This historic site of Australia’s first open-air gallery is being redeveloped in 2023 for multi-housing fronting the Research Creek. In 1955, Ian and Joan Hassall moved to Eltham. They took a property on the corner of Zig Zag Road and Main Road, Eltham, north of the township (later known as 1215 Main Road). In July 1962, they opened their open-air gallery. Hassall’s Roadside Galley, “…cradled in the fold of hills to the north of Eltham” inspired by Ian’s own experience of exhibitions along the Embankment in London. The property included remnants of a stone quarry, paintings were hung on screens and removed at night. Various pedestals, that looked like giant mushrooms displayed sculpture, pottery, and jewellery. It had a small natural amphitheatre at the foot of a little sandstone cliff that fall away to the bed of a stream. To enter the gallery, a visitor crossed a small freestone bridge of oriental design, built by Hassall from local stone. The bridge spanned the stream flowing beneath great willow trees. Near the entrance wooden figures were displayed formed from pieces of local wood, said to speak to Ian Hassall’s sense of fun. Hassall’s Gallery was the first gallery of its kind in Australia. Ian became a full-time artist and when it first opened, he exhibited paintings he had made while touring the outback with writer and fellow Eltham resident Alan Marshall. He also exhibited other Australian artists over time including locals Lindsay Edward and Peter Glass.daryl morrow collection, eltham heights luxury living, hassalls roadside gallery, housing development, real estate development, research creek, 2023-07-13

A boy of about ten years of age sits on the end of a fallen tree, which is resting in a natural pool in bushland. He is holding a stick gazing into the pool waters. He appears to be dressed in a schoolboy's uniform with close fitting short peaked cap, dark scarf or long sleeved jumper with polo neck and what appears to be a logo on the left breast, the ends of the sleeves turned over, dark shorts and dark long socks with ankle height lace up leather boots. The pool is located on the Eltham Road to Greensborough (present day Sherbourne, Karingal and St Helena roads) and is possibly part of the Karingal Yalloc somewhere near present day Ramptons Road Reserve. This glass plate negative was used to manufacture postcards (1:1 printing) for commercial sale by the Rose Sterograph Company and its subsidiaries. George Rose founded the Rose Stereograph Company in 1880 and was joined by Herbert (Bert) Cutts in the early 20th Century. The pair formed a lifetime working partnership and strong personal friendship. Assisted by George’s two sons, Herbert George and Walter, and later by Neil Cutts, the Rose Stereograph Company continued its operations for more than 140 years. The company was initially built on stereographs, but as cinema took over and stereographs fell out of fashion, the Rose Stereograph Company developed Australia’s first commercially viable photographic postcard business. Specialising in postcards of iconic historical moments and significant landmarks, The Rose Stereograph Company became a staple of the Australian travel industry.This remarkable collection of glass plate negatives, transparencies, and postcards – arguably Australia’s most significant photography collection outside of public hands – has been passed down through the generations, surviving war, relocation, and the harsh Victorian climate. The historic Rose Stereograph collection is the culmination of George Rose’s dream of capturing and preserving precious moments in time and remains the legacy of the Rose and Cutts families. It is with great sadness that the Cutts family says goodbye to a collection that spans five generations and 140 years. The Cutts family understands that for these historically important pieces to rest with one family is to deny others the pleasure of their custodianship.Glass Plate Negative Size: 9 x 14 cmA Pool, Eltham Road, Greensborougheltham, postcard, travel, rose stereograph company, glass plate negative, eltham road, greensborough, karingal road, karingal yallock, sherbourne road, st helena road, rampton's road reserve, schoolboy, peter and elizabeth pidgeon collection

Iodine is an essential trace element for life, the heaviest element commonly needed by living organisms. In medicine, potassium iodide is usually used to treat acute thyrotoxicosis. Hyperthyroidism, an overactive thyroid, is a condition in which the thyroid gland produces and secretes excessive amounts of the free (not protein bound, and circulating in the blood) thyroid hormones, This is the opposite of hypothyroidism ('sluggish thyroid'), which is their reduced production and secretion. Graves' disease is the most common cause of hyperthyroidism. Iodine's main role in animal biology is as a constituent of the thyroid hormones thyroxine If there is a deficiency of dietary iodine, the thyroid will not be able to make thyroid hormone. The lack of thyroid hormone will lead to decreased negative feedback on the pituitary, leading to increased production of thyroid-stimulating hormone, which causes the thyroid to enlarge (the resulting medical condition is called endemic colloid goitre This has the effect of increasing the thyroid's ability to trap more iodide, compensating for the iodine deficiency and allowing it to produce adequate amounts of thyroid hormone. The thyroid hormones are essential to proper development and differentiation of all cells of the human body. These hormones also regulate protein, fat, and carbohydrate metabolism, affecting how human cells use energetic compounds. They also stimulate vitamin metabolism. Natural sources of iodine include sea life, such as kelp and certain seafood, as well as plants grown on iodine-rich soil. Iodized salt is fortified with iodine. Elemental iodine is used as a disinfectant in various forms. It is a wound cleaner and Iodine also acts as an expectorant of mucous from the common cold and other respiratory ailments. Iodine is a common aid for skin conditions, such as acne, ..A brown glass triangular shaped bottle with a plastic screw top lid that contained IodineFront Label : SANA / TINCTURE WEAK (2 1/2 % ) / IODINE / POISON / ANTISEPTIC COUNTER / IRRITANT ETC. / THE SANAX CO. / 5 BRUNSWICK STREET FITZROY / TEL. J 3208 MELBOURNE. on side : ANTIDOTE FOR IODINE / DIRECTIONS.........pharmacy, medicines, iodine, athritis, glassware, bottles, moorabbin, bentleigh, cheltenham, thyroxin, goitre, iodised salt, gravves' disease

Wikpedia : James Murray (physician) Sir James Murray (1788–1871) was an Irish physician, whose research into digestion led to his discovery of the stomach aid Milk of Magnesia in 1809. He later studied in electrotherapy and led the research into the causes of cholera and other epidemics as a result of exposure to natural electricity. He was the first physician to recommend the breathing in of iodine in water vapour for respiratory diseases. Born in County Londonderry, Murray became a licentiate in midwifery having studied at the Edinburgh College of Surgeons in 1807. He undertook studies in pharmaceuticals, an area in which he became competent. In 1809 he developed the foundations of a fluid magnesia, which contained a base ingredient of magnesium sulfate. He modified it in order for it to act as an aid for "weak nerves", low fever, spasms, cholera, and diarrhoea. He named his recipe Fluid Magnesia, and set up the company Sir James Murray & Son in order to successfully market it. Murray graduated from the University of Edinburgh as a Doctor of Medicine in 1829, and became the resident physician to Henry Paget, 1st Marques of Anglesey, in 1831, a post Murray held until the 1840s. Murray was knighted in 1833 and received an honorary degree in Medicine from Dublin University the following year. He was appointed as an inspector of anatomical schools in Ireland, and was a member of the central board of health, as well as the resident physician to the Netterville Dispensary and the Anglesey Lying-In Hospital, Dublin. Murray died at his home in Dublin on 8 December 1871. Large clear green tinted glass bottle with small neck, for stopped seal, oval in section. Embossed text on two sides, concave impression in base. Seed bubbles in the glassSide 1 : 'SIR J MURRAY'S PATENT RECARBONATED FLUID MAGNESIA'. Side 2 : 'LONDON & DUBLIN'.

Piers Bateman was a local artist, held in very high esteem by his peers and community. He was born in Perth in 1947, moving to Eltham in 1955 as a young child with his family. In 1966 Bateman moved to London for eighteen months to develop his craft. In 1969 he settled in St Andrews, where he built a studio. The St Andrews locale is said to have been a strong influence on his work. Bateman’s talent was such that he was promoted and mentored by such ilk as Charles Blackman, Clifton Pugh and Arthur Boyd, among others. Bateman’s work is an intimate dialogue with the environment, renowned for his paintings of the outback, wilderness frontiers and the sea. He spent a year in the mid-seventies sailing the Greek Islands and the French canals to Amsterdam. In 1980 Bateman and Marcus Skipper embarked on a trans-Australian venture to the red centre and across northern Australia from Cairns to Broome. In the mid-eighties Bateman returned to the Mediterranean, before returning to the Australian outback in the late-eighties. His international career continued on an upwards trajectory between the Australian outback and European seas, providing a unique contrast throughout the course of his career. Bateman's work questions our relationship with the natural world, and in particular, reconciling our colonial heritage with our indigenous past. This line of questioning and his genuine response to place is the key to Piers Bateman’s work, for which he is lauded and celebrated. On September 4th 2015, Piers Bateman died in a boating accident on the NSW coast line. Piers Bateman was an instinctive painter whose inspiration came from nature. He reworked and scraped off the paint, moving it around until forms and colours of the landscape took shape. Although Bateman lived in Spain and Italy, his time in Europe made him aware of the contrast between the two continents and the bright clear light that defined the Australian landscape. At the time of this work, Bateman was living in St. Andrews, but travelled regularly to New South Wales and South Australia on painting trips. The ‘Grass Tree’ Xanthorrhoea johnsonii (commonly known as ‘blackboy’) is indigenous to these areas. It is a uniquely Australian, slow growing plant with twenty-eight species growing within Australia. Old examples of this tree are survivors of many wild fires, which can cause their blackened trunk, of one to two metres, branch into two or more heads. These heads consist of thick, rough corky bark, surrounded by long, wiry leaves and flowers that produce seed capsules with hard black seeds. The tree’s ability to be one of the first to flower after a wild fire ensures a food source for many insects and birds.Oil on canvas painting. Detail of three grass trees resting on the side of a mountain/hill. Green and gold palette throughout depicting the colours and light of the Australian landscape. Hand written, low right in capitals: 'BATEMAN'bateman, grass trees, xanthorrhoea johnsonii, landscape

A person calling herself Jack Jorgenson died at Elmore near Ballarat, Victoria on Tuesday evening, turned out to be a woman and had for years concealed her sex. She was known in the district as "Jack Jorgenson". she went to the district as a farm labourer but did not show any great desire to obtrude on the notice of the residents. Though living a lonely life in a small hut, she did not act as one who had anything to conceal. She wore masculine attire in a natural manner, but thee was a tone of femininity in her voice that she could not conceal. In 1887 she joined the local mounted rifles, and attended almost every drill and every camp until 1891, when she resigned. Her face presented a remarkable appearance, it having been terribly injured by a fragment of shell during the course of the Schlewig-Holstein war between Prussia and Denmark. She stated that in her youth she had been a soldier in the german army, and had seen active service in the Franco-Prussian war of 1870. Jorgensen was a Dane and so far as is known had no relative here. Her sex was disclosed only after her death, the only person knowing of it being Dr H..se of Elmore, who attended her some time since. The woman is believed to be the sister of a Mrs Newman of South Melbourne. Deceased had been using male attire for 20 years, and did all sorts of heavy manual work, including grubbing trees and harvesting and she once ...Newspaper clippingjack jorgenson, elmore, dane, cross dressing

The correspondent of the Argus on 10 May 1901 wrote: "The Parliament of the Commonwealth was opened yesterday by the Duke, of Cornwall and York, under a Commission signed by Queen Victoria and subsequently endorsed by King Edward VII. The ceremony was marked by the splendour and solemn impressiveness which befitted its historic importance. An immense assemblage of spectators, drawn mainly, of course, from this state, but in part also from each of the other federated states, and including representatives of other portions of the British Empire and of foreign powers, thronged the spacious, stately, and joyously decorated edifice. The picture was magnificent. It must have printed itself indelibly on the sensitive minds of the thousands of Australians who were privileged to behold it. We may assume that artists will reproduce it in worthy and imperishable forms, and that from generation to generation it will be familiar in the households of the Commonwealth. Our children's children, we may gladly say to-day, will not be ashamed of the function which inaugurated the self-governing rights of the southern British Nation. Nothing was omitted which could add to the grandeur and significance of the occasion. In a broad sense the proceedings were perfectly intelligible to the vast and sympathetic gathering, though the natural limits of a single human voice had to be accepted. The King's son, with his consort and the Governor-General and Lady Hopetoun by his side, and supported by the Governors of the states and other eminent personages, fulfilled his doubly-attested Commission with a simple dignity and a modest manliness altogether admirable. The ceremony was a brilliant spectacle, and, in its sentiment and suggestiveness, an inspiration to a loyal and patriotic people."The document design has artistic and aesthetic merit. While it is not rare, it is representative of the kinds of formal designs used for the Australian Commonwealth celebrations at the time of Federation, and is in excellent condition. Such items as this invitation have local, state and national historic significance as mementoes of a key moment in Australia's history. Locally, the invitation is part of a group of Federation-related items issued to James Maitland Campbell (and his wife). Campbell was three times mayor of Kew in the second half of the 19th Century and the owner of Ramornie in Pakington Street, one of the significant extant mansions in Kew.An invitation, mounted on card for Mr & Mrs James Maitland Campbell to an evening reception at the Exhibition Building, Melbourne, on 9 May 1901, to meet the Duke and Duchess of Cornwall as part of the celebrations of the opening of the first Federal Parliament. A figure of Britannia, in red dress and mailed vest holding a shield like the Union Jack, is on the left of the invitation; she reaches out her hand towards a younger female figure, representing Australia, who is dressed in blue and holds a shield which is white with a blue cross decorated with stars. The writing is on a scroll in the centre of the certificate, and there is a border of vines and vine leaves. The royal crest is at the base of the certificate. James Maitland Campbell of ‘Ramornie’ in Pakington Street was mayor of Kew on three occasionsFront, printed. gold ink: "His Majesty's Ministers of State for the Commonwealth of Australia request the honour of the presence of / Mr & Mrs J. M. Campbell (handwritten) / In the Exhibition Building, Melbourne, on Thursday, 9th May, 1901, to witness / the Opening of the Parliament of the Commonwealth. / Edmund Barton / Prime Minister." Front, bottom left, printed: "The Young Queen / Her hand was still on her sword hilt - the spur was still on her heel ... (and further text) KIPLING'S COMMONWEALTH ODE."australia -- federation -- 1901, invitations, parliament -- opening -- 1901, james maitland campbell

The Correspondent for The Argus on 10 May 1901 described the opening on 9 May as: "The Parliament of the Commonwealth was opened yesterday by the Duke, of Cornwall and York, under a Commission signed by Queen Victoria and subsequently endorsed by King Edward VII. The ceremony was marked by the splendour and solemn impressiveness which befitted its historic importance. An immense assemblage of spectators, drawn mainly, of course, from this state, but in part also from each of the other federated states, and including representatives of other portions of the British Empire and of foreign powers, thronged the spacious, stately, and joyously decorated edifice. The picture was magnificent. It must have printed itself indelibly on the sensitive minds of the thousands of Australians who were privileged to behold it. We may assume that artists will reproduce it in worthy and imperishable forms, and that from generation to generation it will be familiar in the households of the Commonwealth. Our children's children, we may gladly say to-day, will not be ashamed of the function which inaugurated the self-governing rights of the southern British Nation. Nothing was omitted which could add to the grandeur and significance of the occasion. In a broad sense the proceedings were perfectly intelligible to the vast and sympathetic gathering, though the natural limits of a single human voice had to be accepted. The King's son, with his consort and the Governor-General and Lady Hopetoun by his side, and supported by the Governors of the states and other eminent personages, fulfilled his doubly-attested Commission with a simple dignity and a modest manliness altogether admirable. The ceremony was a brilliant spectacle, and, in its sentiment and suggestiveness, an inspiration to a loyal and patriotic people."The document design has artistic and aesthetic merit. While it is not rare, it is representative of the kinds of formal designs used for the Australian Commonwealth celebrations at the time of Federation, and is in excellent condition. Such items as this invitation have local, state and national historic significance as mementoes of a key moment in Australia's history. Locally, the invitation is part of a group of Federation-related items issued to James Maitland Campbell (and his wife). Campbell was three times mayor of Kew in the second half of the 19th Century and the owner of Ramornie in Pakington Street, one of the significant extant mansions in Kew.A colour lithograph mounted on card which is an invitation to the Opening of the First Commonwealth Parliament of Australia, 9 May 1901. The invitation was sent to Mr J.M. & Mrs Campbell. John Longstaff and Norman Lindsay’s design for the invitation includes symbolic female figures and coats of arms of the British and Australian Commonwealth. The central figure represents Justice. At her feet a crown and sceptre are laid, ‘to denote that the monarch will always acquiesce in laws passed by Parliament, provided they are just.’ On the left appears a figure of Britannia, above the royal coat of arms and in front of the white cliffs of England; on the right is a female figure representing Australia, with one hand out-stretched and above the Australian Coat of Arms. Behind her is a pastoral scene; she stands beneath a gum tree. At the top is a border of waratahs; on the left is a border of oak. The six states are represented in shields at the bottom of the card.Front, printed. gold ink: "Opening of the Parliament of the Commonwealth By his Royal Highness The Duke of Cornwall and York / The Government of Victoria requests the honour of the presence of / Mr. J . M. and Mrs. Campbell (handwritten / At the Celebrations in Melbourne in connection with the Opening of the Parliament of the Commonwealth of Australia."parliament of australia -- 1901, royal exhibition building -- melbourne (vic), james maitland campbell

The correspondent of the Argus on 10 May 1901 wrote: "The Parliament of the Commonwealth was opened yesterday by the Duke, of Cornwall and York, under a Commission signed by Queen Victoria and subsequently endorsed by King Edward VII. The ceremony was marked by the splendour and solemn impressiveness which befitted its historic importance. An immense assemblage of spectators, drawn mainly, of course, from this state, but in part also from each of the other federated states, and including representatives of other portions of the British Empire and of foreign powers, thronged the spacious, stately, and joyously decorated edifice. The picture was magnificent. It must have printed itself indelibly on the sensitive minds of the thousands of Australians who were privileged to behold it. We may assume that artists will reproduce it in worthy and imperishable forms, and that from generation to generation it will be familiar in the households of the Commonwealth. Our children's children, we may gladly say to-day, will not be ashamed of the function which inaugurated the self-governing rights of the southern British Nation. Nothing was omitted which could add to the grandeur and significance of the occasion. In a broad sense the proceedings were perfectly intelligible to the vast and sympathetic gathering, though the natural limits of a single human voice had to be accepted. The King's son, with his consort and the Governor-General and Lady Hopetoun by his side, and supported by the Governors of the states and other eminent personages, fulfilled his doubly-attested Commission with a simple dignity and a modest manliness altogether admirable. The ceremony was a brilliant spectacle, and, in its sentiment and suggestiveness, an inspiration to a loyal and patriotic people."The document design has artistic and aesthetic merit. While it is not rare, it is representative of the kinds of formal designs used for the Australian Commonwealth celebrations at the time of Federation, and is in excellent condition. Such items as this invitation have local, state and national historic significance as mementoes of a key moment in Australia's history. Locally, the invitation is part of a group of Federation-related items owned by Mrs Grace Tabulo, and displayed at her home - Fairyland - at 57 Malmsbury Street, KewAn invitation, mounted on card to an evening reception at the Exhibition Building, Melbourne, on 9 May 1901, to meet the Duke and Duchess of Cornwall as part of the celebrations of the opening of the first Federal Parliament. A figure of Britannia, in red dress and mailed vest holding a shield like the Union Jack, is on the left of the invitation; she reaches out her hand towards a younger female figure, representing Australia, who is dressed in blue and holds a shield which is white with a blue cross decorated with stars. The writing is on a scroll in the centre of the certificate, and there is a border of vines and vine leaves. The royal crest is at the base of the certificate. Front, printed. gold ink: "His Majesty's Ministers of State for the Commonwealth of Australia request the honour of the presence of / ****l (handwritten) / In the Exhibition Building, Melbourne, on Thursday, 9th May, 1901, to witness / the Opening of the Parliament of the Commonwealth. / Edmund Barton / Prime Minister." Front, bottom left, printed: "The Young Queen / Her hand was still on her sword hilt - the spur was still on her heel ... (and further text) KIPLING'S COMMONWEALTH ODE." Reverse: Mrs G. Tabulo, 57 Malmsbury Streetaustralia -- federation -- 1901, invitations, parliament -- opening -- 1901, grace tabulo -- fairyland -- 57 malmsbury street -- kew (vic.)

From 1944-1996, Edna Barrie was a member of the Melton Branch Country Women’s Association (CWA), Melton Branch, Secretary of the Branch in 1945 – 1946 and Branch International Secretary 1970-1971. She worked with choir, music and drama interest groups within the branch attaining both first and second place in 1959, second place in 1952 Exhibition and second in Music in 1960 in the state. She was involved in their handicraft craft events, fund raising and musical events and singing competitions. During the 1950s she trained Trios and Quartets in part singing for the CWA competitions in Ballarat and Melbourne. It was at this time that she developed her skill as a conductor and trainer of choirs. She later auditioned for the Victorian Choir for alto parts believing she would stand a better chance of being chosen, because of her ability to sing in natural harmony. In 1962 she participated in the Tenth Australian Country Women of the World (ACWW) Triennial Conference “Australia Presents: CWA Massed Choir” in the Melbourne Town Hall. This event was recorded by Super Sound Spotlight on 45 extended play vinyl record. The songs were Australian music and words, for example The Silver Stars are in the Sky, The Graceful Swaying Wattle and Kookaburra. Edna continued with her interest in the Victorian Choir regularly meeting at the CWA Headquarters in Toorak for rehearsals. In 1974 she took part in the Australian Choir at the fourteenth Triennial conference of the ACWW Interfaith Service held at the Perth Concert Hall on the 13th of October. Recipes from the members of the Bradvale Branchlocal significant events, local identities

In 1944-1996 Edna Barrie was a member of the Melton Branch Country Women’s Association (CWA), Melton Branch, Secretary of the Branch in 1945 – 1946 and Branch International Secretary 1970-1971. She worked with choir, music and drama interest groups within the branch attaining both first and second place in 1959, second place in 1952 Exhibition and second in Music in 1960 in the state. She was involved in their handicraft craft events, fund raising and musical events and singing competitions. During the 1950s she trained Trios and Quartets in part singing for the CWA competitions in Ballarat and Melbourne. It was at this time that she developed her skill as a conductor and trainer of choirs. She later auditioned for the Victorian Choir for alto parts believing she would stand a better chance of being chosen, because of her ability to sing in natural harmony. In 1962 she participated in the Tenth Australian Country Women of the World (ACWW) Triennial Conference “Australia Presents: CWA Massed Choir” in the Melbourne Town Hall. This event was recorded by Super Sound Spotlight on 45 extended play vinyl record. The songs were Australian music and words, for example The Silver Stars are in the Sky, The Graceful Swaying Wattle and Kookaburra. Edna continued with her interest in the Victorian Choir regularly meeting at the CWA Headquarters in Toorak for rehearsals. In 1974 she took part in the Australian Choir at the fourteenth Triennial conference of the ACWW Interfaith Service held at the Perth Concert Hall on the 13th of October. Items celebrating 80 years of Country Women's Association and the closure of the Melton branchlocal significant groups, local identities, local special interest groups

This photograph was taken at Samaria Farm on Sunday the 5th of September as part of a day trip by the Wooragee Landcare Group. The event was about looking at land use on small farms and as a social get-together for the Group. Wooragee Landcare was also researching how small landholders could run some enterprises around the time of this trip. Samaria Farm is located in northeast Victoria, near Mount Samaria, which is located 130 km northeast of Melbourne. Samaria Farm was owned by Sue and Due Matheson at the time of the trip and had a renowned rose garden, pigs, poultry, alpacas, and goats on their nine-hectare farm. The rose garden consists of 3000 damask roses. Samaria Farm distils the oil from these roses and is the only farm in Australia to do this. Rose oil has historically been used for religious and medical use. 20 kg of rose buds are picked by hand every day, which is then distilled and produced 5 to 8 ml of oil. The entire four-week season produces 80 to 100 ml of oil. Rose water is also created during this process and produces about 300 litres per season. Along with the oil, the Farm also harvests lemons, lime, olives, and oranges. The Farm is currently owned by Utako and Anthony since 2022, with Vicki and Allan Wight being the previous owners. Wooragee Landcare Group was created in 1988. Its core mission is to work towards eradicating animals and pests from the land to protect the natural vegetation and promote revegetation projects. This photograph is a great example of the type of events that Wooragee Landcare Group has organized, while educating the public about the importance of land use management. The group is important to the community and for the environment.Landscape coloured photograph printed on gloss paperReverse: WAN NA E0NA2N2. NNN+ 2 4240/ [PRINTED] (No. 18) / 371samaria farm, wooragee, wooragee landcare group, wooragee landcare's collection, samaria, small farm, land use, social, rose oil, damask roses, pests

This photograph was taken at Samaria Farm on Sunday the 5th of September as part of a day trip by the Wooragee Landcare Group. The event was about looking at land use on small farms and as a social get-together for the Group. Wooragee Landcare was also researching how small landholders could run some enterprises around the time of this trip. Samaria Farm is located in northeast Victoria, near Mount Samaria, which is located 130 km northeast of Melbourne. Samaria Farm was owned by Sue and Due Matheson at the time of the trip and had a renowned rose garden, pigs, poultry, alpacas, and goats on their nine-hectare farm. The rose garden consists of 3000 damask roses. Samaria Farm distils the oil from these roses and is the only farm in Australia to do this. Rose oil has historically been used for religious and medical use. 20 kg of rose buds are picked by hand every day, which is then distilled and produced 5 to 8 ml of oil. The entire four-week season produces 80 to 100 ml of oil. Rose water is also created during this process and produces about 300 litres per season. Along with the oil, the Farm also harvests lemons, lime, olives, and oranges. The Farm is currently owned by Utako and Anthony since 2022, with Vicki and Allan Wight being the previous owners. Wooragee Landcare Group was created in 1988. Its core mission is to work towards eradicating animals and pests from the land to protect the natural vegetation and promote revegetation projects. This photograph is a great example of the type of events that Wooragee Landcare Group has organized, while educating the public about the importance of land use management. The group is important to the community and for the environment. Landscape colored photograph printed on gloss paperReverse: WAN NA E0NA2N2. ANN+ 1 4240/ [PRINTED] (No. 19) / 372samaria farm, wooragee landcare group, wooragee, victoria, mount samaria, farming, roses, rose oil, damask roses, agriculture, pests, vegetation

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This piece is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Ensemble consisting of sleeveless crop top (.1) and full length pants (.2). Bold floral print features blue and white flowers on a navy blue background. Top has a white Peter Pan collar. Swing tag attached.Swing tag: "SIZE 34 / STYLE 186/11 / PRICE $13.00".swimwear, watersun, david waters, ada productions, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Backless lamé one-piece swimsuit (.1) with pattern of silver, blue and bronze circles in various sizes. Waist ties knotted at front for cinched-in waist. Built-in underwire bra. Sleeveless A-line jacket (.2) in same fabric, falling past hips. Front zip and close-fitting hood.Label in bra, blue with yellow sunburst logo containing the word “Watersun” in red, above the text: “32 / Unquestionable Bra”.swimwear, watersun, david waters, ada productions, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Blue and white gingham one-piece swimsuit. Short overskirt. Two rows of white cutwork lace form a frill along neckline and down either side of back straps, which fasten with buttons. Inbuilt bra with label: "Miss Watersun", size T14.Label in bra, blue with yellow sunburst logo containing the words “Miss Watersun” in red, above the text: “T14”swimwear, watersun, david waters, ada productions, miss watersun, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Two-piece swimsuit with navy blue and white horizontal stripes. Cropped top (.1) has inbuilt underwire bra and metal fastening at back. Shorts (.2) are high-waisted with longer legs. Matching top (.3) has diagonal navy and white stripes and an asymmetrical hem. Sleeveless with round neck. Velcro fastening on shoulder and side seam of shorter side. No label.swimwear, watersun, david waters, ada productions, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Two-piece swimsuit with navy blue and white horizontal stripes. Cropped top (.1) has inbuilt underwire bra and metal fastening at back. Shorts (.2) are high-waisted with longer legs. Matching top (.3) has diagonal navy and white stripes and an asymmetrical hem. Sleeveless with round neck. Velcro fastening on shoulder and side seam of shorter side. Labels inside bra and top.Label in bra (.1), blue with yellow sunburst logo containing the word “Watersun” in red, above the text: “Unquestionable Bra / MADE IN AUSTRALIA / 34”. Label in side of bikini top (.1): “BRI NYLON” Label in back collar of top (.3): blue with yellow sunburst logo containing the word “Watersun” in red, above the text: “34”, with words “Unquestionable Bra” truncated. Appears to be a repurposed bra label.swimwear, watersun, david waters, ada productions, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Gold lurex one-piece swimsuit (.1) with v-neck and built-in bra. Matching floor-length gold cape (.2) with high collar and yellow lining. Fastens at collar with hook.Label, blue text on white: “Watersun / SIZE 10 / BUST 32 / Made in Australia”swimwear, watersun, david waters, ada productions, melbourne designers, 1970s

Marina Couture was a luxe swimwear line produced by Watersun in the 1960s. Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Silver lamé swimsuit featuring delicate brocade embellishment, an inbuilt underwire bra, a zippered back and elasticised edging on the legs and back.Label in bra, blue with gold crown logo and text: “MARINA COUTURE / 32”.swimwear, watersun, david waters, ada productions, melbourne designers, marina couture

Doug ‘Pudden’ Wade Born: 16/10/1941 From: Horsham Height: 188cm Weight: 92kg Natural kicking foot: Right Guernsey number: 23 First senior match for Geelong: Round 1, 1961 v Collingwood at Kardinia Park Regarded by many as Geelong’s greatest ever full-forward, his greatest attributes were determination, fast leading, strong marking and prodigious kicking. Often he was able to score goals with 70-metre torpedo punts. Occasionally he scored from drop-kicks. When in top form he was a most inspiring player. If opponents tried to upset his game with niggling tactics he displayed a fiery aspect of his nature, which kept spectators ‘interested’. He played the forward role like an aggressive defender. Probably his most outstanding performance was a 13-goal effort at the Lake Oval in heavy conditions in 1967. A severe knee injury suffered in an interstate match in 1964 restricted his performances for about two seasons. In his time at Geelong he seemed to perform better as the seasons rolled on. He played in North Melb’s Premiership-winning team in 1975, twelve years after the same achievement with the Cats. Total Brownlow Medal votes for Geelong: 34 Premiership team selection: 1963 Night/Pre-Season Premiership team selection: 1961 Captain: 22 matches (1971-72) Club Best & Fairest: 1969 Fifth in club B&F count: 1961 Sixth in club B&F count: 1962 (equal), 1967, 1971 Seventh in club B&F count: 1964, 1972 Tenth in club B&F count: 1966, 1968 Club leading goalscorer: 1961 (51 gls), 1962 (68 gls), 1963 (48 gls), 1964 (41 gls), 1966 (52 gls), 1967 (96 gls), 1968 (64 gls), 1969 (127 gls), 1970 (74 gls), 1971 (94 gls), 1972 (90 gls) Competition leading goalscorer: 1962, 1967, 1969 Instances of seven goals or more in a match for Geelong: 35 Australian Football Hall of Fame inductee (2000) GFC Team of the 20th Century selection (full forward) GFC Hall of Fame inductee (1996) GFC Hall of Fame Legend GFC Life Membership (1968) Career span for Geelong: 1961-72 Total matches for Geelong: Premiership 208, Night/Pre-Season Series 4, Interstate 7 Total goals for Geelong: Premiership 834, Night/Pre-Season Series 11, Interstate 31 Finals matches for Geelong: 12 Finals goals for Geelong: 46 Last senior match for Geelong: Round 22, 1972 v North Melb at Kardinia Park Transferred to North Melb in 1973 Wayne Closter Born: 26/02/1945 From: Darley Height: 180cm Weight: 81kg Natural kicking foot: Right Guernsey number: 1 First senior match: Round 1, 1964 v Melbourne at the MCG In his first season as a listed player, he was selected in the Reserve Grade 1963 Premiership team. A favorable impression of his ability was created in his debut. He was opposed by Melbourne's Frank 'Bluey' Adams on a wing and out-pointed him convincingly. Initially he played many fine matches as a wingman. Later he moved into the centre where his good form continued. Features of his play were strong marking, good control and excellent kicking. He became one of the greatest ever exponents of kicking ambidextrously, and it became difficult to judge which was his natural kicking foot. National Service training obligations during a number of seasons deprived him of the chance of playing 200 matches and to represent Victoria, however the AFL acknowledged his contribution by inducting him into the 200 club during 2007. From 1977 until 1979 he coached the Reserves before spending 10 seasons as a 3GL/K-Rock football commentator. Total Brownlow Medal votes: 29 Captain: 1 match (Round 9, 1974 v South Melb at Kardinia Park) Fourth in club B&F count: 1967, 1971 (equal) Fifth in club B&F count: 1966 Sixth in club B&F count: 1964, 1968, 1972 Eighth in club B&F count: 1970, 1974 Ninth in club B&F count: 1973 GFC Hall of Fame inductee (2002) GFC Life Membership (1971) Career span: 1964-75 Total matches: Premiership 191, Night/Pre-Season Series 2 Total goals: Premiership 72, Night/Pre-Season Series 0 Finals matches: 8 Finals goals: 1 Last senior match: Round 22, 1975 v Fitzroy at Waverley Park Information provided by Col Hutchinson Geelong Cats HistorianRed, slightly deflated Ross Faulkner football. In black on one side of the white laces states - MATCH/Native Brand/ ROSS FAULKNER - with a symbol of figure, and is repeated on the other side states - the football is on a small wooden stand stained dark brown with the text engraved donated by Ross Faulkner - The Football a large player signature on one side in white texta it is believed to be Wayne Closter. There is a signature in pen above the text native on one side of the football by Doug Wade. The football has blue and white ribbons threaded through the laces.Signature Doug Wade and Wayne Closter doug wade, wayne closter, ross faulkner, football, gfc, geelong football club, vietnam war

1. Bogong Alpine Area (outdoor Leisure Map. survey & Mapping Victoria, Government of Victoria, Edition 2, reprinted 1991 with an image of Mt. Feathertop on the front. Information for tourist in the Alpine National Park: Bogong Area. Including: recreational activities, history, weather and vegetation and a list of walks together with locality maps and photographs. The front cover has an image of Mt Feathertop against a blue sky with yellow writing 'Bogong Alpine Area', there is a yellow triangular block on the right hand top corner with black writing 'Outdoor Leisure Map. On the bottom edge is a block of yellow with black writing 'Survey & Mapping Victoria' and a light green map of Victoria with 'VICMSP' printed in white. 2. 8324 Bogong Victoria, Edition 1, Commonwealth of Australia 1981. A topographical Map: 1:100,000 scale (1 cm to 1 KM). Map has a red cover with white writing together with a white block and black writing and a map insert. 3. Tawonga Topographical Map - Forests Commission Victoria, / revised 5/9/77, DEG No. 68-G/399. A Tawonga 803 folded map in a beige colour with the back blank. 4. Omeo 8433 Victoria, Edition 1, Department of Natural Resources. The map has a red and white cover with black writing and a simple map of Australia at the bottom. 5. 8323 Dargo, Edition 1, Commonwealth of Australia. A red and white cover with a map insert. 6. Victoria State Map, Hema Maps, 2002. Hema Maps, State Map, colourful cover with a map of Australia and four tourism photographs. Scale 1: 850,000 An inscription handwritten in blue pen "Trappers Gap to Mitta Mitta 1" to 1 mile". There are some pen markings and notations of tracks.maps, bogong, omeo, tawonga, dargo, victoria, bogong alpine area

Anlaby’s sheep are born, bred and shorn at their farm located in South Australia. The wool is then scoured at Michels in Adelaide, combed and turned into Tops at Cashmere Connections in Bacchus Marsh, and then Spun and Woven at a historic mill in Scotland named Johnstons of Elgin. Sewing is completed by artisan seamstresses and packaging is from a local Adelaide family business. Established in 1839 just North of the Barossa Valley in South Australia, Anlaby is the oldest continuing merino sheep stud on mainland Australia. Fredrick Dutton employed Alexander Buchannan to bring sheep to the buoyant market in Adelaide from Goulburn NSW. Several others speculated on possible successes, including Buchannan and a flock of 18,000 sheep were walked overland. The trek took nine months. During this time the Adelaide market prices had collapsed. Having found land with a spring of sweet water, Dutton decided to keep his flock of 5,000 stud sheep and purchased a small parcel of land that is now called Anlaby. The property prospered and Buchannan was employed as manager for the next 25 years. At its height Anlaby covered 250sq miles – 160,000 acres and employed 70 men. The first bale of wool from South Australia to be auctioned in London came from Anlaby. The Anlaby stud also provided the foundation ewes for the well-known Bungaree merino stud in 1841. With prosperity came a large house and gardens for Buchannan in 1861. Anlaby was inherited by Henry Dutton from his uncle in 1895. Squire Dutton, as he was known, continued to grow the family’s fortunes and spent his money expanding the grand home and creating a magnificent 10-acre garden. Today the Anlaby merino stud continues and both the house and garden are undergoing significant restorations. Wool continues to be one of the most important elements at Anlaby. It was the source of great wealth in the past and is now directly tied into Anlaby’s future. Anlaby makes beautiful woollen scarves, lady’s wraps, exquisite throws and small range of baby blankets. From the moment a lamb is conceived and through its entire lifecycle Anlaby look after nutrition and quality of life. Twice a year the sheep are shorn and the wool using minimal treatment is washed, combed, spun and woven into the Anlaby product range. This attention to detail results in the buttery softness distinctive of the exclusive woollen range.Throw came with packaging and information card which reads ANLABY in large capital lettering at the top and bottom of either side of card. Throw is white with green edging of 15cm on two edges. Within this edging is the sewing of a tree in white.Wording: ANLABY Pure Anlaby Merino Wool Oldest merino stud on mainland Australia Made in Australia Card. Wording: ANLABY Certificate of Authentication THIS CERTIFICATE AUTHENTICATES THE PRODUCT TO BE 100% AUSTRALIAN AND MADE FROM PURE MERINO WOOL PRODUCED EXCLUSIVELY AT THE ANLABY MERINO STUD IN SOUTH AUSTRALIA THE ANLABY FLOCK (REGISTERED NUMBER 102) IS THE OLDEST CONTINUOSLY OPERATING MERINO STUD IN MAINLAND AUSTRALIA. THE MERINO FLOCK AT ANLABY MAINTAINS A GENETIC LINE STARTED IN 1839 THIS PRODUCT IS PART OF THE LIMMITED EDITION RANGE PRODUCED AT ANLABY. IN 2014 WE CELEBRATED ANLABY’S 175TH ANNIVERSAY ANLABY Reverse. Wording: ANLABY PURE NATURAL WOOL THE SHEEP GRAZE AMONGST THE GUM TREES ON THE ROLLING HILLS OF ANLABY. ANLABY SHEEP ARE CHARACTERISTICALLY BIG BODDIED AND BRED TO FLOURISH IN THE WARM AUSTRALIAN CLIMATE. OUR WOOL IS MINIMALLY TREATED AND THE PRODUCTS ARE MADE IN SMALL RUNS UNDER THE PERSONAL SUPERVISION OF THE OWNERS. WE BELIEVE IN SUSTAINABLE AND RESPONSIBLE FARMING AND MILLING PRACTICES. THE ATTENTION TO DETAIL RESULTS IN THE BUTTERY SOFTNESS DISTINCTIVE OF THIS EXCLUSIVE WOOLLEN PRODUCT. WITH CARE THIS IS A TREASURED ITEM FOR THE NEXT GENERATION. ANLABY www.anlaby.com.auwool, merino sheep, south australia, wool processing, wool processing textile finishing

Championship played at Adelaide in June 1969, Title won by Victoria. Peter Walker Born: 12/06/1942 From: Beeac Height: 183cm Weight: 76kg Natural kicking foot: Right Guernsey number: 34 First senior match: Round 3, 1960 v Fitzroy at the Brunswick Street Oval After taking time to settle at senior level, he found his rightful place on the half-back line. Once he gained confidence, he became a champion, dashing player who could mark above taller opponents and swing Geelong into attack instantly with fine disposal. His duels with Darrel Baldock of St Kilda were outstanding during the 1960s. He always played the game fairly and followed coaches’ instructions to the letter. Total Brownlow Medal votes: 32 Premiership team selection: 1963 Captain: 2 matches (1969) Club Best & Fairest: 1965 Runner-up in club B&F count: 1963 Third in club B&F count: 1967 Fifth in club B&F count: 1968, 1969 Eighth in club B&F count: 1964 (equal) GFC Hall of Fame inductee (2002) GFC Life Membership (1968) Career span: 1960-69; 1971 Total matches: Premiership 159, Interstate 9 Total goals: Premiership 1, Interstate 0 Finals matches: 15 Finals goals: 0 Last senior match: Round 11, 1971 v Richmond at Kardinia Park Died: 08/07/2010 John ‘Sam’ Newman Born: 22/12/1945 From: Geelong Grammar Height: 189cm Weight: 94kg Natural kicking foot: Right Guernsey number: 17 First senior match: Round 3, 1964 v Fitzroy at the Brunswick St Oval The champion ruckman/forward-pocket/back-pocket became a valuable centre half-forward late in his career. He was a magnificent high mark and a great handball exponent. His ability to maneuver his body into correct position at ruck contests and in marking duels was equal to that of Graham Farmer. He worked hard to overcome severe kidney and ankle injuries to play 300 matches for Geelong in a magnificent 17-season span. Total Brownlow Medal votes: 85 Captain: 41 matches (1974-75) Club Best & Fairest: 1968, 1975 Runner-up in club B&F count: 1974 Third in club B&F count: 1965, 1970, 1976 Fourth in club B&F count: 1969 Fifth in club B&F count: 1973, 1979 Seventh in club B&F count: 1967, 1977 All Australian selection: 1969 GFC Team of the 20th Century selection (back pocket) GFC Hall of Fame inductee (2002) GFC Hall of Fame Legend GFC Life Membership (1971) Career span: 1964-80 Total matches: Premiership 300, Night/Pre-Season Series 4, Interstate 8 Total goals: Premiership 110, Night/Pre-Season Series 4, Interstate 1 Finals matches: 12 Finals goals: 4 Last senior match: Second Semi Final, 1980 v Richmond at Waverley Park Information provided by Mr Col Hutchinson GFC HistorianWhite painted wooden frame with glass front. White mounting card surrounds the photograph. Black and white photograph of John 'Sam' Newman, Ivan Morris, A.R. Jack Jennings and Peter Walker standing in front of a wire fence. Above on the mounting card states "GEELONG FOOTBALL CLUB" and the supporting text below provides context for the photograph. Wire on the back for hanging.peter walker, john newman, sam newman, ivan morris, a.r. jack jennings

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 male Turquoise Parrot is bright green above, with a turquoise blue crown and face. A brilliant two-tone blue band around the bend of the wing contrasts with a dark, brick-red shoulder patch. Its underparts and tail edges are a rich yellow. The female is similar, but not as bright, with a whitish facial mask, no red on the wing, and a pale wing stripe. Old birds of both sexes may have orange underparts. Once common throughout many parts of eastern Australia, the Turquoise Parrot was formerly recorded from near Mackay in Queensland south to Melbourne until the 1880s, when its population suddenly crashed. It was even considered to be extinct by 1915, but populations recovered spectacularly over the next 20 years or so, and by the 1930s they were again recorded through much of their former range. Now the species can once more be seen in many parts of eastern and south-eastern Australia, though not quite as extensively as before. These birds are vulnerable in NSWThis 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 Turquoise Parrot is bright green above, with a turquoise blue crown and face. A brilliant two-tone blue band around the bend of the wing contrasts with a dark, brick-red shoulder patch. Its underparts and tail edges are a rich yellow. Old birds of both sexes may have orange underparts. This particular specimen is faded with some missing feathers. It is mounted on a wooden stand with a tag wrapped around its leg.Label: 80a. / Chesnutt-shouldered Grass Parakeet / See Catalogue, page 22.taxidermy, parrot, turquoise parrot, taxidermy bird, australian bird, burke museum, trustees of 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. 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 red-winged blackbird is native to North America. They live in a verity of places from southern Alaska at its northern most point, to the Yucatan peninsula in the south and covers the greater part of the continent reaching from the Pacific coast of California and Canada to the eastern seaboard. Populations that are most northerly migrate south after the mating season, but some of the populations in the central and western United States, Central America and the Gulf Coast are resident year-round. In the breeding season, Red-winged blackbirds are found in a range of fresh and saltwater environments, including in small trees and bushes along marshes and watercourses, in agricultural areas and dry meadows. During migration, they can be found in, pastures, prairies and cultivated fields. They are polygamous. In the north, the early arrival and tumbling song of these birds are welcome indications of spring's return. The Red-winged blackbirds are known for their scarlet and yellow shoulder patches on this specimen are rather dull and the feathers are not as glossy black as they are in other images. 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 is one of the most common birds in North America and is the most boldly coloured one. The males are glossy-black with shoulder patches of scarlet and yellow which they are able to puff up or hide according to their level of confidence. Females look like a big, dark sparrow, being a subdued, streaky brown. This specimen has the colouring of the male Red-Winged Blackbird which helps to identify it as such.Swing-Tag: 137a. / Red-winged Starling / Catalogue page, 58 / Tag: A. 4429taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, american birds, north america, red-winged blackbird, red-winged starling, migratory, alaska, canada, saltwater

The Barking Owl is a nocturnal, medium sized (390-440 mm) bird of prey native to Australia, parts of Papua New Guinea, and the Moluccas. Males are generally slightly larger by weight than females and they are only one of small number of owl species that do not exhibit marked sexual dimorphism. Barking Owls have characteristic vocalisations, ranging from 'a 'woof woof' barking dog sounds to shrill, human-like scream sounds, which reportedly alarmed early European settlers. The Barking Owl's shrill and explosive vocalisation is sometimes associated with Bunyip mythology or referred to as 'the screaming woman call'. The male call is slightly lower in pitch than the female, and males and females often duet, contrasting low and high pitches. The owls are brown-grey in colour with white spots on the wings and vertically streaked chest. Their eyes are large and yellow. Barking Owls may be vulnerable in some parts of Australia due to woodland habitat loss. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. This male Barking Owl is average sized with brown, grey and white spots and vertical chest streaks. The face and breast are lighter in colour than the wings and dorsal plumage. The eyes are large and dark and the legs and feet are yellowish. The eyes are large and yellow irises and the legs and feet are yellowish. The specimen stands on a wooden perch pedestal with identification tags attached to its leg. 17. / Bookook Owl / See catalogue page, 4 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, owls, barking owls, screaming woman call, yowing, woodland birds, birds of prey, australian owls, endangered, loss of habitat, woodland habitat, bunyip, australian early settler mythology

The Powerful owl is native to south-eastern and eastern Australia and is the largest owl on the continent. It is found in coastal areas and in the Great Dividing Range rarely more than 200 km (120 mi) inland. An apex predator in its narrow distribution, the Powerful owl is often an opportunist like most predators, but generally hunts arboreal mammals, in particular small to medium-sized marsupials. It is a typically territorial raptorial bird that maintains a large home range and has long intervals between egg-laying and hatching of clutches. Unlike most raptorial birds, male Powerful owls are larger and stronger than females and so the male takes the dominant position in the mating pair, which extends to food distribution. This example of a Powerful Owl show lighter brown coloured feathers and slight discolouration. The Powerful Owl has darker colourings and whiter feathers in real life. This example also show discolouration in the feet and they are brighter yellow in colour in real life. 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 centuryThis Powerful Owl has medium brown to dark grey-brown above, with white barring, and off-white front. The glass eyes are yellow, set in a dark grey/brown facial mask. The legs are feathered with yellow feet and talons. The specimen stands upon a wooden platform and has no identification tags attached. Swing-tag: n/a Metal tag: n/a Mount: no markings taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, owl, powerful owl

The Powerful owl is native to south-eastern and eastern Australia and is the largest owl on the continent. It is found in coastal areas and in the Great Dividing Range rarely more than 200 km (120 mi) inland. An apex predator in its narrow distribution, the Powerful owl is often an opportunist like most predators, but generally hunts arboreal mammals, in particular small to medium-sized marsupials. It is a typically territorial raptorial bird that maintains a large home range and has long intervals between egg-laying and hatching of clutches. Unlike most raptorial birds, male Powerful owls are larger and stronger than females and so the male takes the dominant position in the mating pair, which extends to food distribution. This example of a Powerful Owl show lighter brown coloured feathers and slight discolouration. The Powerful Owl has darker colourings and whiter feathers in real life. This example also show discolouration in the feet and they are brighter yellow in colour in real life. 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 Powerful Owl has medium brown to dark grey-brown on its wings and back, lighter patterning on its chest lightening with white barring, and off-white front. The eyes are yellow, set in a dark grey/brown facial mask. The legs are feathered with yellow/browning feet and talons. The specimen stands upon a wooden platform and has no identification tags attached. Swing-tag: n/a Metal tag: n/a Mount: wooden with no markings.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, owl, powerful owl