along the creek and being bordered by the present day Ryans Road, Karingal Drive and Sherbourne Road. The farms were used for orchards and market gardens. Leon Lambert designed and built two homes on the farm site, one for the North family, ‘Tralford’, and the other, ‘Glen Ellen’, for himself and his wife. The homes were considered as "brother and sister" and they each included in their design an identical bay window in the main living area. "Glen Ellen" originally comprised kitchen, lounge room, inglenook, dining room, bath room and sleepout. Although the home has been extended over the years, much of the original architecture has been retained including timber panelling and three fireplaces. The land was subdivided in approximately 1966 with "Glen Ellen" retaining approximately one half acre of land fronting Meruka Drive. The property then passed from the Charleston family to Gerald and Margaret Sutton in 1976 and again was sold in 1980 and lastly sold again in 1994. The Norths named their house 'Tralford'. According to Marjorie North, the name Meruka was suggested by Alan Gardner and so was apparently not used by the North family. The name appears to be of Indian origin and its connection with the land is not known. ‘Tralford’ stayed in the North family for many years. Eltham Council acquired the house to create Meruka Park. The house was used for some years by the Council as a community arts facility and as emergency accommodation. It fell into disrepair and was demolished about 1990. The Meruka Child Care Centre has been built on the site and incorporates some of the architectural features of the old house. The Co-op was opened in April 1994. The original drive flanked by large old cypress trees remains. These trees are considered to be of local heritage significance and for this reason Meruka Park is covered by a Heritage Overlay under the Nillumbik Planning Scheme. Part of the park has been preserved as habitat for rare local flora. LL's house, named ‘Glen Ellen’, remains in a well-preserved state and fronts Meruka Drive.eltham, meruka child care co-operative, meruka house, meruka park, rob hauser

In 1919 J.B. North, a violinist with the then Melbourne Symphonic Orchestra, and Monsieur Leon Lambert, a French architect, who later designed the Glaciarium Ice Skating Rink, purchased three available farms, Looker's, Wright's and Taylor's, approximately 60 acres, the area running along the creek and being bordered by the present day Ryans Road, Karingal Drive and Sherbourne Road. The farms were used for orchards and market gardens. Leon Lambert designed and built two homes on the farm site, one for the North family, ‘Tralford’, and the other, ‘Glen Ellen’, for himself and his wife. The homes were considered as "brother and sister" and they each included in their design an identical bay window in the main living area. "Glen Ellen" originally comprised kitchen, lounge room, inglenook, dining room, bath room and sleepout. Although the home has been extended over the years, much of the original architecture has been retained including timber panelling and three fireplaces. The land was subdivided in approximately 1966 with "Glen Ellen" retaining approximately one half acre of land fronting Meruka Drive. The property then passed from the Charleston family to Gerald and Margaret Sutton in 1976 and again was sold in 1980 and lastly sold again in 1994. The Norths named their house 'Tralford'. According to Marjorie North, the name Meruka was suggested by Alan Gardner and so was apparently not used by the North family. The name appears to be of Indian origin and its connection with the land is not known. ‘Tralford’ stayed in the North family for many years. Eltham Council acquired the house to create Meruka Park. The house was used for some years by the Council as a community arts facility and as emergency accommodation. It fell into disrepair and was demolished about 1990. The Meruka Child Care Centre has been built on the site and incorporates some of the architectural features of the old house. The Co-op was opened in April 1994. The original drive flanked by large old cypress trees remains. These trees are considered to be of local heritage significance and for this reason Meruka Park is covered by a Heritage Overlay under the Nillumbik Planning Scheme. Part of the park has been preserved as habitat for rare local flora. LL's house, named ‘Glen Ellen’, remains in a well-preserved state and fronts Meruka Drive.eltham, meruka child care co-operative, meruka house, meruka park, irene bogle

In 1919 J.B. North, a violinist with the then Melbourne Symphonic Orchestra, and Monsieur Leon Lambert, a French architect, who later designed the Glaciarium Ice Skating Rink, purchased three available farms, Looker's, Wright's and Taylor's, approximately 60 acres, the area running along the creek and being bordered by the present day Ryans Road, Karingal Drive and Sherbourne Road. The farms were used for orchards and market gardens. Leon Lambert designed and built two homes on the farm site, one for the North family, ‘Tralford’, and the other, ‘Glen Ellen’, for himself and his wife. The homes were considered as "brother and sister" and they each included in their design an identical bay window in the main living area. "Glen Ellen" originally comprised kitchen, lounge room, inglenook, dining room, bath room and sleepout. Although the home has been extended over the years, much of the original architecture has been retained including timber panelling and three fireplaces. The land was subdivided in approximately 1966 with "Glen Ellen" retaining approximately one half acre of land fronting Meruka Drive. The property then passed from the Charleston family to Gerald and Margaret Sutton in 1976 and again was sold in 1980 and lastly sold again in 1994. The Norths named their house 'Tralford'. According to Marjorie North, the name Meruka was suggested by Alan Gardner and so was apparently not used by the North family. The name appears to be of Indian origin and its connection with the land is not known. ‘Tralford’ stayed in the North family for many years. Eltham Council acquired the house to create Meruka Park. The house was used for some years by the Council as a community arts facility and as emergency accommodation. It fell into disrepair and was demolished about 1990. The Meruka Child Care Centre has been built on the site and incorporates some of the architectural features of the old house. The Co-op was opened in April 1994. The original drive flanked by large old cypress trees remains. These trees are considered to be of local heritage significance and for this reason Meruka Park is covered by a Heritage Overlay under the Nillumbik Planning Scheme. Part of the park has been preserved as habitat for rare local flora. LL's house, named ‘Glen Ellen’, remains in a well-preserved state and fronts Meruka Drive.eltham, meruka child care co-operative, meruka house, meruka park, irene bogle

In 1919 J.B. North, a violinist with the then Melbourne Symphonic Orchestra, and Monsieur Leon Lambert, a French architect, who later designed the Glaciarium Ice Skating Rink, purchased three available farms, Looker's, Wright's and Taylor's, approximately 60 acres, the area running along the creek and being bordered by the present day Ryans Road, Karingal Drive and Sherbourne Road. The farms were used for orchards and market gardens. Leon Lambert designed and built two homes on the farm site, one for the North family, ‘Tralford’, and the other, ‘Glen Ellen’, for himself and his wife. The homes were considered as "brother and sister" and they each included in their design an identical bay window in the main living area. "Glen Ellen" originally comprised kitchen, lounge room, inglenook, dining room, bath room and sleepout. Although the home has been extended over the years, much of the original architecture has been retained including timber panelling and three fireplaces. The land was subdivided in approximately 1966 with "Glen Ellen" retaining approximately one half acre of land fronting Meruka Drive. The property then passed from the Charleston family to Gerald and Margaret Sutton in 1976 and again was sold in 1980 and lastly sold again in 1994. The Norths named their house 'Tralford'. According to Marjorie North, the name Meruka was suggested by Alan Gardner and so was apparently not used by the North family. The name appears to be of Indian origin and its connection with the land is not known. ‘Tralford’ stayed in the North family for many years. Eltham Council acquired the house to create Meruka Park. The house was used for some years by the Council as a community arts facility and as emergency accommodation. It fell into disrepair and was demolished about 1990. The Meruka Child Care Centre has been built on the site and incorporates some of the architectural features of the old house. The Co-op was opened in April 1994. The original drive flanked by large old cypress trees remains. These trees are considered to be of local heritage significance and for this reason Meruka Park is covered by a Heritage Overlay under the Nillumbik Planning Scheme. Part of the park has been preserved as habitat for rare local flora. LL's house, named ‘Glen Ellen’, remains in a well-preserved state and fronts Meruka Drive.eltham, meruka child care co-operative, meruka house, meruka park, cr bob manuell, matthew rodscholler

In 1919 J.B. North, a violinist with the then Melbourne Symphonic Orchestra, and Monsieur Leon Lambert, a French architect, who later designed the Glaciarium Ice Skating Rink, purchased three available farms, Looker's, Wright's and Taylor's, approximately 60 acres, the area running along the creek and being bordered by the present day Ryans Road, Karingal Drive and Sherbourne Road. The farms were used for orchards and market gardens. Leon Lambert designed and built two homes on the farm site, one for the North family, ‘Tralford’, and the other, ‘Glen Ellen’, for himself and his wife. The homes were considered as "brother and sister" and they each included in their design an identical bay window in the main living area. "Glen Ellen" originally comprised kitchen, lounge room, inglenook, dining room, bath room and sleepout. Although the home has been extended over the years, much of the original architecture has been retained including timber panelling and three fireplaces. The land was subdivided in approximately 1966 with "Glen Ellen" retaining approximately one half acre of land fronting Meruka Drive. The property then passed from the Charleston family to Gerald and Margaret Sutton in 1976 and again was sold in 1980 and lastly sold again in 1994. The Norths named their house 'Tralford'. According to Marjorie North, the name Meruka was suggested by Alan Gardner and so was apparently not used by the North family. The name appears to be of Indian origin and its connection with the land is not known. ‘Tralford’ stayed in the North family for many years. Eltham Council acquired the house to create Meruka Park. The house was used for some years by the Council as a community arts facility and as emergency accommodation. It fell into disrepair and was demolished about 1990. The Meruka Child Care Centre has been built on the site and incorporates some of the architectural features of the old house. The Co-op was opened in April 1994. The original drive flanked by large old cypress trees remains. These trees are considered to be of local heritage significance and for this reason Meruka Park is covered by a Heritage Overlay under the Nillumbik Planning Scheme. Part of the park has been preserved as habitat for rare local flora. LL's house, named ‘Glen Ellen’, remains in a well-preserved state and fronts Meruka Drive.eltham, meruka child care co-operative, meruka house, meruka park, cr pam sladden, mandy press

In 1919 J.B. North, a violinist with the then Melbourne Symphonic Orchestra, and Monsieur Leon Lambert, a French architect, who later designed the Glaciarium Ice Skating Rink, purchased three available farms, Looker's, Wright's and Taylor's, approximately 60 acres, the area running along the creek and being bordered by the present day Ryans Road, Karingal Drive and Sherbourne Road. The farms were used for orchards and market gardens. Leon Lambert designed and built two homes on the farm site, one for the North family, ‘Tralford’, and the other, ‘Glen Ellen’, for himself and his wife. The homes were considered as "brother and sister" and they each included in their design an identical bay window in the main living area. "Glen Ellen" originally comprised kitchen, lounge room, inglenook, dining room, bath room and sleepout. Although the home has been extended over the years, much of the original architecture has been retained including timber panelling and three fireplaces. The land was subdivided in approximately 1966 with "Glen Ellen" retaining approximately one half acre of land fronting Meruka Drive. The property then passed from the Charleston family to Gerald and Margaret Sutton in 1976 and again was sold in 1980 and lastly sold again in 1994. The Norths named their house 'Tralford'. According to Marjorie North, the name Meruka was suggested by Alan Gardner and so was apparently not used by the North family. The name appears to be of Indian origin and its connection with the land is not known. ‘Tralford’ stayed in the North family for many years. Eltham Council acquired the house to create Meruka Park. The house was used for some years by the Council as a community arts facility and as emergency accommodation. It fell into disrepair and was demolished about 1990. The Meruka Child Care Centre has been built on the site and incorporates some of the architectural features of the old house. The Co-op was opened in April 1994. The original drive flanked by large old cypress trees remains. These trees are considered to be of local heritage significance and for this reason Meruka Park is covered by a Heritage Overlay under the Nillumbik Planning Scheme. Part of the park has been preserved as habitat for rare local flora. LL's house, named ‘Glen Ellen’, remains in a well-preserved state and fronts Meruka Drive.shire of eltham archives, child care centres, health & community services, meruka child care co-operative, peter staples mhr jaga jaga, cr pamela sladden

In 1919 J.B. North, a violinist with the then Melbourne Symphonic Orchestra, and Monsieur Leon Lambert, a French architect, who later designed the Glaciarium Ice Skating Rink, purchased three available farms, Looker's, Wright's and Taylor's, approximately 60 acres, the area running along the creek and being bordered by the present day Ryans Road, Karingal Drive and Sherbourne Road. The farms were used for orchards and market gardens. Leon Lambert designed and built two homes on the farm site, one for the North family, ‘Tralford’, and the other, ‘Glen Ellen’, for himself and his wife. The homes were considered as "brother and sister" and they each included in their design an identical bay window in the main living area. "Glen Ellen" originally comprised kitchen, lounge room, inglenook, dining room, bath room and sleepout. Although the home has been extended over the years, much of the original architecture has been retained including timber panelling and three fireplaces. The land was subdivided in approximately 1966 with "Glen Ellen" retaining approximately one half acre of land fronting Meruka Drive. The property then passed from the Charleston family to Gerald and Margaret Sutton in 1976 and again was sold in 1980 and lastly sold again in 1994. The Norths named their house 'Tralford'. According to Marjorie North, the name Meruka was suggested by Alan Gardner and so was apparently not used by the North family. The name appears to be of Indian origin and its connection with the land is not known. ‘Tralford’ stayed in the North family for many years. Eltham Council acquired the house to create Meruka Park. The house was used for some years by the Council as a community arts facility and as emergency accommodation. It fell into disrepair and was demolished about 1990. The Meruka Child Care Centre has been built on the site and incorporates some of the architectural features of the old house. The Co-op was opened in April 1994. The original drive flanked by large old cypress trees remains. These trees are considered to be of local heritage significance and for this reason Meruka Park is covered by a Heritage Overlay under the Nillumbik Planning Scheme. Part of the park has been preserved as habitat for rare local flora. LL's house, named ‘Glen Ellen’, remains in a well-preserved state and fronts Meruka Drive.shire of eltham archives, child care centres, health & community services, meruka child care co-operative, peter staples mhr jaga jaga, cr pamela sladden

In 1919 J.B. North, a violinist with the then Melbourne Symphonic Orchestra, and Monsieur Leon Lambert, a French architect, who later designed the Glaciarium Ice Skating Rink, purchased three available farms, Looker's, Wright's and Taylor's, approximately 60 acres, the area running along the creek and being bordered by the present day Ryans Road, Karingal Drive and Sherbourne Road. The farms were used for orchards and market gardens. Leon Lambert designed and built two homes on the farm site, one for the North family, ‘Tralford’, and the other, ‘Glen Ellen’, for himself and his wife. The homes were considered as "brother and sister" and they each included in their design an identical bay window in the main living area. "Glen Ellen" originally comprised kitchen, lounge room, inglenook, dining room, bath room and sleepout. Although the home has been extended over the years, much of the original architecture has been retained including timber panelling and three fireplaces. The land was subdivided in approximately 1966 with "Glen Ellen" retaining approximately one half acre of land fronting Meruka Drive. The property then passed from the Charleston family to Gerald and Margaret Sutton in 1976 and again was sold in 1980 and lastly sold again in 1994. The Norths named their house 'Tralford'. According to Marjorie North, the name Meruka was suggested by Alan Gardner and so was apparently not used by the North family. The name appears to be of Indian origin and its connection with the land is not known. ‘Tralford’ stayed in the North family for many years. Eltham Council acquired the house to create Meruka Park. The house was used for some years by the Council as a community arts facility and as emergency accommodation. It fell into disrepair and was demolished about 1990. The Meruka Child Care Centre has been built on the site and incorporates some of the architectural features of the old house. The Co-op was opened in April 1994. The original drive flanked by large old cypress trees remains. These trees are considered to be of local heritage significance and for this reason Meruka Park is covered by a Heritage Overlay under the Nillumbik Planning Scheme. Part of the park has been preserved as habitat for rare local flora. LL's house, named ‘Glen Ellen’, remains in a well-preserved state and fronts Meruka Drive.shire of eltham archives, child care centres, health & community services, meruka child care co-operative

The Common Buzzard is part of the buteo genus (Latin for buzzard or hawk) which indicates it is part of the raptor group whose features include a medium to large build, a strong body and larger wings. The family includes birds of prey such as hawks and buzzards. Like their name suggests, Common Buzzards are very ‘common’ in the UK but can also be found in other parts of Europe, Africa and Asia. The birds’ habitat consists of woodland, shrubland, forest, wetlands and countryside, and they can live in cold, tropical and temperate climate zones. Similar to other raptor species, Common Buzzards make their nests in tree branches or tree forks. With finely tuned hearing, they are able to detect small marsupials, and their diet consists of small amphibians, birds and mammals. Normally solitary, these raptors can occasionally be seen with others. Common Buzzards are classified as of ‘Least Concern’ on the IUCN Red List. While there is some noticeable fading of this particular taxidermy specimen’s plumage, it is relatively well presented. The completely black eyes and string through the nose of the specimen seem to be taxidermy/curatorial choices, as this is not something that is normally found on living versions today, and the eyes of Common Buzzards are normally golden eyes with black pupils. It is interesting to note, when considering the selected artificial eyes, that the original swing tag labeled this specimen as Saleo tinnunculus Lina, a form of kestrel (known to have complete black eyes), which perhaps explains this taxidermist choice. As a Common Buzzard, this particular specimen could have had its frame and breast area bulked out a little more, as birds within the buteo genus are generally recognised to be of medium to large build. Overall however, this is a fairly reasonable and accurate representation of the species. 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.With similar colourings and features to a range of raptor species, the Common Buzzard can often be mistaken for other varieties of buteo and raptor. The bird’s plumage generally varies by location, but normally includes a variety of shades of brown, commonly with darker brown on its back and lighter coloured feathers on its breast, underbelly areas and face. These birds normally have fine bands on their tail and darker tipped wings. Common Buzzards have smaller heads with a band of yellow around the base of their small curved beaks and golden yellow eyes. This particular specimen’s feathers have faded and he stands upon a wooden perch with an identifying tag hanging from its right leg.Swing Tag: Swing tag obverse seems to read: ‘…io [? First few symbols aren’t clear]/ Saleo /tinnunculus/ Lina [there is also another illegible symbol on the tag in the centre on the second line] Swing tag reverse: illegible sections of text and the beginning of a number ‘403…[?]. Metal tag: 1032[?]taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, common buzzard, buteo, hawks, raptors, birds of prey, buzzards

Four species of quoll occur in Australia: the northern, spotted-tailed, eastern and western quolls. Once, most parts of Australia were inhabited by at least one of the species.Captain Cook collected quolls along the east coast in 1770, and recorded "quoll" as their local Aboriginal name. Quolls were often seen by early settlers, who called them "native cat", "native polecat" and "spotted marten", names based on familiar European animals. Since 1770, all four species have declined dramatically in numbers. This is mainly because of habitat loss or change across Australia, and introduced predators such as foxes and cats. Quolls are carnivorous marsupials with a pointed snout, a long tail and brown to black fur distinctively spotted with white. They are lively, attractive animals, with bright eyes, a moist pink nose and many sharp teeth. Like most Australian mammals, quolls are mainly active at night. Typically, they spend the day in one of their many dens, although spotted-tailed quolls and northern quolls sometimes forage and bask in the sunshine. Their large home ranges can extend for several kilometres in each direction from a smaller core range, and the range of a male quoll often overlaps those of several females. An interesting feature of their behaviour is the use of shared latrine (toilet) sites in open spaces such as rock ledges, for marking their territory and other social functions. Male quolls travel widely during the breeding season, with mating occurring during winter. All four species have a gestation period of 21 days. Because they are marsupial mammals, their young are born tiny and undeveloped and must work their way to the pouch, where they attach themselves to a teat to feed. Only the spotted-tailed quoll has a true pouch. In the other species, the young are protected by shallow folds of skin around the teats. As the pups grow, they dangle from the mother's belly; later, she carries them on her back. Quolls reach sexual maturity at one year. They have a naturally short life span, with smaller quolls living an average of only two years, and the larger spotted-tailed quoll about four to five years. The northern quoll is particularly short-lived. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.Average sized quoll with brown fur with white spots on body but absence on the long tail which is furry unlike the smooth body fur. The quoll has a small had with a pointed snout lined with sharp teeth, and thin membraned ears that are slightly covered in fur. The forelegs of the quoll are slightly smaller than the hindlegs, with all four legs featuring sharp clawed paws.On mounting board: BMM5984/ On Catalogue Tag (attached to left hindleg): Native Cat./ Catalogue. Page 50./ burke museum, taxidermy, taxidermy mount, fauna, animal, animalia, reynell eveleigh johns, quoll, native cat, dasyurus