According to the Australian War Memorial, these types of water bottles were used by the Australian Army during the Korean War, Malayan Confrontation and during the early to mid period of the Vietnam War. The metal lids were often replaced with a much quieter rubber lid, as combat experience proved that the metal ones were too loud when opening or closing. This bottle is recorded as being a United States-issued item so may have been collected during the interactions between Australian and American troops in Vietnam. It is also noted as being of Second World War era, which predates the AWM suggestion of Korea.Thin stainless steel water bottle, oval in shape with flat base. Around neck of bottle there is a brown cotton string and khaki woven cord with the press stud at end which would insert into the top of the lid. Bottle has twist-on lid with a hole in the top. Bottle dinted throughout. Canvas carry case is cylindrical in shape with oval-shaped flat base. Pieces topstitched with khaki thread. Back of case is woven khaki with a long pin threaded through the top, bent into inward facing hook shapes at end. Bottle is fastened into case via press studs. There is a subtle pocket in the interior of the case.Press studs read "LIFT/THE DOT"water bottle, equipment, united states, korea, malayan confrontation, vietnam war, 1960s

These trousers are part of a winter mess dress uniform belonging to Bernard Farley during service with the Australian Airforce. Worn in 1978, this trouser style was first developed in the 1950s and continues to be worn as mess uniform in the present day.This item has aesthetic significance and is a representative example of uniform design from the 1950s to present day. This item has clear provenance, having been donated by RSL member and Secretary (2019), Bernard Farley after its use during Bernard’s service in the Airforce. As a former member of the Australian Airforce and member of the Warrnambool ex-service community, Bernard’s uniform has great social significance, telling a broader story of life after service.Dark navy blue dress trousers with cream coloured lining on waistband and pockets; dark synthetic material rectangles are sewn on interior of pants hem on pressed edge. Seven buttons, coloured black, are present on the interior of the waistband and were likely used as attachments for suspenders; reverse of pants rise into two points either side of the spine. Pants are fastened with a black plastic zip and a hook and eye at the top of the fly. Two pockets are present on both left and right hips and one small pocket on the front right hand side near the pelvic bone. Fabric is pleated twice on the front and has two darts on the reverse. Label on interior collar reads “A.G.C.F./VIC. 1978/(arrow symbol)/NO./NAME” Inscription on interior left hand pocket lining reads “992”dress uniform, airforce, commonwealth government clothing factory, uniform

The rocket line faking box with lid has a frame inside with a specifically designed perimeter of faking pegs. The rocket shot line has been faked, or skilful wound, around these pegs to prevent it from tangling. The line is stored in the box, ready for attaching to the line throwing rocket. Some line faking boxes have a false base that is removed before firing the line-throwing pistol, leaving the line to feed out from the box when the rocket is fired. After the line is attached to the rocket the box tilted slightly and faced towards the wreck to allow it to be freely dispatched. The equipment often includes more that one faking box to make allowance for possible errors, broken lines or the need for a heavier line. Saving lives in Warrnambool – The coastline of South West Victoria is the site of over 600 shipwrecks and many lost lives; even in Warrnambool’s Lady Bay there were around 16 known shipwrecks between 1850 and 1905, with eight lives lost. In 1859 the first Government-built lifeboat arrived at Warrnambool Harbour and a shed was soon built to house it. In 1858 the provision of rocket and mortar apparatus was approved for lifeboat stations in Victoria, and in 1864 a rocket house was built to safely store the rocket rescue equipment. In 1878 the buildings were moved to the Breakwater area, and in 1910 the new Lifeboat Warrnambool arrived with its ‘self-righting’ design. For almost a hundred years the lifeboat and rocket crews, mostly local volunteers, trained regularly to maintain their rescue skills. They were summoned when needed by alarms, gunshots, ringing bells and foghorns. Some became local heroes but all served an important role. By the end of the 1950s the lifeboat and rescue equipment had become obsolete. Rocket Rescue Method - The Government of Victoria adopted lifesaving methods based on Her Majesty’s Coast Guard in Great Britain. It authorised the first line-throwing rescue system in 1858. Captain Manby’s mortar powered a projectile connected to rope, invented in 1808. The equipment was updated to John Dennett’s 8-foot shaft and rocket method that had a longer range of about 250 yards. From the 1860s the breeches buoy and traveller block rocket rescue apparatus was in use. It was suspended on a hawser line and manually pulled to and from the distressed vessel carrying passengers and items. In the early 1870s Colonel Boxer’s rocket rescue method became the standard in Victoria. His two-stage rockets, charged by a gunpowder composition, could fire the line up to 500-600 yards, although 1000 yards range was possible. Boxer’s rocket carried the light line, which was faked, or coiled, in a particular way between pegs in a faking box to prevent twists and tangles when fired. The angle of firing the rocket to the vessel in distress was measured by a quadrant-type instrument on the side of the rocket machine. Decades later, in about 1920, Schermuly invented the line-throwing pistol that used a small cartridge to fire the rocket. The British Board of Trade published instructions for both the beach rescue crew and ship’s crew. It involved setting up the rocket launcher on shore at a particular angle measured by the quadrant, inserting a rocket that had a light-weight line threaded through its shaft, and then firing it across the stranded vessel, the line issuing freely from the faking board. A tally board was then sent out to the ship with instructions in four languages. The ship’s crew would haul on the line to bring out the heavier, continuous whip line, then secure the attached whip block to the mast or other sturdy part the ship. The rescue crew on shore then hauled out a stronger hawser line, which the ship’s crew fixed above the whip block. The hawser was then tightened using the block on the shore end of the whip. The breeches buoy and endless whip are then attached to the traveller block on the hawser, allowing the shore crew to haul the breeches buoy to and from the vessel, rescuing the stranded crew one at a time. This rocket line faking box is significant for its connection with local history, maritime history and marine technology. Lifesaving has been an important part of the services performed from Warrnambool's very early days, supported by State and Local Government, and based on the methods and experience of Great Britain. Hundreds of shipwrecks along the coast are evidence of the rough weather and rugged coastline. Ordinary citizens, the Harbour employees, and the volunteer boat and rescue crew, saved lives in adverse circumstances. Some were recognised as heroes, others went unrecognised. In Lady Bay, Warrnambool, there were around 16 known shipwrecks between 1850 and 1905. Many lives were saved but tragically, eight lives were lost.Rocket line faking box with loose fitting lid, painted blue on the outside. Rectangular box has two rope handles within wooden rope holders fixed onto each long side and one at each end. The box has a hook and ring at the base each end for releasing the top from the inserted faking frame. The line faking frame is inside the box. It has seventeen wooden pegs along each long side of the frame and three pegs along each short side. A continuous length of rocket line has been faked around the pegs in a specific pattern.flagstaff hill maritime museum & village, flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, shipwreck, life-saving, lifesaving, rescue crew, rescue, rocket rescue, maritime accidents, rocket crew, beach rescue, line rescue, rescue equipment, rocket firing equipment, rocket rescue equipment, rocket apparatus, beach apparatus, petticoat breeches, breeches buoy, rocket house, rocket shed, lifeboat men, rocket equipment, rocket machine, rocket head, rocket launcher, rocket line, marine technology, line-firing pistol, line throwing gun, beach rescue set, traveller, hawser, faking, faking box, faked line, lady bay, warrnambool harbour, port of warrnambool, volunteer lifesavers, volunteer crew, breakwater, lifeboat warrnambool, rocket rescue method, rocket rescue apparatus, shore to ship, italian hemp, line-throwing pistol, line throwing cartridge, rocket apparatus rescue, stranded vessel, tally board, light line, whip line, endless whip, petticoat buoy, traveller chair, traveller block, her majesty’s coast guard, harbour board, line thrower, line throwing, beach cart, hand barrow, sand anchor, hawser cutter, life jacket, faking board, welsh hand barrow, rocket set, rocket line faking box, faking frame

The rocket line faking box has a frame inside with a specifically designed perimeter of faking pegs. The rocket shot line has been faked, or skilful wound, around these pegs to prevent it from tangling. The line is stored in the box, ready for attaching to the line throwing rocket. Some line faking boxes have a false base that is removed before firing the line-throwing pistol, leaving the line to feed out from the box when the rocket is fired. After the line is attached to the rocket the box tilted slightly and faced towards the wreck to allow it to be freely dispatched. The equipment often includes more that one faking box to make allowance for possible errors, broken lines or the need for a heavier line. Saving lives in Warrnambool – The coastline of South West Victoria is the site of over 600 shipwrecks and many lost lives; even in Warrnambool’s Lady Bay there were around 16 known shipwrecks between 1850 and 1905, with eight lives lost. In 1859 the first Government-built lifeboat arrived at Warrnambool Harbour and a shed was soon built to house it. In 1858 the provision of rocket and mortar apparatus was approved for lifeboat stations in Victoria, and in 1864 a rocket house was built to safely store the rocket rescue equipment. In 1878 the buildings were moved to the Breakwater area, and in 1910 the new Lifeboat Warrnambool arrived with its ‘self-righting’ design. For almost a hundred years the lifeboat and rocket crews, mostly local volunteers, trained regularly to maintain their rescue skills. They were summoned when needed by alarms, gunshots, ringing bells and foghorns. Some became local heroes but all served an important role. By the end of the 1950s the lifeboat and rescue equipment had become obsolete. Rocket Rescue Method - The Government of Victoria adopted lifesaving methods based on Her Majesty’s Coast Guard in Great Britain. It authorised the first line-throwing rescue system in 1858. Captain Manby’s mortar powered a projectile connected to rope, invented in 1808. The equipment was updated to John Dennett’s 8-foot shaft and rocket method that had a longer range of about 250 yards. From the 1860s the breeches buoy and traveller block rocket rescue apparatus was in use. It was suspended on a hawser line and manually pulled to and from the distressed vessel carrying passengers and items. In the early 1870s Colonel Boxer’s rocket rescue method became the standard in Victoria. His two-stage rockets, charged by a gunpowder composition, could fire the line up to 500-600 yards, although 1000 yards range was possible. Boxer’s rocket carried the light line, which was faked, or coiled, in a particular way between pegs in a faking box to prevent twists and tangles when fired. The angle of firing the rocket to the vessel in distress was measured by a quadrant-type instrument on the side of the rocket machine. Decades later, in about 1920, Schermuly invented the line-throwing pistol that used a small cartridge to fire the rocket. The British Board of Trade published instructions for both the beach rescue crew and ship’s crew. It involved setting up the rocket launcher on shore at a particular angle measured by the quadrant, inserting a rocket that had a light-weight line threaded through its shaft, and then firing it across the stranded vessel, the line issuing freely from the faking board. A tally board was then sent out to the ship with instructions in four languages. The ship’s crew would haul on the line to bring out the heavier, continuous whip line, then secure the attached whip block to the mast or other sturdy part the ship. The rescue crew on shore then hauled out a stronger hawser line, which the ship’s crew fixed above the whip block. The hawser was then tightened using the block on the shore end of the whip. The breeches buoy and endless whip are then attached to the traveller block on the hawser, allowing the shore crew to haul the breeches buoy to and from the vessel, rescuing the stranded crew one at a time. This rocket line faking box is significant for its connection with local history, maritime history and marine technology. Lifesaving has been an important part of the services performed from Warrnambool's very early days, supported by State and Local Government, and based on the methods and experience of Great Britain. Hundreds of shipwrecks along the coast are evidence of the rough weather and rugged coastline. Ordinary citizens, the Harbour employees, and the volunteer boat and rescue crew, saved lives in adverse circumstances. Some were recognised as heroes, others went unrecognised. In Lady Bay, Warrnambool, there were around 16 known shipwrecks between 1850 and 1905. Many lives were saved but tragically, eight lives were lost.Rocket line faking box with loose fitting lid, painted black on the outside. Rectangular box has two rope handles within wooden rope holders fixed onto each long side and one at each end. The box has a hook and ring at the base each end for releasing the top from the inserted faking frame. The line faking frame is inside the box. It has seventeen wooden pegs along each long side of the frame and three pegs along each short side. A continuous length of rocket line has been faked around the pegs in a specific pattern.flagstaff hill maritime museum & village, flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, shipwreck, life-saving, lifesaving, rescue crew, rescue, rocket rescue, maritime accidents, rocket crew, beach rescue, line rescue, rescue equipment, rocket firing equipment, rocket rescue equipment, rocket apparatus, beach apparatus, petticoat breeches, breeches buoy, rocket house, rocket shed, lifeboat men, rocket equipment, rocket machine, rocket head, rocket launcher, rocket line, marine technology, line-firing pistol, line throwing gun, beach rescue set, traveller, hawser, faking, faking box, faked line, lady bay, warrnambool harbour, port of warrnambool, volunteer lifesavers, volunteer crew, breakwater, lifeboat warrnambool, rocket rescue method, rocket rescue apparatus, shore to ship, italian hemp, line-throwing pistol, line throwing cartridge, rocket apparatus rescue, stranded vessel, tally board, light line, whip line, endless whip, petticoat buoy, traveller chair, traveller block, her majesty’s coast guard, harbour board, line thrower, line throwing, beach cart, hand barrow, sand anchor, hawser cutter, life jacket, faking board, welsh hand barrow, rocket set, rocket line faking box, faking frame

Cream coloured silk wedding dress with train. Three flat panels at front and side, lined with polished cotton. Centre tightly gathered panel at centre back lined with stiffened cotton.Other panels lined with stiffened cotton above hemline of skirt. Double layer lace insert inside lower edge to hemline. Back opening with four hook and eye fasteners. Deep pocket on side seam at hip on RHS. Three back panels extended below hemline of skirt to form squared edge train. Two hanging tapes inside waist band. Skirt hand and machine stitched. Matching bodice 11400.314.Label stitched inside skirt waistband - ''F.Davey & Co Dress & Mantle makers, View Point, Sandhurst.costume, female, wedding dress skirt

Growing up in Sandringham, Joy Bosomworth learned to sew at the knee of her mother Elsie Myra Keefer, a seamstress. By the time she was an adult, she was making most of her own clothes. She made this shot velvet evening dress, along with a matching stole and bag, in 1961 to wear to a ball at the Royal Melbourne Hospital, where she worked as a radiographer. An evening outfit consisting of a matching dress, stole, bag and gloves. Sleeveless one-shoulder evening dress of blue velvet shot with metallic red. The dress is gathered at the proper left front waist and is lined with red synthetic fabric. Fastens with a zip and hook at the side. Stole of blue velvet shot with metallic red, lined with red synthetic fabric. Handbag made from blue velvet shot with metallic red. The bag has a gold metal frame and clasp, with a shot gold metal chain attached. The interior is red synthetic fabric, with a single side pocket. Elbow-length red nylon evening globes.joy myra bosomworth, joy myra keefer, evening dress, ball gown, 1960s

Negligee set or Wedding trousseau for the marriage of Charlotte Edith (Tottie) Ryder (aunt of donor) to Alfred George Tooke (b 1898 England d 1998) held at Church of England, Thornbury on 13 March 1948.1948 Cream coloured wedding dress comprising a full length petticoat, full length lace skirt and lace peplum top. Petticoat is cream colour with narrow straps with opening on left hand side with two press studs and hooks. Lace skirt is cream coloured full circle with satin waist band, open placket with one pearl button. Lace peplum top has short sleeves with twenty-three cream coloured rouleau loop buttons and a lace bow at the sacrum. It is edged with a net frill. See also Knickers NA4921, Negligee Set NA4922, Horseshoes NA4924 and Wedding Veil NA4925.tooke, wyatt m, wedding

From attached paperwork: 2 medals awarded to Doreen Hooley by the London college Music for Pianoforte Playing 1924 and 1927. Housed in black boxes with blue velvet lining. Marked JA Restall Jeweller Silversmith and Medallist 82 Cambridge St. Birmingham. Doreen St Clair Hooley b Eaglehawk 1912 Father Chas Wood Hooley Mother Margt Helena McMahon Reg No 29117. Married Anthony Taylor Mutton 1940 Reg No 3223. See The Argus (Melbourne, Vic. : 1848-1954) http://nla.gov.au/nlanews-page440306 Doreen Hooley Music Award: Medal awarded by the London College of Music for piano playing 1927. Medal encased in blue velvet in square box. Medal is circular with the words "London College Music" and an image of a female kneeling on front. There is a personalised inscription and musical on the back of the medal. The inside cover of the box has printed "J.A.Restall Jeweller Silversmith and Medallist 82 Cambridge St. Birmingham". Medal is attached to a faded ribbon with fancy metal scroll at the top and bottom of the ribbon. The top metal scroll is attached to blue velvet within the box. The box has a metal rod and hook fastener to open and close.medals, music, piano, london college of music, restall jeweller

Long khaki coloured heavy coat. Thick, sharp angled collars. Right collar has a hook and eye attached in the lapel split. Collar has zig zag stitching and two plastic buttons on each the left and right sides. Each shoulder has a lapel that is fastened with a plastic button. The coat is double breasted. Three buttons on the right side, held in place by metal loops on the interior rather than stiches; mirrored on the left side. Left interior has oval shaped fabric buttoned to the interior with two brown (possibly bakelite) buttons. A larger brown button sits atop the smaller as a means of closing the jacket from the inside. There are two pockets on the front that are angled with the highest point near the centre and the lowest point near the hips. The arms, underarm and upper back section contains an inside khaki coloured lining of thinner, most likely cotton fabric. Above this there is a thin strip of fabric attached at either short end to use for hanging the coat on a hook. At the back of the coat there is a single pleat stretching from the base of the neck to the base of the coat. Approximately half way down the pleat there is a split in the fabric that is fastened with two plastic buttons. At the waist there are two fabric flaps that fasten together at the back with three buttons, also held in place with metal loops on the reverse.Label on interior back lining reads "REGIMENTAL No./NAME" Label on interior of the right "GREATCOATS. G.S. 1946 Patt/SIZE 1/HEIGHT 5'3"/CHEST 34"-36"/BRADLEY'S INDUSTRIES N.S.W./1951" Handwritten on label, "M J Davis"post war, army uniform, great coat, inter war, uniform, military uniform, wool, greatcoats, bradley's industries

Cream coloured taffeta wedding dress. Square yoke at front with spiral bead pattern and tassels of bead across lower edge of yoke. V shaped neckline at back with yoke and tassels. Short sleeves of double layer of net embroidered with flowers. Front and back of bodice of embroidered net. Neckline lined with 10cm cotton lace. Bodice fully lined with cotton fabric. Two vertical side panels of 5cm silk lace from shoulder to waist with triangular shaped tabs (12cm) extending to side seams. 5cm silk lace with 12cm triangular tabs across the waist at back of bodice. Taffeta floor length skirt 5cm lace with 12 cm triangular tabs extends from waist on LHS down to 3cm above hemline and extends across the front in a U shape to side on RHS and then across the back of the skirt in a U shape to the LHS. Triangular insert of embroidered net (45cm at hem) on LHS, from hem to 42 cm above hem. Centre back opening from neckline(25cm) fastened with seven metal hooks and eyes. Satin fabric belt with horizontal pin rtucks fastened with two metal hooks and eyes. Fabric circular buckle (5cm diameter). Lower edge of skirt lined with cotton fabric (14 cm wide). Semi-circular cotton padding stitched under arms.costume, female, cream coloured wedding dress

High round neckline finished with a 2 cm fine striped silk stand-up collar-(this is now severely damaged). One metal hook fastener at the neckline, but no loop remains, although thwere is some evidence of a hand stitched remnant of a loop. Eight rounded buttons (one missing) are bound with silk thread. Sleeves have a fine rouleau piping at shoulder. They are round in shape at the elbow, and finished with a flounce, which is trimmed with 2.5 cm band of contrasting, finely striped silk and a 5 cm wide silver silk braid, as in 11400.975 and 11400.976. A gathered frill and a band of striped ribbon trim the upper edge of the flounce. The striped ribbon, and silver braid trim the front panels, either side of the button opening, and a band of the striped ribbon and silver braid trim the lower edge of bodice.Bodice and sleeves are lined with cream polished cotton, while the lower front panels, which give a peplum type of effect, are lined with cream silk. Centre back panel has a fabric bow, trimmed with the darker striped fabric, and the silver braid bow is 13 cm wide, plus the 5 cm silver braid. Pleated tails of the bow are part of back bodice. An inside 2cm wide cotton tape, with metal hook, and hand stitched loop, fastens around the waistline. Garment is machine and hand stitched. Buttonholes are hand -stitched.costume, female, gold silk victorian bodice

Scarlet wool doublet with yellow stand collar and cuffs and Inverness skirts. Lower edge of collar, left front of doublet, cuffs and Inverness skirts all edged with white piping. Cuffs and skirts are decorated with three rows of doubled, twisted white wool braid; each row completed with a large whitemetal coloured metal "King Edward VII Australian Commonwealth" button of the period 1901-1911. Shoulder straps are scarlet wool with MISSING whitemetal 'VSR' title, a MISSING whitemetal 'letter' title, a small ERVII Australian Commonwealth button on left shoulder, and a small silver coloured metal Victorian Military Forces button on the right shoulder. Seven large buttons at front of tunic (one missing), and two at back waist. Two large brass belt hooks at side waist of doublet. Lower front skirt flaps have welt pockets lined with linen. Body of tunic lined with a white wool mixture, lightly padded around the underarms. Lower skirt flaps lined with a medium weight cream wool twill and upper smaller flaps lined with a finer cream wool twill. Sleeves lined with cream cotton twill and printed in black ink on the centre back lining is '5/8 38'. Collar lined with red wool and neck fastened with a single brass hook and eye over a black patent leather tab.Printed in black ink on the centre back lining is '5/8 38'

Officer's full dress scarlet wool doublet with yellow stand collar and cuffs, and Inverness skirts. Left front of doublet, cuffs and Inverness skirts all edged with white piping. Lower edge of collar, cuffs and skirts are decorated with three rows of doubled, 1/8” silver Russian braid; each row completed with a large whitemetal coloured metal "King Edward VII Australian Commonwealth" button of the period 1901-1911. 5/8” silver lace around top of collar, and top and seam of gauntlet cuff. Silver braid shoulder straps and screw buttons MISSING. Five large buttons at front of tunic (three missing), and one at back waist (one missing). Two large brass belt hooks at side waist of doublet. Lower front skirt flaps have welt pockets lined with linen. Body of tunic lined with a white wool mixture, lightly padded around the underarms. Lower skirt flaps lined with a medium weight cream wool twill and upper smaller flaps lined with a finer cream wool twill. Sleeves lined with cream cotton twill and written in blue ink on lotter right opening lining is '5-7 37'. Collar lined with red wool and neck fastened with two brass hook and eyes. No black patent leather tab at collar.blue ink on lotter right opening lining is '5-7 37'

Social A wedding skirt and bodice in blue satin and blue velvet with gold stripes. The bodice is of blue satin with velvet collar and cuffs. There are 19 pearl buttons at centre front affixed by hooks sewn inside to the backs of the buttons. The buttons commence at 7.5 cm from the top of the collar, the first button of 1cm smaller than the rest of 1.2 cm and buttons are spaced at .8cm apart. The bodice is styled to fit into the waist with a flare over the hips. At the rear there is an opening at centre waist and there is a 15cm x14cm pleated panel inserted with capacity to flare open to 48cm. The bodice is calico lined with extra lining at the underarms. The skirt is made in three layers. The base layer is of brown satin/cotton hemmed in 12 cm blue satin on the outside and blue cotton on the inside. The second layer has a 40 cm pleated base in blue satin with pleats folded to 5cm. This is sewn onto a brown satin/cotton lining reaching to the waist. The outside layer has a velvet panel at front sewn to a 3 cm dark blue satin waist band. The rear of the skirt is gathered into a 6 cm dark blue satin waist band. The pleated satin layer is visible 3 cm below the front velvet panel and the front layer has side openings to 40 cm allowing the pleated layer to show. A 31 cm opening on the RHS of the skirt is affixed with hooks and eyes.In Ink on calico attached label inside bodice "Chris Mackenzie" and calico label in ink on inside of skirt "Mackenzie Christine "clothing, wedding dress, late 19th century

The Pelican is commonly found throughout Australia, Papua New Guinea and Western Indonesia. The large throat pouch plays an important part in the diet of this species. The bill enables the Pelican to locate fish in murky water because of its sensitivity and it also has a hook at the end of the upper mandible which is used for gripping slippery foods. Pelicans work together large flocks to catch food by driving fish into one location by using their large bills and by beating their wings. A wild Pelican may live between ten to 25 years or more. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Pelican is a large specimen of white, black, orange and pink colouring. This specimen has the characteristic elongated bill with a large throat pouch. The bill and throat pouch are a combination of orange and light pink colouring. The neck is pale white which continue onto the specimen's back. The wings are tipped with black and the stomach has light brown colouring. The feet are large and webbed and are stood on a wooden platform. The eyes are made of glass and surrounded by pink coloured folds.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, pelican

Grey Butcherbirds live in wooded habitats, including suburban areas, from the north of Western Australia, across different parts of the top of the country, through to mid-eastern Queensland, and then south along the eastern side of the country all the way down to Tasmania. They have a 'lovely, lilting song', and are fiercely protective of their nests and chicks, swooping at presumed attackers with enough strength to sometimes draw blood. Adult Grey Butcher Birds are typically a light grey colour with dark heads and white underparts. The brown colouring on this animal suggests that it is a young bird, with its grey adult feathers coming in. This bird appears thinner than most Grey Butcher Birds, but it is unclear if this is because of its age or because of inaccurate taxidermy. 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 specimen is particularly special in the Burke Museum Collection as it is part of a male/female pair (see Relationships). Many birds in the collection were originally donated in male/female pairs, but at least one specimen has been lost, leaving these as one of the few surviving sets.This Grey Butcher Bird (likely female, based on size) has a light grey and brown bill with a sharp hook. The majority of the feathers on its back and tail are an olive-brown colour. The feathers of its underparts, the patches on either side of its bill, and two stripes coming up either side of its neck are a yellow-white colour. There are some light grey feathers coming through in small patches, particularly across the back, the top of the underparts, and along the upper half of the legs. The eyes are brown. The bird stands on a brown, wooden perch with a circular bar, curved stand, and circular base. It has an identification tag tied around its right leg.18a. / Collared Crow. Shrike / See Catalogue; Page 10. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, australian birds, butcher bird, butcherbird, grey butcher bird, collared crow-shrike, australian butcherbird, tasmanian butcherbird, tasmania, bird pair

Coat - Khaki colour wool fabric uniform great coat. Double breasted with six buttons. Collar which fastens with buttons and metal hook and eye fastener. Shoulder epaulettes with buttons. Back has full length inverted pleat with lower vent with two buttons (missing) concealed closure - double half belt with two buttons back at waist. Buttons - brown colour plastic. Two inset front pockets with flap. light brown colour cotton half lining and sleeve and pocket lining. three white colour cotton fabric manufacturers label, two inside back below, one inside lower edge left side.Manufacturers information - black ink stamp. Top - "CGCF/Victoria/SIZE 7/ 1965/ ^". Middle - "REGIMENTAL NO./ NAME" Lower - attached only at top - print illegible.uniform, army, great coat, post ww2

Coat - Khaki colour wool fabric Great Coat. Double breasted with eight buttons. Collar which fastens with two metal hook and eye fasteners. Shoulder epaulettes with buttons. Back has top inverted pleat, below waist inverted pleat with lower vent with two button closure. Double half belt with three buttons back at waist. Thirteen gold colour plastic buttons with metal shank to interior brown colour plastic button. Buttons have raised emblem - crown and shield - This is an Officers Coat. Two inset front pockets with flap. Brown colour cotton sateen lining to coat with two concealed pockets. No manufacturers label.uniform, army, great coat

Historically this item would have been used by gold miners, rabbit shooters, mobile "Rag and Bone" traders and other mobile(in caravans and/or horse drawn cart) traders of various small goods and haberdashery. Although marked as not to be used as trade, the isolation and sometimes difficult terrain rules out using larger and more delicate scales. In the early 1900s rough roads and severe weather conditions forced traders to be more flexible in trading with weights and measures. The "close enough is good enough" doctrine was the Australian outback rule of thumb.The significance of this item in the Kiewa Valley during this period demonstrates the slower acceptance of accurate trading measure using the country side principle "my hand shake is my bond". In the Kiewa Valley small quantity commercial undertakings e.g. gold mining, fur pelts and rabbit meat trade did not require bulk weight type scales. Commerce in rural production e.g. fruit and vegetables involved more farmers and their staff in a barter and/or "in kind" payments. This was more so in the depression years 1929 to late 1930s. Self sufficiency was to a large extent more attainable in this region than in the city/ large country town environment. The Australian "fair go" ethical approach to life and commerce was very much ingrained in those living in country regions, like Kiewa Valley as is demonstrated by the not so accurate hand balance, spring loaded scales.This brass "faced" portable Pocket Balance ( Fish Scales) has front plate made from thin pressed brass. The mild steel spring mechanism enclosed by black painted medium gauge steel cover( three quarters cylindrical). Front scale face and rear spring casing fastened by three rivets. Spring loaded marker blade is located in the centre of the front plate. A steel " finger holder" ring is attached at the top of the scale unit from one of two pre drilled holes. The top is for holding the scale upright and the bottom for a hook to dangle the item to be weighed from the bottom. See item KVHS 0223 for similar scales"THE BILLY BALANCE" and at the bottom "MADE IN GERMANY"antique pocket balance, scales, mobile weights, vintage appliances

Wooden tripod mount for lamp, signalling daylight, short range, MK II. The legs are shaped to a point at the bottom and shaped to form a circle when closed. Each leg has a metal fitting attached by metal screws at the top, which supports a circular metal collar fitting for the mounting of the lamp. A khaki coloured stiched canvas webbing with brass buckles is attached at one end to the metal fitting at the top of one leg. The other end has a circular sleeve for using to keep the wooden tripos mount legs closed for storage. One leg has a small brass ring mounted at the top. A metal hook is mounted under the lamp mounting collar.STAND LAMP OR HELIO A MK IItripod, helio, lamp, daylight

Calf length, waisted purple dress of synthetic crepe fabric with elbow length sleeves. U shaped neckline at front. High rounded neckline at back with centre 8 cm opening fastened with two hooks and eyes. Decorative beading at centre of bodice. Flower and leaf patterns. Bodice has two small pleats at waistline on each side . Padded shoulders. Side opening at waist on LHS with 20 cm metal zipper. Same fabric belt with 4 cm fabric covered buckle of different purple colour. Front of skirt has eight gored panels from the waistline. Back of skirt has three panels. Dress unlined.costume, female, calf length purple dress

Cream colour case box. 11007.1 - cream box with 3 sections varying sizes. 11007.2 - nail buffer cream white with two bumps on top. 11007.3 - cream container - empty. 11007.4 - sharp object with carvings - cream colour. 11007.5 - cream stick with two flat sides, one carved, on pointy. 11007.6 - cream handle with hook - metal 11007.7 - nail file with cream/yellow handle - file is rusted with sharp point on top. 11007.8 - long handle cream with curved and flat/straight surface. 11007.9 - same as above, but handle is a darker cream. 11007.10 - pocket knife - two blades - cream - has loop on top - DOES NOT OPEN.11007.3 - says England on bottom

Clothing. Girl's white long sleeved waisted linen jacket. Front opening jacket with 4 cm band from shoulder to waist forming V shaped neckline. Bodice of jacket has 8 cm vertical lace inserts next to the edge of the bands, continuing over the shoulders and down the back of the bodice to the waist. A 16 cm lace insert runs at right angles to the bodice inserts along the top of the kimono cut long sleeves. The sleeves have an 8.5 cm turned back fabric cuff. From the waistline is an ungathered skirt widening slightly at the hem. The front opening is fastened at the waist with one metal hook and cotton loop.Stitched in red cotton inside back of neck 2/4.costume, children's, girl's white waisted linen jacket

Clothing. Cream kid-leather bound on sides and lower edge with a 5 cm wide light blue grosgrain ribbon,mitred at the lower corners. A Vshaped flap, edged on the Vshape, with a 4 cm wide blue ribbon, and attached to the apron at the top edge with a 4 cm wide blue ribbon, folded in half over the top edge. A blue rosette of the ribbon is attached to the centre of the flap, and there is a blue rosette at each side of the lower edge- all are attached by a 1.5 cm diameter blue silk covered button. A blue, 3 cm wide elastic, with silver coloured hook fastens the apron to an elastic held, silver coloured metal loop fastener.Harvey C.Smith Pty Ltd,. 57 Swanston St., Melbourne. MASONIC REGALIA SPECIALISTS.costume, male, lodge apron

Clothing. This garment has been severely damaged - the waistband has been removed, and a 45 cm diameter circle has been cut from the polished cotton lining. There is also fabric damage adjacent to the internal side pocket seam, velvet binding at hem, stiffened linen lines the inside at the hemline - 20 cm deep, and a narrow binding of black velvet encircles the lower hemline. While the waistband has been partly removed, the original two metal hooks, and three metal eyes are still in place. This garment is severely damaged, but it does still give insight into the inner construction of the garment. Ten ''gores'' or sections make up the circle of this skirt.costume, female, full length black skirt

Donated by grand daughter of Edith and Ron Palmer. Bride Ellen Lidgerwood married Ron Mathers on 4 September 1937.The Best Man was the brother of the Groom, George Mathers. The bridesmaid was the sister of the groom, Miss Mathers and the flower girl was the niece of the bride, June Lidgerwood. For full family history and photos of both weddings see Supplementary File NA3817 & NA3818. Dress worn by Ellen at her wedding and Veil worn by both sisters Edith and Ellen Lidgerwood at their wedding ceremonies, Edith in 1936 (see NA3817) and Ellen in 1937Prominent Box Hill families1937 cream seersucker dress featuring a cowl neck and long sleeve, slit at shoulder to create cowl effect. Slim at lower arm to a point over the hand and fastened at seam with press stud. Bodice cut on the cross under the bust. Cut on the cross figure fitting skirt to the floor, complete with long train. On the back is a slit opening fastened with hook and eye and glass clear buttons. Below the slit are eight glass buttons with false rouleau button loops. The train is made of an added detachable piece. Veil worn at both sisters weddings but with different headdresses. Headdress has small circle of flowers and berries. See sister's wedding dress NA3817.costume, female ceremonial