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Orbost & District Historical Society
black and white photograph
This photograph shows Sam Lynn with his team of Clydesdales. Samuel James Lynn was born in 1865 in Coleraine, Northern Ireland. His father was James Lynn and his mother was Mary Jane Keith. Sam, as he was known, was the second of three brothers, his older brother being William and his younger brother was John Wilson Lynn. (info. Margaret Hollands) Samuel Lynn was a well-known Orbost pioneer. He owned much property throughout the district , bred Clydesdale horses and fattened about 600 cattle. He was in great demand as a judge of both cattle and horses at agricultural shows in Victoria and interstate. He was a shire councillor for 30 years and president several times. He took a great interest in the sporting clubs of the town and played cricket until late in life. He was goal umpire for the local football team for many years, judged for the Orbost Racing Club and was the first president of the Orbost Bowls Club. He was also a member of the first municipal band. Sam Lynn was a well-known Orbost pioneer. The Lynn family has a long historic connection with the Orbost agricultural history.A small black / white photograph of four men, two standing and two sitting, in a horse draw buggy. Four large horses are harnessed to it.lynn-sam transport-horse-drawn clydesdale-horses -
Orbost & District Historical Society
framed photograph, 1971
Mary Isabelle Gilbert was born in 1905, the daughter of John and Annie (nee Cameron) Gilbert. She had seven sisters and one brother. Four siblings died at a young age. She died in 1989 aged 84. .She was a teacher historian loved and respected by her family and the wider community. Mary Gilbert was not only the founder of the Orbost Historical Society and Museum but was a teacher at bhe Orbost High School for many years. She contributed much to the community as she was involved in so many aspects of it. Mary Isabelle Gilbert was born in 1905 in Orbost, Australia. She was born to John Gilbert and Annie Cameron Gilbert. She was a teacher historian loved and respected by her family and the wider community.A black / white photograph of an elderly women accepting an award from a young womanl. Below the photograph is a medal and inscription on a light blue buff card. This is all inside a light blue wooden frame with gold edging.on front - "British Empire Medal, Miss M. Gilbert for Services to Orbost High School and Education in Greneral"gilbert-mary-orbost -
Orbost & District Historical Society
black and white photograph, C1906
This is a photograph of John Draffin and his family. John Draffin was for a time the Orbost Shire Secretary. John Draffin came to Australia as a child with his parents from the north of Ireland . He came to Orbost in 1894 and was Shire Secretary from then until 1910 He had four children: Andrina, Eva, George, Maggie, Sally and Nellie. "Mr Draffin was 67 years of age when he died. He had for many years been engaged in farming pursuits, and at one time held the position of champion plough- man of Victoria. In his younger days he used to make it his boast- that although he was a small man he could do as much work as a big one Some thirty odd years ago be took up land in South Gippsland, but in 1895 gave up farming, and was appointed secretary to the Orbost shire, a position which he held until he was compelled by failing health to resign." - from Snowy River Mail 1 August 1912.John Draffin was a prominent Orbost citizen involved in many community activities.A black / white studio photograph of a family - mother father and six children. The parents are seated with the youngest child, other children are standing.draffin-john orbost-shire-secretary -
Orbost & District Historical Society
framed photograph, early 20th century
John Rowe began his teaching career at Orbost and Jarrahmond in 1886, a career which continued at Orbost until 1908 when he retired due to ill health. He began teaching at Orbost, (initially part-time with Jarrahmond) on 10th May 1886, following the very short tenure of the first appointee, Campbell MacKay. (more information Newsletter June 2018 - Lois Crisp)This item is associated with the history of education in the Orbost district.A large enhanced photograph in black / white of the head and shoulders of a moustached man in a suit.on front - "John Rowe Esq, First Head Teacher of Orbost State School"rowe-john education-orbost -
Orbost & District Historical Society
black and white photographs, Snowy River Mail, October 1987
In 3098.1 from L-R are John Pritchard and Graeme Rodier. Jeff Wilson is in 3098.2. Both photographs are connected to Adult Learning TAFE and CEP. These photographs were taken at the Curriculum and Technology in Schools workshop held in Bendigo, Victoria in October 1987. Eighty rural primary schools were involved including many from East Gippsland. From the Snowy River Mail; " A large number of technologies was......demonstrated at the conference. Participants were given hands on experience with audio and computer conferencing, CD Rom. an Invicon booth ( individual video console (INVICON) enables any teacher to produce short, relevant teaching videos for individual pupils without assistance), packet radio, videodisk, robotics and many more...." This is a pictorial record associated with education in Orbost.Two black / white photographs of two men seated at a desk with computers. The man on the right is holding a phone.education-east-gippsland tecnology -
Orbost & District Historical Society
black and white photographs, Snowy River Mail, second half 20th century
These photographs were taken at the Country Education Project's conference at Dinner Plain, Victoria. The Country Education Partnership (CEP) has been working in the area of rural and remote education for over three decades. It was initially established in Victoria during 1977 and in 2012 it changed its name from Country Education Project. In 3098.9 are Al Balfour (Far East Gippsland Area Coordinator CEP); John Pritchard (Orbost); and Kennie Ellis (Ministry of Education) at FEAST at Dinner Plain. In 3098.10 are: Rod Falconer (Genoa PS); Al Balfour (FEG Coordinator); Jeff Neale ( Club Terrace PS); Lorraine Wylie(Ottways?) and Naomi Ellis (Ministry of Education). They are sharing information at CEP's Dinner Plain conference. In 3098.11 are the East Gippsland representatives at the Country Education Project's Dinner Plain conference. L-R are Al Balfour (far East Gippsland Area CoordinatorCEP); Jeff Neale (Club Terrace)PS); Henrie Ellis ( Ministry of Education); John PritchardThese photographs are pictorial records associated with education in East Gippsland.Three black / white photographs associated with adult education in Orbost.. education-east-gippsland country-education-project balfour-al -
Learmonth and District Historical Society Inc.
Boxed Gold Scissors, "Circa 1937"
Presented to Mrs. H.J.Wheeler with the compliments of the State Electricity Commission of Victoria, Electricity Supply Department, Ballarat Branch, on the occasion of the "Switching On" of the Electricity Supply to Learmonth,19th March,1938.A pair of scissors that were used to "switch on" the electricity supply to Learmonth on the 19th March 1938. Gold Scissors in black box, with blue and white lining.Johns and Johnsonlearmonth, boxed gold scissors, electricity -
Learmonth and District Historical Society Inc.
Photo - Dalgleish/councilors, Richards & Co.Photos.Ballaarat, Cr. J.Dalgleish Esq. and Councilors, 1883-84, "circa 1884"
This collection of photos is of President John Dalgleish Esq.and all councilors for the year 1883-84. Councilor Dalgleish was elected to council in 1866-72 and 1880-87,serving three terms as President1869-70,1883-84,1884-85. The other councilors represented are J.W.D.Innes,J.King,A.Findlay,G.Rennie,J.Baird,F.Edwards,J.Spiers,W.Uren M.L.A. and secretary L.Bregenzer.Original collection of photos of councilors taken "circa 1884"A collection of photos of President J.Dalgleish Esq. and all councilors for the year 1883-84. The Frame is wide brown with decorative carving to the outer edges and "gold" paint on the inner plain edge. The photos are oval with gilt on edge of "cutout" and set in a circle around the inscription PRESENTED by the President J.DALGLIESH ESQ. to the BALLAARAT SHIRE COUNCIL 1883-84.Around each photo is a fine black line "linking" each.The mount is very light "tan"in colour.At the base is the name Richards & Co.Photos, Ballaarat.PRESENTED by the President,J.DALGLEISH ESQ.TO THE BALLAARAT SHIRE COUNCIL.1883-84.baird j, ballaarat shire council 1883 84, dalgliesh john esq, innes j, king j, findlay a, rennie g, edwards f, spiers j, uren w mla, bregenzer l -
Learmonth and District Historical Society Inc.
Photo - Innes, Richards & Co. Photos Ballaarat, Councilor J.N.O.Innes,Councilor 1883-84, "circa 1884"
Councilor John.N.O.Innes was elected to council in 1878 - 87.He did not become President during that time.Section of Original photo of all councilors for the year 1883-84.This Sepia ,oval photo of Councilor John.N.O. Innes,is part of a collection of all councilors for the year 1883-84.It is in a light tan mount with "gold" edging around the photo and a fine black line around the "cutout".It is at the bottom left corner of the circle of photos.Councilor Innes name is inscribed under the photo. PRESENTED by the PRESIDENT,J. DALGLEISH ESQ. to the BALLAARAT SHIRE COUNCIL. 1883-84. ballaarat shire council, john n o innes 1883 84 -
Learmonth and District Historical Society Inc.
Photo - King, Richards & Co. Photos Ballaarat, Councilor John King.1883-84
Councilor John King was elected to council in1875-78 and again in1883-89.He served one term as President in1887-88.He was a resident of Burrumbeet.This original photo forms part of collection of photos of all councilors for the year 1883-84. Photo of Councilor John King is in Sepia and oval in shape,it is gold around the edge of cutout and mount is light tan, there is a fine black line around photo.It is second from bottom on left hand side of collection of photos of all councilors for 1883-84.Councilor King's name is enscribed at the bottom of photo.PRESENTED by the PRESIDENT J.DALGLEISH ESQ.to the BALLAARAT SHIRE COUNCIL. 1883-84.ballarat shire council, 1883 84, john king, burrumbeet -
Orbost & District Historical Society
Photograph - Catholic Church, Orbost
This photograph is of a group of Orbost children and a Catholic Priest, Fr. Spiteri, taken in association with a ceremony of confirmation at St Josephs Catholic Church, Orbost. The building in the background is the nunnery/priest's residence in Browning Street, Orbost. This building is still in existence (2023) though now privately owned. It is located adjacent to the Catholic Church. Indicated the continuing significance of the Catholic Church in Orbost. A b/w photograph of 12 children and one man. This group of people is posted in front of tree and a two-story building in the background. The man is dressed in black with a white collar and the children have white dresses and white shirts and black trousers. Many of the girls are wearing white veils over their hair.On back of photo: Back row L-R Cheryl Fourter, Tony Fourter, Sharon Barr, Father Spiteri, Fred Jonkers, Catherine Murphy, Tom Robinson. Front row L-R Josephine McMahon, Michael Young, Louise Shanahan, John Sanna, Geoffrey Fourterst josephs catholic church, orbost -
Orbost & District Historical Society
card wallet, first half 20th century
Research by O.D.H.S. suggests that the 'Oliver' who received this wallet from 'John' is likely Oliver George Scott but the identity of 'Jack' or 'John' is unknown. Oliver G Scott was born 19/2/1880, enlisted 13/9/15 after examination by Dr Kerr of Orbost, returned 7/5/19, died 3/8/1920, buried in Bairnsdale. His name is on the Orbost Roll of Honour. He was one of four Scott brothers who enlisted with three of the four dying in action. The Scott family lived at Ensay. A fifth son John was not accepted on medical grounds. Prior to enlisting, Oliver is described as a sawmiller and a single man. This is a personal item with high significance because it was owned by a man who enlisted from Orbost for World War I. It was a gift from one soldier to a mate during World War I and has personal inscriptions.A square black leather card wallet with metal binding and clip. It has two flat leather pouches inside.In pen - "From John to Oliver for birthday 18.2.18. Salisbury Road Fovant England Jack killed 4.4.18wallet -
Orbost & District Historical Society
black and white photograph, 1.3.1921
In 1861 the Lake Tyers Mission Station was established by the Church of England missionary Reverend John Bulmer, to house some of the Gunaikurnai survivors of the conflict. The peninsula, which has a lake on each side, was known to its traditional owners as Bung Yarnda.A black/white photograph of an older bearded Aboriginal man in a suit sitting in front a leafy bush. The photograph is glued onto cardboard with a black frame."Black Andy of Lake Tyers ORBOST 1/3/21" L.G.W. photo 741lake-tyers aboriginal-mission -
Orbost & District Historical Society
vase, first half 20th century
Belonged to Mary Gilbert who was a passionate local historian. She was awarded a British Empire medal in recognition of her work for education and the community. . Mary Isabelle Gilbert was born in 1905 in Orbost, Australia. She was born to John Gilbert and Annie Cameron Gilbert, and had seven sisters and one brother. Four siblings died at a young age. .She was a teacher historian loved and respected by her family and the wider community.This item has aesthetic significance. It was owned by Mary Gilbert, a prominent Orbost personality, the first curator of the Orbost Museum. Handmade, tall carved wooden vase painted red. Bush scene painted black with pokerwork.vase ornament-wood gilbert-mary -
Australian Commando Association - Victoria
Work on paper - Sketch, Corporal Francis John Papworth, Some Independent Attitudes - Katherine 1942, June-July 1942
Drawing done on location by Francis John 'Curly' Papworth whilst serving in Katherine, Northern Territory during World War Two. This work of soldiers is significant as a work produced by a serving soldier on location during WWII and is a unique example of an artistic work showing the men and their surroundings at the time. Strong provenance as part of the family collection. Pencil sketch on white paper of three bare chested male figures, two left profile and one rear view. All attired in shorts and boots. Information relating to the figures and location are written on the work. Signature right hand corner: Papworth 42. Written in pencil at top of page: Some Independent Attitudes/Katherine N.T. 1942, June/July Working in the Q Store. Beneath each figure written in pencil and ink left to right: Figure 1: Maj Percy Black Adamsom Esq. (in blue ink below: Perc Adamson Dec) Figure 2: Reg Moggins, working on his Birthday too! (in blue ink below: ?) Figure 3: You can't mistake this one either! (in blue ink below: Con Nugent, Dec)soldiers, wwii, world war 2, second world war, artists, wartime, francis john papworth -
The Cyril Kett Optometry Museum
Cartoon Drawing, John Nathan, Final Year Optometrical Science Students 1944, 1944 (exact)
The cartoon was drawn by John Nathan, one of the final year students in the first class to graduate with the diploma of Licentiate of Optometric Science from the Australian College of Optometry. His father was Bertram Nathan who played important roles in obtaining registration of optometrists in 1934 and on the Council of the College. John was to become Director of Studies from 1950 to 1964 and President of the College from 1969 to 1978. He also paints in oils.This cartoon is significant to the Australian College of Optometry as a piece of memorabilia from the class of 1944. It is one of only two drawings of optometrists in the Kett collection.Framed ink on paper cartoon drawing of final year Optometrical Science students of 1944 in Melbourne. The characters are depicted playing in an optometric consulting room. It is headed 'Final Year Optometrical Science 1944' and at the lower edge are the names of the students 'John Nathan, Tony "Craniclaw" Douglas, Vans Ovenden and Doug Allen'. Signed by the artist 'John Nathan'.This cartoon drawing depicts final year Optometry students in a contemporary consulting room of 1944. They are shown in typical optometrists' attire of dark trousers, side-buttoning short white coats and PD ruler in the breast pocket. The room has an electric instrument stand, hydraulic patient chair and internally illuminated test chart. The drawing shows the artist's name 'John Nathan' and is mounted in a black frame.Signed by the artist 'John Nathan'students, optometry, optometrical science, cartoon, drawing -
Red Cliffs Military Museum
Framed Photograph, Portrait Sapper Thomas John Gange, World War One
Sapper Thomas John Gange served in the Australian Corps of Signals. He enlisted 10th April 1918 and was discharged 17th November 1919. More information found at http://mappingouranzacs.naa.gov.au/list-enlist.aspx?enlist=Warracknabeal,%20VIC,%20AustraliaThis a reprint of an original photo, low significanceReprint of original black and white studio portrait of man in Australian World War One Army uniform standing with swagger stick set against landscape background, photograph mounted in modern wood frame.Typed information on paper strip at bottom of frame, this information is written on back of photograph."Typed information on paper strip at bottom of frame this information is also written on back of photograph.'55152 Sapper Thomas John Gange/ ACSC/ Enlisted 10th April 1918 Discharged 17th November 1919"of, world war one, australian, sapper, studio portrait, uniform world war one, thomas john gange, signals army australia, 1918, 1919, corps, signals, swagger stick -
Ringwood and District Historical Society
Photograph - Black and White, Winnington Grammar School, Ringwood, Class Photo, 1931 Term 3
B&W Class photo in front of Winngton Grammar School, 35 Ringwood St, Ringwood. Handwritten on reverse: 1931, term 3. Back Row: Helen Newell, Joyce Covell, June Miles, Majorie Palmer 2nd Row: Doug? Lucas, ? , Frances Gowland, ? , Leila Bielby, Margaret Barrett, Pat Court, Mary Cheong, Meriel Wilmont, Phyllis Prior, Margaret Douglas, ? , Phyllis Holder, John Covell 3rd Row: Keith Hewitt, ?Gordon?, Peter Cheong, ? , Pat Hewitt, ? , Meryl Lucas, Nancy Newell, ? , Winsome, ? , Jack Nethercote, Gordon?, Peter? Cheong, Jack Miles Front Row: ? , Cliff Bielby, Joan Court, ? , Dorothy Nethercote, ? -
Ringwood and District Historical Society
Photograph, Ringwood Councillors -1985
Black and white photograph"Written on back of photograph" Ringwood Councillors -1985 Pat Gotlib, John Caffyn -
The Beechworth Burke Museum
Animal specimen - Common Gull, Trustees of the Australian Museum, 1860-1880
... eveleigh johns bird gull black-headed gull common gull Trustees ...This specimen is a Black-Headed Gull in the adult winter plumage. This plumage is mostly white and grey with a small dark mark on the sides of the head. During the summer months, the plumage on the head of the bird turns a black colour which is called a hood. This species can be found over much of Europe, except Spain, Italy and Greece. It also resides in northeastern Canada, Northeast America and in some of the Caribbean Islands. 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.A pale grey and white coloured Gull standing on a wooden platform. The bill and legs are a pale yellow colour and the toes are webbed. The small eyes are made from glass and black in colour. The specimen has a darker spot of plumage behind the eyes and darker feathers in its tail. Paper tag 1: "28a Black-headed Gull- Catalogue, Page, 43." Paper tag 2: Larus Ridibundustaxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, gull, black-headed gull, common gull -
The Beechworth Burke Museum
Animal specimen - Nankeen Night Heron, Trustees of the Australian Museum, 1860-1880
Nankeen Night Herons reside in Australia wherever there is permanent water. They can often be found in wetlands, shallow river margins, floodplains and parks and gardens. These birds spend the day time roosting in groups among dense foliage and emerge during the night. An adult Nankeen Night Heron is identified by the black cap on its head and a pale breast. This particular specimen has these signs which enable it to be identified as adult. The large eyes of the Nankeen Night Heron are a bright yellow colour which are adapted to night vision. 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.The Nankeen Night Heron has a stocky body and is standing tall on a wooden pedestal and looking towards the upper right. This adult specimen has yellow and black glass eyes and a long pale grey bill. Plumage on the head is black which turns a pale cinnamon on the nape of the neck. The wings are placed along the back of the body and are a light brown. The torso is a pale buff colour. This specimen has nuptial plums which look like they come out of the back of the birds head. These plums are long white feathers which appear during the breeding season.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, nankeen night heron, heron, nocturnal -
The Beechworth Burke Museum
Animal specimen - Nankeen Night Heron, Trustees of the Australian Museum, 1860-1880
Nankeen Night Herons reside in Australia wherever there is permanent water. They can often be found in wetlands, shallow river margins, floodplains and parks and gardens. These birds spend the day time roosting in groups among dense foliage and emerge during the night. An adult Nankeen Night Heron is identified by the black cap on its head and a pale breast. This particular specimen has these signs which enable it to be identified as adult. The large eyes of the Nankeen Night Heron are a bright yellow colour which are adapted to night vision. 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 Nankeen Night Heron has a stocky body and is standing tall on a wooden pedestal and looking forward. This adult specimen has yellow and black glass eyes and a yellow and pale grey bill. Plumage on the head is black which turns a pale cinnamon on the nape of the neck. The wings are placed along the back of the body and are a light brown. The torso is a pale buff colour. This specimen has nuptial plums which look like they come out of the back of the birds head. These plums are long white feathers which appear during the breeding season.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, nankeen night heron, heron, nocturnal -
The Beechworth Burke Museum
Animal specimen - Pacific Black Duck, Trustees of the Australian Museum, 1860-1880
The Pacific Black Duck is also known as the Grey Duck in New Zealand. Despite these names, the plumage of the bird is brown in colour with the occasional cream and small amount of black. This species of Duck is located in all of Australia with the exception of the most arid zones. They can also be found throughout the Pacific region. The Pacific Black Duck resides in a range of different habitats that have some sort of water. These birds feed on aquatic plants, crustaceans, molluscs and aquatic insects. To catch their food, these birds plunge their heads and necks under the water with their rear raising above the top of the water. This technique is termed "dabbing". 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.Despite its name, the Black Duck is largely brown in colouring. It has a mixture of light brown and cream plumage on the neck, face and stomach. The wings and rear of the duck are a darker brown. Each brown feather is bordered with a cream colour which separates the feathers from each other. The top of the head is also dark brown and there is a darker stripe of black colour horizontally on either side of the eye. The specimen has two brown and black glass eyes and a black bill. The legs and webbed feet are a dark brown and black colour. Tied around the left leg is a paper identification tag. The number 134 is inscribed on the left side of the wooden platform on which the bird is standing. This specimen is stocky.3a. / Australian Wild Duck / See Catalogue, Page 38. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, duck, pacific black duck, grey duck, australian duck -
The Beechworth Burke Museum
Animal specimen - Satin Flycatcher, Trustees of the Australian Museum, 1860-1880
The Satin Flycatcher is a small and energetic bird commonly found along the east coast of Australia from far northern Queensland to Tasmania. They are also located in south-eastern South Australia and New Guinea. These birds prefer to reside in tall forests and are fond of wetter habitats like forested gullies but not rainforests. These birds are dimorphic, meaning male and females have distinct forms. The male Satin Flycatcher is blue-black in colouring while the female are brown-grey with a distinct orange band on the chin, neck and breast. 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 Satin Flycatcher is stylised on a wooden platform with a paper tag attached to its leg. This specimen has small glass eyes, wings positioned to its sides and a long straight tail. The colouring on this bird is a brown-grey and cream colour. It has patch of orange feathers on the neck and chin which identify the gender of this specimen. The male has glossy blue-black colouring and lack the orange plumage.33A. / Shining Flycatcher - See Catalogue, Page 13. / 50 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, satin flycatcher, small bird, flycatcher -
The Beechworth Burke Museum
Photograph - Photograph - Reproduction, c1920
This photograph depicts mining operations (in particular, hydrolic sluicing) at Three Mile Mine, Barramutha, during the later periods of mining, 1920s-1950s. Three Mile Mine was a major site of mining activity sating back to the 1850s, although was often not as prosperous as other sites such as those situated on the Woolshed Valley. Many miners would leave Three Mile Mine for better prospects on other claims. The main, most successful 'rush' at Three Mile Mine occurred during and immediately following September 1855. This photograph, however, depicts a much later period.The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray a miner at a sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image, and its related images, it important for its historical significant of labour and mining extraction used for gold during the latter gold rushes in the 1900s. The Beechworth Burke Museum has additional images relating to gold mining in the region which can be analysed and studied alongside images like this one.A black and white rectangular photograph printed on matte photographic paperreverse: 7597.4 / copied from original on loan from Webb (Qld) / Donated Nov 2009 / Baarmutha Three Mile Mine 1920-1950 / Owned by Plain Bros then Parkinsons / John Weir or Jack Cox / Sluicing /mining, barramutha, three mile mine, sluicing, mine, beechworth -
The Beechworth Burke Museum
Photograph
This photograph, taken by Courtney’s Thelma Studios in Wangaratta, depicts Sergeant Arthur Loftus Maule Steele standing in the regalia of the Masonic Lodge. Before his death, Steele was a long term member of the St John’s Lodge of Masons where he was a Past Master and held office of treasurer for over thirty years. He was also a dedicated member of the Church of England and was an Electoral Inspector for Wangaratta. Steele was Sergeant of Police in Wangaratta for much of his life. He was one of 17 children born to Captain Robert Ball Steele and Mary Babington in Tours, France, in 1839. His parents were travelling at the time and soon after settled in Donegal, Ireland. At the age of 12, Steele was sent to the Military Academy of Dublin where he passed his examinations and prepared to enter the British Army. Steele met a bother of Robert O’Hara Burke and was advised to travel to Australia and join as a police cadet. Steele took the advice and travelled to Australia, arriving in Melbourne at the age of 17. He spend some time in a variety of employment including working as a clerk for the White Star Line. He entered the Victorian Police force in 1856. By 1864, Steele married Ruth Ingram Ballinger at Snowy Creek and worked at Omeo until being promoted to the mining centre of Beechworth, taking charge of the Yackandandah Station. Steele and Ballinger had ten children. Steele is well known in Victorian history for a variety of reasons, the most famous being the role he played in capturing Edward “Ned” Kelly at Glenrowan on the 28th June 1880. He also arrested Frank Neville (for the murder of a local resident Mr Nicholls) and Patrick Sheehan (first person to be executed in the Beechworth Gaol 1865 for the murder of James Kennedy at Rowdy Flat Yackandandah). He later worked on the case of Bridget Mepham (charged with the murder of her sister) at Wangaratta and retired from the Police force on the 1st of August 1896. In this retirement, Steele was a keen horticulturalist who enjoyed observing the habits and growth of new varieties cared for in his conservatory. Steele passed away in February 1914. This image has the potential to support current research on Sergeant Steele, the Masonic Lodge and photography during the c.1890s. Sergeant Steele is a well-researched member of the Victorian Police force and is known primarily for his involvement with the Kelly Gang. Therefore, depictions of Steele through photography can help to provide essential information about Steele outside of the Police force. This image has the capacity to inform about Steele’s involvement with the Masonic Lodge in Wangaratta. Therefore, it is important for what it can reveal regarding historic and social aspects. The Burke Museum is home to a large collection of Kelly centred photographs. The study of these photographs in connection to those in other museums have the ability to further current understanding on important figures and events in this historic occasion.Black and White rectangular photograph printed on matte photographic paper and mounted on an oval boardObverse: Courtney's Thelma Studios/ Wangaratta Reverse: 2747portrait, ned kelly, uniform, policeman, wangarratta, sergeant, steele, 1880, photograph, oval, black and white, sergeant steele, arthur loftus maule steele, arthur steele, wangaratta, beechworth -
The Beechworth Burke Museum
Ceremonial object - Message Sticks, Dja Dja Wurrung
These Message Sticks acknowledge the return of Dja Dja Wurrung Cultural material held by the Burke Museum. The Burke Museum is the current custodian of a significant collection of First Peoples’ cultural material from across South-Eastern Australia. These objects were sold to the Museum by Reynold Everly Johns in 1868. We recognise the harm caused by dispossession of cultural material, and by any inappropriate display and interpretation of this collection over the past 150 years. The Burke Museum is continuing to build relationships and collaborate with traditional owners, Aboriginal communities and the museum sector to ensure culturally appropriate outcomes for the collection, including repatriation of objects to communities of origin. Message sticks are a form of communication between Aboriginal nations, clans and language groups even within clans. Traditional message sticks were made and crafted from wood and were generally small and easy to carry (between 10 and 20 cm). They were carved, incised and painted with symbols and decorative designs conveying messages and information. Some were prepared hastily, like you might create a note left on a friend’s desk or a quick text message; others were prepared with more time to make the markings neat and ornate. There were always marks that were distinctive to the particular group or nation sending the message and often marks identifying the relationship of the carrier to their group. This way it could be identified and authenticated by neighboring groups and by translators when the message stick was taken long distances. Two solid cylindrical shaped pieces of wood bound together with black, red and yellow string. Each stick has etchings with angular lines and dots. dja dja wurrung, message sticks, burke museum, beechworth, beechworth museum, repatriation, reynold everly johns -
The Beechworth Burke Museum
Photograph, J. Collins
This photograph was captured sometime between an estimated 1940s-1950s. It depicts the Beechworth Benevolent Asylum (later the Ovens and Murray Hospital for the Aged) which was built in 1862. It is located on an elevated site in Beechworth, Victoria because it was believed the height was beneficial to the health of the patients at the Benevolent. Later wings were added to the original building between 1867 and 1890. The building was constructed in an unusual Flemish Gothic Revival style which contrasts with the classical style of the Mayday Hills Hospital in close proximity to the Benevolent. The Hospital was designed in Italianate Revival architecture. The appearance of buildings like the Mayday Hills Hospital and the Ovens Benevolent Asylum are representative of the importance of Beechworth as a town shortly after the goldrush. During the 1850s and 1860s, administration buildings were erected alongside churches, shops and structures of justice. This marks a movement away from the "chaotic" structure of life on the goldfields and towards a more civilised and cultural lifestyle. This social phenomenon is also witnessed in Melbourne with the creation of buildings like the State Library and the University of Melbourne. The Beechworth Benevolent Asylum was renamed the Ovens Benevolent Home in 1935. The Asylum had been set up to provide accommodation and care for permanently injured gold miners, and for women and children who were penniless, homeless, or whose parents were guests of the state. In 1954 it was renamed as The Ovens and Murray Home (as pictured in this photograph). The purpose of this building was to provide a refuge for the poor and destitute, homeless older men, deserted women and children along with providing care for the mentally ill. These buildings were built at the government's expense and are of great historical and architectural significance.This photograph depicts the Ovens and Murray Home (previously the Ovens Benevolent Home) during the 1940s or 1950s. Since this building is of great historic and architectural significance, photographs like this are especially valuable in reconstructing the use history and any changes/additions to the building over a period of time. This building is important for what it can reveal about society in Beechworth and also architectural styles. This building is made in the Flemish Gothic Revival style which is quite unusual for the 1860s. It is important as an early example of a building constructed for a specific purpose, in the case of this particular building: caring for the aged/destitute. This building is important for research into the civic development of Beechworth as an early Gold Rush town located in Victoria's North-East. During this period, Beechworth was developing as the main center of administration in this region which made it a very influential and quickly developed town. Photographs like this one which depict a building during one period in history can reveal important information for the use and alterations of a building and for preferences in architectural style. It can also be studied for what it reveals about society in Beechworth and compared and contrasted to similar institutions across Australia and with additional photographs in the Burke Museum collection.Black and white rectangular photograph printed on gloss photographic paperBack of photograph. Handwriting: "For John Beckingsale"mayday hills, beechworth benevolent asylum, ovens benevolent home, destitute, gold town, beechworth, victoria, north-east vic -
The Beechworth Burke Museum
Photograph, Saunders, Unknown
The photograph depicts the two-storey building of the Bank of Victoria which was built in 1858 and was replaced in 1867 after a fire destroyed the original building. The branch had originally opened under John Farran in 1856 before the office building was erected in Beechworth. The building was located on the corner of Ford and Camp streets and embodied the dignified appearance of Beechworth during the mid-1800s due to the building's features. The Bank of Victoria was designed by "Smith and Watts" and built from white brick and render, which cost three thousand and seven hundred pounds to construct. The building was inspired by a formal Italian villa, including square-headed windows, cornices, and a parapet. The ground floor consisted of banking chambers, a strong room, and servants' quarters. The residential quarters were located on the second floor.The photograph is significant as it depicts not only depicts a building of importance to the town of Beechworth but it also shows aesthetic significance due to the style it was built in. As the Bank of Victoria was constructed in the classic Italian style, it exemplifies the classic quality and refined manner of this architectural style. This building style represents the image Beechworth held for itself at that time, which was a sophisticated and distinguished town.Black and white rectangular photograph printed on paper.Reverse: 23/80 / Beechworth / (Indecipherable) / Banking to (Indecipherable) / Sydney / “Bank of Victoria” / BMM 8692.1 / [Stamped: ILFORD]bank of victoria, beechworth, banks, beechworth bank, 1858, 1867, ford street, camp street, victoria, john farran, smith and watts, italian architecture, italian style building, brick building, brick, banking, money, fire, building destroyed -
The Beechworth Burke Museum
Animal specimen - Crimson Rosella, Trustees of the Australian Museum, 1860-1880
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. The Crimson Rosella is relatively easy to see as it forages on the ground or among the leaves of eucalypts, with its spectacular combination of deep-crimson, royal-blue and black plumage. However, not all Crimson Rosellas look the same. Along the Murray River, Crimson Rosellas aren’t crimson at all — they are yellow, black and blue, with the yellow feathering replacing the crimson plumage. In southern South Australia they differ again, being roughly intermediate between crimson and yellow, with varying amounts of red and yellow in their plumage. Research featured in the 'State of Australia's Birds 2015' headline and regional reports suggest that the Crimson Rosella may be declining in the East Coast. There are several populations of the Crimson Rosella. Red (crimson) birds occur in northern Queensland, in southern Queensland to south-eastern South Australia and on Kangaroo Island. Orange birds are restricted to the Flinders Ranges region of South Australia, while yellow ones are found along the Murray, Murrumbidgee and neighbouring rivers (where yellow birds meet red birds they hybridise, producing orange offspring). Red birds have been introduced to Norfolk Island and New Zealand.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.There are several colour forms of the Crimson Rosella. The form it is named for has mostly crimson (red) plumage and bright blue cheeks. The feathers of the back and wing coverts are black broadly edged with red. The flight feathers of the wings have broad blue edges and the tail is blue above and pale blue below and on the outer feathers. This particular specimen has lost some feathers in its plumage and its colour is not as bright as that of a live specimen.Label: 77a / Pennant's Parakeet / See catalogue, page 22taxidermy, crimson rosella, bird, australian bird, rosella, crimson