Eastern Rosellas are multi-coloured medium-sized Australian parrots with distinctive white cheek patches. The Eastern Rosella is found throughout south-eastern Australia, from Queensland to Victoria, south-eastern South Australia, and eastern Tasmania. Despite their vibrant colours, Rosellas camouflage well into their surroundings when perching or when on the ground. The Eastern Rosella is found in open woodlands, grasslands, farmlands and remnant bushland. These birds are often found in urban habitats such as parks, gardens and golf courses. Early European settlers encountered the Eastern Rosella at Rose Hill, New South Wales, now Parramatta, and so they called it the Rosehill parakeet which became "Rosehiller", and eventually shortened to "rosella". 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 mature Eastern Rosella has a red head and breast, with a light green belly and distinctive white cheeks. The back is yellow-green with black mottling, the yellow-green turning green then to blue across the wings. The tail feathers are blue/black, with a red base on the underside. This specimen stands upon a wooden platform and has an identification tag tied around its leg.Label: 79/ Rose-hill Parakeet / See catalogue, page 22 taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, rosella, eastern rosella, rosehill parakeet, rose-hill parakeet

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

The white-throated Needletail is a migratory bird, breeding in Central Asia and southern Siberia, and wintering south in the Indian Subcontinent, Southeast Asia and Australia. This large swift is often mistaken in flight for a small predatory bird, but its long curved wings and white markings help to identify it. Needle-tailed Swifts get their name from the spined end of their tail, which is not forked as it is in the more common Swifts of the genus Apus. They build their nests in rock crevices in cliffs or hollow trees. These birds do not like to sit on the ground, spending spend most of their time in the air. 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 white-throated Needletail is predominantly grey-brown in colour. The throat and under tail of he bird are dusky-white. This specimen has a white spot on the lower rim of each of its wings. The eyes are made from glass and the specimen has been styalised standing on a wooden mount.Label: 3a/ Spine-tailed Swift / See catalogue page 7.stormbird, taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, quail, migratory bird, white-throated needletail, needle-tailed swift, spine-tailed swift, hirundapus caudacutus

The Golden Whistler is native to coastal areas of Australia, from Queensland around to Southern Western Australia, including Tasmania. It usually lives in dense forested areas. The males have bright yellow plumage, whilst the females have only pale yellow plumage. The males and females work together to build the nest and raise chicks. They eat spiders and insects. The taxidermy specimen is not a good example of a Golden Whistler. Its feathers are very faded and ruffled. There looks to be some damage on the throat of the specimen. The Golden Whistler has usually vibrant colours, whilst this one is almost white. The colour markings on the bird indicate that it is male; the specimen should be a bright yellow. 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 Golden Whistler has a black head and stripe on chest, brown-grey wings and tail and white patches on throat and neck. The belly is a white-yellow, though significantly faded. Its feathers are quite ruffled and there is sign of damage to the throat. The specimen stands on a wooden stand and has an identification tag attached to its leg. Label: 24a / white throated Thickhead / See catalogue, page 11taxidermy mount, taxidermy, golden whistler, beechworth, burke museum, australian bird

The Rufous-bellied Kookaburra is a large member of the Kingfisher family. It commonly resides in the dense rainforests of lowland New Guinea, Saibai Island, Indonesia, Biak, Maluku/Moluccas Islands, Papua New Guinea, Melanesia and Queensland in Australia. This is unlike other species of Kookaburra which commonly prefer to reside in locations of open country. Another aspect which makes this bird unique to other Kookaburra is its tendency to live in pairs and not in family groups which is typical of other Kookaburras. In the case of the Rufous-bellied Kookaburra, both parents incubate and care for the eggs/chicks. This Kookaburra feeds on small mammals, birds, reptiles and insects. The Rufous-bellied Kookaburra was originally named the Gaudichaud's Kookaburra after the French botanist Charles Gaudichaud-Beaupré. This species of Kookaburra is among the most colorful varieties of the Kookaburra alongside the Spangled Kookaburra. 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 Rufous-bellied Kookaburra is a large Kingfisher with a black coloured cap on the head, white collar around the neck, blue feathers on the wings and rump and a rufous belly. The female Kookaburra has a brown/rufous coloured tail, as is the case for this particular specimen which identifies it as female. This bird has a large white bill and pale coloured legs. The head is a large square shape and the body is stocky.Label: National Museum Victoria / 159a /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, kingfisher, kookaburra, rufous-bellied kookaburra

The Rainbow Bee-Eater is native to Australia, living across the mainland, except in desert areas. Male and female birds are both brightly coloured, the primary difference being the length of their tail streamers. Male Bee-Eaters have longer streamers than the females. They are insectivores and use techniques to remove threats to themselves; eg. they will remove wasp's stingers to avoid the poison. They nest in sand and dig a long tunnel, at the end is a 'chamber' where they lay the eggs. 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 Rainbow Bee-Eater is a uniquely beautiful species of bird with strikingly bright colouring. The plumage is green, blue, chestnut and yellow. The build of this specimen is small and graceful and the bill is slender and curved. This Bee-Eater has two distinct streamers that extend from the base of the tail. The glass eyes provided to this specimen are dark black in colour; however, in life, this specimen has red eyes which contrast with the black stripe of colour that is located from the base of the bill to the ears. Below the black stripe, is a smaller pale blue colour. The throat is orange-yellow and the breast is green. The tail is black with a blue tinge to the plumage closer to the rear of the torso. The colouring on this particular specimen has faded significantly, but it provides a good example of what this specimen looked like while alive.Label: 5a / Australian Bee-Eater / See catalogue page 7 / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, rainbow bee-eater

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 spotted quail thrust is a heavily patterned bird native to Australia. It expresses many calls, including a long, very high-pitched "seeeeeep” and a long sequence of doubled whistles, but the main call in inaudible to humans. Due to their heavy camoflague pattern, they are often very difficult to observe. They are often found on the forest floor. 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 spotted quail thrush is characterised by yellow and brown tones with black spots on the flanks. The females (10056) have a yellow ochre-coloured throat patch. This particular quail has lost its tail feathers. This specimen stands upon a wooden platform and has an identification tag tied around its leg.Label: 43a. / Spotted Ground Thrush / See Catalogue, page 15. /taxidermy mount, taxidermy, burke museum, beechworth, australian museum, spotted quail thrust, quail

The diamond firetail bird is native to inland southeastern Australia, inhabiting woodland regions. It is often described as one of the most stunningly coloured birds of the finch family. The nest is built by both partners but only the female does the weaving. Both partners incubate the eggs and care for the young. 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 diamond firetail finch it characterised by the top of its body being ash brown, with crown, forehead and neck grey. The under feathers are white with a crimson rump. There is a black band across its neck which continues down the flank to be dotted with white. The bill and eye ring are coral, and the legs and feet are dark grey. The female is similar to the male although sometimes smaller. 10057 comprises of one male and one female. This specimen stands upon a wooden platform and has an identification tag tied around its legLabel: 41a./ Firetialed Finch / See Catalogue, Page 15. /taxidermy mount, cancel, taxidermy, burke museum, beechworth, australian museum, finch, diamond firetail

Eastern bluebirds are well-known song birds that live in eastern North America. They are sexually dimorphic, easily recognised by the male's bright royal blue upper plumage, chest of reddish brown and white abdomen. The females is duller in colour than the male, with greyer upperparts and blue tinges to her wings. These Bluebirds, the European variety, are the most common of the three Bluebird species. When not nesting, these birds fly in small flocks around the countryside. Bluebirds feed on small insects including moths, termites and mosquitoes. They also eat grasshoppers, crickets and caterpillars. The Bluebird can spot caterpillars and other insects in tall grass from a distance of over 45 meters. The Bluebird is commonly identified in numerous cultures as being symbolic as a harbinger of happiness. Often in Russian fairytales, the Bluebird is used as a symbol of hope. 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 bluebird (likely Eastern) has a medium brown head and back, a rufous breast, and a cream belly. The bird has blue-tinged wing and tail feathers. The bill is short and has been stylized with the bill partly open to provide the illusion that the bird is making a call. This specimen stands upon a wooden mount and has an identification tag tied around its leg. The bird's plumage has faded since it was first preserved; females generally have duller colouring than their male counterparts but the colour of this particular specimen is paler than it would have been.Label: 122a. Blue-Bird / Catalogue Page 29. / Metal tag: 107taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, american birds, bluebird

The Mistle Thrush is native to Ireland and Scotland, North Africa and parts of Asia. It is known as a large, aggressive and powerful bird. They have several different calls: the main call, given by both sexes, is a dry chattering 'krrrr', louder when the birds are alarmed or excited. There is also a squeaky 'tuk' contact call. 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 Mistle Thrush has a pale grey-brown upperpart and a greyish-white chin. The yellow/buff breast and off-white belly are marked with round black spots. The long tail has white tips on the outer feathers, and the underwing coverts are white. The glass eyes are dark brown and the bill is blackish with a yellow base to the lower mandible. The legs and feet are yellow/brown. There is no plumage differences between the male and the female Mistle Thrush. This particular specimen stands upon a wooden platform and has an identification tag tied around its leg.Label: 111a. / Mistle Thrush / Catalogue, Page 28. / Other Label: 57. / Turdus viscivorus /taxidermy mount, cancel, taxidermy, burke museum, beechworth, australian museum, bird, mistle thrush

The white-browed babbler is a a very active bird and is often found in noisy social groups. It lays two nests: one to lay its eggs in, and a separate nest to roost in. The Babbler is located in dry sclerophyll woodlands throughout mainland Australia. The diet of this species is varied: including insects, spiders and other invertebrates, small amphibians, crustaceans and reptiles. These birds will also eat fruits and seeds. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. The White-browed Babbler is a small bird with dark brown/grey plumage. It has a white throat, a white tipped tail and a long, pointed curved bill. This species have a distinct white brow and dark eye stripe which inspired its name. The specimen stands upon a wooden mount and has an identification tag tied around its leg.Label: 68a. / White-[illegible] Pomatostomus superciliosus /See Catalogue, page 20 /taxidermy mount, cancel, taxidermy, burke museum, beechworth, australian museum, bird, white browed babbler

The spotted pardalote is the smallest of all Australian birds. It has a tendency to nest in a long horizontal tunnel, often dug into the soil of creek banks, the embankments of railway cuttings, and quarries. Its call is characterised by a very clear and repetitive double "ding". The spotted pardalote is common in woodlands and eucalypt forest areas in Australia. 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. One of Australia's smallest native birds, the male spotted pardalotte is covered with small, distinct white spots. Males have a pale eyebrow, a yellow throat and a red rump. Females are similar but have less-distinct markings. 10060 comprises of one male and one female. This specimen stands upon a wooden platform and has an identification tag tied around its legLabel: 14a. / Spotted Diamond Bird / See Catalogue, page 9. /taxidermy mount, cancel, taxidermy, burke museum, beechworth, australian museum, bird, spotted pardalote

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

Photograph taken in the early 1900s at Fiddes Quarry, a granite quarry used as a source of stone for many of Beechworth's historic buildings.This item is of historic significance as it provides evidence of the type of industrial and mining activities occurring historically around Beechworth as well as providing context to the source of the granite used in local buildings.Black and white rectangular photograph printed on matte photographic paperquarry, fiddes quarry, granite, industrial, beechworth, stone

large black and white photograph of a cut rock face with tool markings on some of the rocks. a quarry face.Black and white rectangular photograph printed on matte photographic paperfiddes quarry, rock face

This photograph shows a group of workmen standing outside the Ford Street office of the Ovens and Murray Advertiser in Beechworth. The Advertiser was a local paper, first printed as a weekly in 1855, and then as a daily in 1857. It continues to be printed today, albeit in a different form. The Advertiser was launched by architect Francis Hodgson Nixon with assistance from businessman John Henry Gray, and newspaperman Richard Warren. Warren was sole owner from 1860 until his death in 1906, and it responsible for much of the paper’s success. Its goals included coverage of local events, as well as of global news, and the promotion of economic liberty, arts, and sciences. Beyond these initial goals, the Advertiser was instrumental in local politics, particularly Beechworth’s association with conservatism and constitutionalism in the 1860s and 1870s. Numerous other papers sprung up to contest the Advertiser’s hold during the latter half of the nineteenth-century, but none were able to completely oust it from its post. As well as representing a key chapter in Beechworth’s history, the Advertiser can be used as a key source for the stories and figures of historic Beechworth. This photograph has historic significance for its relationship to the history of the Ovens and Murray Advertiser, which is a key example of of successful nineteenth-century business in Beechworth.Faded sepia rectangular photograph printed on photographic material, mounted on board. Obverse: The Owens and Murray Advertiser Reverse: Parkinson (crossed out) BMM 7725 15/ Failey/ [logo Farrell and Martin Landscape Photographers]ovens and murray advertiser, the ovens and murray advertiser, newspaper, printing, ford street, richard warren, journalism, advertising, 1800s, 1800s beechworth, #beechworth, local business, advertiser, workmen, hats, printers, journalists

This photograph shows a group of workmen standing outside the Ford Street office of the Ovens and Murray Advertiser in Beechworth. The Advertiser was a local paper, first printed as a weekly in 1855, and then as a daily in 1857. It continues to be printed today, albeit in a different form. The Advertiser was launched by architect Francis Hodgson Nixon with assistance from businessman John Henry Gray, and newspaperman Richard Warren. Warren was sole owner from 1860 until his death in 1906, and it responsible for much of the paper’s success. Its goals included coverage of local events, as well as of global news, and the promotion of economic liberty, arts, and sciences. Beyond these initial goals, the Advertiser was instrumental in local politics, particularly Beechworth’s association with conservatism and constitutionalism in the 1860s and 1870s. Numerous other papers sprung up to contest the Advertiser’s hold during the latter half of the nineteenth-century, but none were able to completely oust it from its post. As well as representing a key chapter in Beechworth’s history, the Advertiser can be used as a key source for the stories and figures of historic Beechworth. This photograph has historic significance for its relationship to the history of the Ovens and Murray Advertiser, which is a key example of of successful nineteenth-century business in Beechworth.Black and white rectangular photo printed on paper, unmounted. Copy rather than original. Obverse: The Ovens and Murray Advertiser Inverse 2581 PH246 ovens and murray advertiser, the ovens and murray advertiser, newspaper, printing, ford street, richard warren, journalism, advertising, 1800s, 1800s beechworth, #beechworth, local business, advertiser, workmen, hats, printers, journalists

This photograph shows a group of men standing outside the Ford Street office of the Ovens and Murray Advertiser in Beechworth. This group includes the Advertiser''s manager, Richard Warren, who is bearded man standing in the doorway and who's name is written on the reverse of the photograph. The Advertiser was a local paper, first printed as a weekly in 1855, and then as a daily in 1857. It continues to be printed today, albeit in a different form. The Advertiser was launched by architect Francis Hodgson Nixon with assistance from businessman John Henry Gray, and newspaperman Richard Warren. Warren was sole owner from 1860 until his death in 1906, and it responsible for much of the paper’s success. Its goals included coverage of local events, as well as of global news, and the promotion of economic liberty, arts, and sciences. Beyond these initial goals, the Advertiser was instrumental in local politics, particularly Beechworth’s association with conservatism and constitutionalism in the 1860s and 1870s. Numerous other papers sprung up to contest the Advertiser’s hold during the latter half of the nineteenth-century, but none were able to completely oust it from its post. As well as representing a key chapter in Beechworth’s history, the Advertiser can be used as a key source for the stories and figures of historic Beechworth. As well as managing the Advertiser, Richard Warren's owned or managed multiple businesses in Beechworth, founded the Ovens hospital and Benevolent asylum, invested in local companies, and participated in a range of religious brotherhoods and societies. He married Mary Ann Mitchell when he was twenty-six, and, while the couple were unable to have children, they adopted one son, who began managing the Advertiser in the late-nineteenth century. This photograph has historic significance afor its relationship to the history of the Ovens and Murray Advertiser, which is a key example of of successful nineteenth-century business in Beechworth, and for including an image of Richard Warren, a key figure in the period. Sepia rectangular photograph, faded, printed on photographic material and mounted on board. Obverse: The Ovens and Murray Advertiser Reverse: Or M A/ Printing Office/ Ford Street About 1860/ Beechworth/ R Warren [logo: R & M Harvey/Authorised Newsagents/ and Gift Shop/ Beechworth Phone 114]ovens and murray advertiser, the ovens and murray advertiser, newspaper, printing, ford street, richard warren, journalism, advertising, 1800s, 1800s beechworth, #beechworth, local business, advertiser, workmen, hats, printers, journalists, warren, mary ann mitchell, mary ann warren, 1860s, 1860s beechworth, r warren, r & m harvey

This photograph shows a group of workmen outside the Loch Street Printing Office of the Ovens and Murray Advertiser in Beechworth. The Advertiser was a local paper, first printed as a weekly in 1855, and then as a daily in 1857. It continues to be printed today, albeit in a different form. Initially based on Ford Street, the Loch Street office opened in 1893, after printing facilities were updated. The Advertiser was launched by architect Francis Hodgson Nixon with assistance from businessman John Henry Gray, and newspaperman Richard Warren. Warren was sole owner from 1860 until his death in 1906, and it responsible for much of the paper’s success. He appears in this photo alongside twenty of his staff and is the man standing directly in front of the doorway. When it launched, the paper’s goals included coverage of local events, as well as of global news, and the promotion of economic liberty, arts, and sciences. Beyond these initial goals, the Advertiser was instrumental in local politics, particularly Beechworth’s association with conversates and constitutionalism in the 1860s and 1870s. Numerous other papers sprung up to contest the Advertiser’s hold during the latter half of the nineteenth-century, but none were able to completely oust it from its post. As well as representing a key chapter in Beechworth’s history, the Advertiser can be used as a key source for the stories and figures of historic Beechworth. As well as managing the Advertiser, Richard Warren's owned or managed multiple businesses in Beechworth, founded the Ovens hospital and Benevolent asylum, invested in local companies, and participated in a range of religious brotherhoods and societies. He married Mary Ann Mitchell when he was twenty-six, and, while the couple were unable to have children, they adopted one son, who began managing the Advertiser in the late-nineteenth century. This photograph has historic significance afor its relationship to the history of the Ovens and Murray Advertiser, which is a key example of of successful nineteenth-century business in Beechworth, and for including an image of Richard Warren, a key figure in the period.Rectangular black and white photo printed on photographic material, unmounted. Obverse: Ovens and Murray/ Printing Office Reverse: Ovens and Murray Advertiser Staff 7721/ Beechworth/ BMM 79.15ovens and murray advertiser, the ovens and murray advertiser, newspaper, printing, richard warren, journalism, advertising, 1800s, 1800s beechworth, #beechworth, local business, advertiser, workmen, hats, printers, journalists, warren, mary ann mitchell, mary ann warren, r warren, loch street, 1890s, 1890s beechworth

This photograph shows a small timber house in Wooragee. In 1855, the Ovens district made a shift towards farming development that included the sales of land in the Wooragee Valley. This shift came because of miner's demands and concern about stabilising the area around the goldfield. Continual migration needed to be supported, unlucky diggers needed alternative employment, and there was a lack of affordable fresh produce available on the goldfields. Initially, the cost of land in areas like Wooragee was prohibitive, and miners chose to squat rather than overpay for poor land. Throughout the 1850s and 1860s, land reform was a key topic for miners and politicians, as they attempted to improve land access and protect financial interests. This photograph is an example of rural development in the Wooragee area, showing the cottage, tents, and garden beds. While the date is unknown, the image nevertheless links us to the 1850s-1860s story of rural development in Indigo Shire. Black and white rectangular photo, copy of original, printed on paper. wooragee, timber, timber cottage, corrugated iron, cottage, housing, tents, gardening, farming, farming and agriculture, construction, garden bed, flowers, verandah, squatting, tent, field

In 1906, the Anglo-Australian Brewery Company had purchased the Spring Creek brewery after the death of Frederick Allen. A.A. Billson, M.L.A., by then a director of Anglo-Australian Brewery, then converted the premises into a jam and fruit preserving works. The Beechworth District Jam, Pickle and Fruit Preserving Company Ltd started fruit preserving in 1907. In 1912, the jam works was sold to a Melbourne company, who traded as S.S. Jam Co./S.S. Jam Factory until around 1915. Three rectangular photographs - one sepia postcard and two black and white copies printed on paper3121.1 (reverse): Post Card / Correspondence. [vertical centre-line] Address only. / [stamp placement of rectangular "Kodak.Austral." wordmarks] Employees Beechworth / Jam Factory / about 1900 / 84-213-1 / 3121.1 / 97 2326 / 10 / Factories / 3121.2 (reverse): Employee's / Beechworth Jam Factory / (previously Allens Brewery) / early 1900s / 84-213-1 (Repro) / 3121.2 / Factories / [yellow sticky-note: factories] / 3121.3 (reverse): SS Jam Factory / B'worth Jam Factory / Railway Avenue / B'worth / 97 2326 / PH 213 / 3121.3 / jam, jam factory, railway street, fred allen brewery, frederick allen, a.a. billson, beechworth brewery, 1910s beechworth, beechworth factories, twentieth century beechworth, fredrick allen, beechworth district jam pickle and fruit preserving company ltd, s.s. jam factory, s.s. jam, s.s.jam co., preserves, fruit preserving, the anglo-australian brewery company, anglo-australian brewery company, cordial manufactory beechworth, ecks, spring creek brewery, blackberries

This photograph depicts six men and two horses with carts in the process of constructing a road. The men each stand in a relatively relaxed position, posing for the camera. However, the amount of upturned soil surrounding them suggests the hard work they have endured, armed only with pitchforks and shovels. The creation of new roads in the Beechworth area had become a priority for the Beechworth council in the second half of the nineteenth century. This included connecting roads which radiated out of Beechworth to surrounding towns. This led to the expansion of the local government authority over the surrounding countryside, greatly strengthening Beechworth's central position. The use of horse and cart to take away the removed soil, as well as the style of the men's attire, suggests that this photograph dates back to the late 1800s. It can also be assumed that this photograph was taken somewhere in the surrounding hills of Beechworth. This photograph is historically significant as it provides insight into the rapid expansion of roads in and around Beechworth during the second half of the nineteenth century. Sepia rectangular photograph on matte photographic paper mounted on card Reverse: BMM 2982 / road construction, beechworth roads, 1800s, 1800s beechworth, beechworth hills, horse and cart, beechworth road making, beechworth council roads, road expansion, beechworth surrounding hills

Taken in 1910, this photograph depicts a scene of Bridge road in Newtown, Beechworth. Walking on the road are two men on horseback, one of which is pulling a carriage with a small dog standing beside it. Behind them are a line of small buildings and shops. Small industries began to expand dramatically in Beechworth, particularly during the 1860s, leading to a strengthening of the towns economy. As early as 1853, areas surrounding the waterway known as Spring Creek were surveyed with the intent of mapping out plans for new roads and building allotments. Land was sold and new buildings were erected, creating an expansion of the Beechworth township and retail services. One building shown in this photograph is Straughair and Duncan's Beechworth Foundry. This business was established in 1858 through the partnership of Mark Straughair and John Duncan. It dealt mostly in the manufacturing of castings and mining machinery, receiving orders from all over the Ovens district. The Business eventually collapsed after the deaths of Straughair in 1882 and Duncan in 1896 but was reopened by W.H. Phillips in 1905. The two other buildings are both associated with the name McKenzie. Evidence suggests that the McKenzie family has a long association with the town of Beechworth. This photograph is historically significant as it provides insight into the nineteenth and twentieth century industrial expansions that happened in the area of Newtown, leading to the urbanisation of Beechworth. Black and white rectangular photograph printed on matte photographic paper mounted on card.Reverse: Newton / 1997.2648 / 33 Newton Beechworth / 84-219-1 / McKenzies / BMM3055 / newtown beechworth, bridge road, 1910, j. duncan, r. mckenzie, m. straughair, industrial growth, ford street, beechworth foundry, straughair and duncan, mckenzie and sons grainstore, mckenzie family store

Taken in 1994, this photograph depicts the reunion of four women, all of whom were former workers at the Beechworth Shoe Factory. Pictured from left to right are: Nettie Maher, Beryl Pope, Alice Adams and Leila Doig. Nola (Nettie) Maher, who donated this photograph to the museum in 2001, was born in Beechworth on the twenty-first of December 1935. She is one of the many - primarily women - workers employed by the Beechworth Shoe Factory (also known as Pitman's Shoe Factory). Once located on Ford Street, the factory was established by Mr T. Nagle Pitman as a branch of the company Elgins Shoes, and was in operation from the first of July 1947 to the twenty-eighth of August 1961. In an interview given in 2000, Nettie recalls the close trust and friendships that were built amongst the factory workers. A sense of this bond is reflected in this reunion photograph, taken several decades later. This photograph is historically significant as it provides insight into the experiences of women factory workers in Beechworth during the twentieth century. Colour rectangular photograph printed on matte photographic paperReverse: 13 / 6981 /beechworth shoe factory, pitman shoe factory, t. nagle pitman, reunion, female friendships, nola maher, nettie maher, beryl pope, alice adams, leila doig, beechworth shoe factory reunion 1994, elgin shoes, women factory workers, beechworth factories

Taken in approximately 1930, this photograph depicts the ruins of Rosehill Dairy. A woman stands beside the ruins, observing them solemnly. The owner of this once prominent dairy, John Brewer, was born in Cornwall, England in 1832. After coming to Australia in 1849, Brewer worked in various forms of livestock transportation. Upon hearing of the vast discovery of gold in Victoria's north-east, he engaged in mining in the Ovens Goldfield district before starting his own dairy on Wooragee road (now Old Wooragee road). The Wooragee Valley, approximately five kilometres north of Beechworth, was used extensively during the nineteenth century to build farming practices in the area, possessing eighteen farms by 1860. Brewer enjoyed a prosperous career in the dairy industry, personally delivering milk to the residents of Beechworth. He died on the thirteenth of August 1915, a few weeks shy of his eighty-third birthday. As this photograph is dated approximately fifteen years later, it can be assumed that the dairy fell into neglect following his death. This photograph is historically significant as it provides insight the development of the dairy industry in Beechworth in the second half of the nineteenth century.Black and white square photograph printed on matte photographic paper Reverse: 1997.2912 / John Brewers / Rosehill / Dairy / top of the 'rising sun' /john brewer, 1930 beechworth, rosehill dairy, dairy industry beechworh, dairy factories beechworth, dairying, dairy farm beechworth, wooragee road, wooragee valley, old wooragee road, dairy farm ruins

A group of approximately 45 men and a dog photographed outside what is believed to be either Kerferd or Allen's brewery in Beechworth.Black and white rectangular photograph printed on photographic paper unmountedReverse: [Agfa wordmarks: diamond-shaped watermarks for Agfa photographic paper] Brewery Kerferd's? / 1997.2638 / 2639 / beechworth brewery, beechworth, kerferd, hon. george briscoe kerferd, fred allen brewery, anglo-australian brewery company

Taken around 1858, depicting a row of five business buildings on a rocky, sloping hillside at New Town, with a view across to residences and open land. Businesses included, Joseph E. Bishop, Coach Builders; Straughair Duncan, Engineers, Blacksmiths & Farriers; Straughair Duncan, Beechworth Foundry; Wholesale & Retail Est. 1855, Mackenzie Family Store ; and T. Pratten, Grocer. The Mental Hospital can be seen in the background. Mark Straughair and John Duncan, established the Beechworth Foundry, Newtown in 1858 and went on to build an important industry, employing around sixteen men, after acquiring Alexander Roger's New Ford Street Foundry in the late 1860s. Making and repairing mostly mining and agricultural machinery for the Ovens District and a Beechworth brewery, the business continued to function after Straughair's death in 1882, up until the death of Duncan in 1896, when the business folded. This photograph is historically significant because it shows the development of the businesses in Beechworth from the early establishment of the town.Sepia rectangular photograph printed on photographic paper mounted on boardObverse: [Pin holes from circular tacks in all four corners] Reverse: 84.216-1/ Newtown/ 1997.2650/ 21/ BMM3056/new town, newtown, newtown beechworth, local business, 1858, 1850s beechworth, joseph e. bishop, coach builder, coach, mark straughair, m. straughair, straughair and duncan, john duncan, j. duncan, beechworth foundry, mackenzie family store, t. pratten, grocer, beechworth grocers, beechworth mental asylum, beechworth mental hospital, mayday hills mental asylum, mental hospital, alexander rogers, new ford street foundry, 1860s beechworth, 1860s, mining machinery, agricultural machinery, manufacturing, bridge road

Taken around 1858, depicting a row of five business buildings on a rocky, sloping hillside at New Town, with a view across to residences and open land. Businesses included, Joseph E. Bishop, Coach Builders; Straughair Duncan, Engineers, Blacksmiths & Farriers; Straughair Duncan, Beechworth Foundry; Wholesale & Retail Est. 1855, Mackenzie Family Store ; and T. Pratten, Grocer. Eleven men may be seen outside the Foundry building. The Mental Hospital can be seen in the background. Mark Straughair and John Duncan, established the Beechworth Foundry, Newtown in 1858 and went on to build an important industry, employing around sixteen men, after acquiring Alexander Roger's New Ford Street Foundry in the late 1860s. Making and repairing mostly mining and agricultural machinery for the Ovens District and a Beechworth brewery, the business continued to function after Straughair's death in 1882, up until the death of Duncan in 1896, when the business folded. This photograph is historically significant because it shows the development of the businesses in Beechworth from the early establishment of the town.Black and white rectangular photograph printed on photographic paperReverse: [Agfa wordmarks: diamond-shaped watermarks for Agfa photographic paper] 1997.2642/ refer to/ 1997 2650/ 3056joseph e. bishop, mark straughair, john duncan, mackenzie family store, beechworth foundry, coach, coach builder, engineer, blacksmith, farrier, t. pratten, beechworth grocers, grocer, new town, newtown beechworth, newtown, foundry, 1858, local business, new ford street foundry, alexander rogers, victorian agricultural history, mining machinery, beechworth brewery, ovens district, mayday hills mental asylum, beechworth mental hospital, beechworth mental asylum, mental hospital, mental

Believed to have been taken sometime between 1858 and 1908, featuring a man with moustache, dressed in hat and long riding coat, seated on a bob-tailed horse, is stopped in the middle of a wide dirt road in Beechworth. He is outside a row of businesses, including R.McKenzie & Sons Grain Store and Mackenzie Family Store (Wholesale & Retail Est. 1855), along a sloping hill. Behind the main rider are a parked horse and laden two-wheeled cart backed up directly outside the grain store's verandah, and another man is driving a horse and four-wheeled wagon forward towards them. At the bottom of the hill is a bridge (Newtown Bridge) with forked road on the far side, leading to a number of houses on both sides of another hill. This image is looking down Bridge Street, Newtown, Beechworth and across to Ford Street (left) and High Street (right). Road-making was a focus of town development during the 1850s, and the wide streets were created on the instructions of the surveyor-general to be between sixty-six and ninety-nine feet wide to give the town a pleasing aspect.This photograph is important in showing the development and expansion of the various businesses and buildings in Bridge Street of Newtown, Beechworth. Black and white rectangular photograph printed on paperReverse: 6980/ PH 118/ 1998.00059/beechworth, new town, newtown, newtown beechworth, local business, mackenzie family store, mackenzie's family store, mackenzie, grain store, bridge, ford steet, high street, colonial australia, australian gold rushes, mining technology, beechworth historic district, indigo gold trail, migration, indigo shire, mckenzie and sons grainstore, mckenzie family store, mckenzie, newtown bridge