This particular species is native to Australia and can be located throughout the mainland, preferably in the south-western interior. It is known for its distinctively upturned bill, the males of this species have a slightly more upturn to their bill than the female. This style of bill is unusual among birds and is used to assist them forage in the water of shallow wetlands. These birds feed on aquatic insects, crustaceans and seeds. The name of this species is derived from the distinctive chestnut brown/red colouring of the head and neck. Interestingly, the call of this bird has been described as a "yapping" sound which is similar to the sound of dogs barking when performed by a flock in flight. 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 Red Necked Avocat specimen is stylized in a standing position upon a wooden platform. There is a pale brown identification tag tied around its left leg. The bird has long pale grey coloured legs and a characteristic long, thin and black upturned bill. The plumage of this species is largely white. It has a chestnut brown/red coloured head which is where this species gets its name. The wings are white with black tips.24c. / Avocat / Catalogue, page, 36. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, large bird, red necked avocat, avocat

This photograph depicts a large group of men in their work clothing situated in front of a large bank of earth. They are identified as miners working in an unidentified location in Australia. This photograph was taken by photographer Walter Thwaites sometime during the period of 1865-1908, likely c.1870. It is unsure where this image was taken since Thwaites travelled a lot over his photography career and the photograph is not annotated with this information. In addition, the identities of the men in the photograph are also unknown. These men are photographed in front of a large bank of earth where they had presumably been mining for gold or other precious metals. The men, with the exception of four, are wearing wide brimmed hats to protect their faces from the sun. They are also wearing loose fitting white shirts which are often worn beneath a darker coloured vest. They wear pale coloured work pants and boots. The men are mostly clean shaven with the exception of the moustache and a couple of beards. Two of the men have pipes in their mouth. Their clothing is basic and much less dramatic than the outfits worn by the gold diggers of the 1852 gold rush. These men, by wearing similar outfits, are expressing a sense of comradery or equality between them. It is likely that they are from the same, or similar, social status. They have an air of independence and share social equality in their stance and clothing. Walter William McLean Thwaites (1840-1908) was a professional photographer born in Sydney, Australia. He learnt the craft in his father's Hobart studio, but later embarked on his own solo career and toured every existing Australian colony between 1860 to 1888. The Thwaites family were a long line of photographers and artists with Thwaites' father Walter WIlliam Thwaites Sr working as an artist and photographer in Australia after moving from England in 1834. Walter Thwaites Sr's father, also named Walter Thwaites, was a British miniature portrait artist.Images, like this one, of Australian gold rush history can reveal important information about the social and environmental impact of this period. This image depicts over 30 diggers standing in front of a bank of earth and therefore, this image has the capacity to reveal or support significant information for researchers studying the fashion and social status of diggers in Australia in approximately 1870. It can also provide information on the landscape of Australia in this period and the impact of mining for gold on both society and the Australian landscape. The Burke Museum is home to a substantial collection of Australian mining photographs which can be used to gain a deeper understanding into life on the gold fields, technology used in mining, the miners themselves and the impact of the gold digging on the environment.Sepia toned rectangular photograph printed on matte photographic paper and mounted on board.Reverse: 1997.208 / MINERS. / W. Thwaites / Photography /australia, australian photography, photography, miners, gold rush, australian landscape, diggers, walter thwaites, thwaites photography, w. thwaites photography, social history

The photograph depicts a mine cut with a tractor. Water is being used to sluice the front of the tractor, possibly to separate any gold that may have been picked up from the earth. A few people watch the demonstration. Water was a significant part of gold mining in the Beechworth area and miners used a method known as 'hydraulic sluicing'. Due to the amount of water required, many water races were constructed throughout the Beechworth Mining District. These were cut through solid rock and are an example of engineering achievement. Water usage in the area put Beechworth at the heart of water policy, with many firsts for Victorian colonial goldfield water management being established in the Beechworth Mining District. This photograph is significant as it depicts the use of water in gold mining in Beechworth. Beechworth was notable for it's use of water in mining.Black and white square photograph (portrait orientation) printed on matte photographic paper.Reverse: SW-50-2 / 1997 31136 / unreadable pencil markingssluicing, gold mining, mining, hydraulic sluice, hydraulic sluicing, beechworth mining district

This photograph is of old mine workings on the site of the Spring Creek diggings. Spring Creek is a contact zone for granite pluton and siltstones, shales and standstones; which has, over time, encouraged natural springs to form. Enriched with gold washed out of the surrounding granite, these alluvial deposits achieved fame from 1852 onwards as the Spring Creek Diggings sprang to life (not realised as geographically important until 1871). In Spring Creek that runs behind the main street of Beechworth, near the foot of Newtown Hill a pint pot of gold was discovered on one of these expeditions in 1852 by prospectors Baker and Strickland and the gold rush town of Spring Creek was formed. Australian gold rushes have always created a sense of independence and freedom; as do-it-yourself, off-grid, low-tech adventures. People of all backgrounds were drawn to the gold fields by the prospect of riches and adventure, but they also learned self-sufficiency and found freedom of expression. Industry boomed, new practices were adopted and social norms were upended. This image is of historical significance as it informs on the history of Australian gold mining. It represents the innovation that accompanied the mining industry and the importance of gold mining in town building and regional histories. Black and white rectangular photograph on unmounted board.gold mining, spring creek, mining, geography, geology

This photograph depicts a man in dark clothing, standing in front of a cut away section of earth. He is undertaking hydraulic sluicing, which involves the use of high powered hoses, in order to cut away the earth which can then be sifted for gold. There is a single tree in the background and the earth contains numerous signs of damage because of the mining. Beechworth become a mining settlement after the discovery of gold in 1852. Gold fever had already spread across Australia's colonies and the American states. Sluicing the landscape for gold, as shown in this photograph, was done by diverting water and washing away the lighter dirt, allowing the gold particles to sift down in to catchments for collection. In Beechworth, there was considerable discontent caused by attempts to restrict water use for sluicing to those with certain 'water rights'. The extensive use of hydraulic sluicing, and the washing away of top soils has continued to impact the surrounds of Beechworth in to the present day. Sluicing as a method for gold mining which was widespread across Victoria during the 1870s. The erosion of the top soil in search of gold has a continuing environmental impact on the landscape and this photograph depicts but one example of this occurring and can provide much information to a researcher interested in understanding the history of gold mining in Victoria. This image of the miner and hose is historically important because it demonstrates the methods of goldmining employed in the later years of the goldrush at Beechworth. It shows how much land is washed away by the use of this technology. The image has good interpretive capacity because it allows researchers to see a different mining technique to what is usually presented. Black and white square photograph on card.reverse: 84-50-3 / 1997 3141 / smdsluicing, goldmining, beechworth, burke museum, miners, gold miners, gold sluicing, environmental impact

This postcard depicts the set-up of an abandoned gold mine. This includes a water wheel and other mining implements next to a creek. The postcard inscription indicates that this image is of the remains of the Wallaby Reef battery and water wheel. Wallaby Reef was discovered in 1864, and a prospecting claim established a four head battery and water wheel. Quartz was mined there, with gold also discovered at this location at a later date. By 1878 the mine was no longer resulting in rich deposits, this resulted in the miners moving their search for gold closer to the river where they were able to access more gold. This was in approximately 1879. In 1882 a rich deposit was found. In 1908 the battery was closed, and the mine finished. This photo was taken in 1920 and shows the deterioration of the site since its closure. Gold mining was crucial to the development of the Beechworth area. It has strong research and historical value because the clarity of the photo shows all the minute details of the mining equipment. The text on the back also indicates the mine is the Wallaby Mine, which was used for 45 years to find gold and quartz. Therefore, due to the location being quickly abandoned, this site is a rich location for historical study on gold mining during the 1900s. It can provide important information on the types of tools utilised and the impact of the mining on the environment.Black and white postcard photograph on card.8169 Be / Also near Wallaby Reef Workings / Relics of Rechabite Reef (locality) workings. / Shaft in bed of creek. Wheel used to drive sheadd (?) / stamp battery too I believe near B'worth 1920?beechworth, mining, gold mining, quartz mining, wallaby reef mine, mine battery head

This photograph depicts mining operations (in particular, hydrolic sluicing) at Three Mile Mine, Barramutha, during the later periods of mining, 1920s-1950s. Three Mile Mine was a major site of mining activity sating back to the 1850s, although was often not as prosperous as other sites such as those situated on the Woolshed Valley. Many miners would leave Three Mile Mine for better prospects on other claims. The main, most successful 'rush' at Three Mile Mine occurred during and immediately following September 1855. This photograph, however, depicts a much later period.The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray a miner at a sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image, and its related images, it important for its historical significant of labour and mining extraction used for gold during the latter gold rushes in the 1900s. The Beechworth Burke Museum has additional images relating to gold mining in the region which can be analysed and studied alongside images like this one.A black and white rectangular photograph printed on matte photographic paperreverse: 7597.4 / copied from original on loan from Webb (Qld) / Donated Nov 2009 / Baarmutha Three Mile Mine 1920-1950 / Owned by Plain Bros then Parkinsons / John Weir or Jack Cox / Sluicing /mining, barramutha, three mile mine, sluicing, mine, beechworth

The Squirrel is a small to medium sized member of the rodent family Sciuridae. They are commonly located in America, Eurasia and Africa. The Squirrel was introduced to Australia by humans. Interestingly, the tail of the Squirrel serves the purpose of keeping the rain, wind or cold off the body of the animal, to help it cool off in hot weather, to counterbalance when moving and can be utilized as a parachute when jumping from one location to the next. Squirrels consume foods that are rich in protein, carbohydrates and fats. They eat nuts, seeds. fruits and vegetation. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.Grey Squirrel standing on a wooden platform. The small sized specimen holds a pinecone between its hands and has a paper identification tag tied to one of its arms. It has grey/ash coloured fur with a pale belly and dark coloured glass eyes. It has a long and bushy tail that stands along its back in an arched shape. It has tiny hands and feet.40. ash-coloured / Squirrel / Catalogue, Page, 49. / A.4484 / BMM 75 32 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, squirrel

The Squirrel is a small to medium sized member of the rodent family Sciuridae. They are commonly located in America, Eurasia and Africa. The Squirrel was introduced to Australia by humans. Interestingly, the tail of the Squirrel serves the purpose of keeping the rain, wind or cold off the body of the animal, to help it cool off in hot weather, to counterbalance when moving and can be utilized as a parachute when jumping from one location to the next. Squirrels consume foods that are rich in protein, carbohydrates and fats. They eat nuts, seeds. fruits and vegetation. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.Grey Squirrel standing on a wooden platform. The small sized specimen holds an acorn between its hands and has a paper identification tag tied to one of its arms. Small acorns are arranged around the specimen's feet. It has orange coloured fur with a pale belly and dark coloured glass eyes. It has a long and bushy tail that stands along its back in an arched shape. It has tiny hands and feet.42. Common Squirrel / Catalogue, page, 50 / A.4487 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, squirrel

The Grey Squirrel is a small to medium sized member of the rodent family Sciuridae. This species is commonly located in England, Wales and central Scotland. They are known for their agility and ability to climb trees. Interestingly, the tail of the Squirrel serves the purpose of keeping the rain, wind or cold off the body of the animal, to help it cool off in hot weather, to counterbalance when moving and can be utilized as a parachute when jumping from one location to the next. Squirrels consume foods that are rich in protein, carbohydrates and fats. They eat nuts, seeds. fruits and vegetation. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This specimen has silver-grey fur with a brown colouring located on the face and a pale underside. The tale stands tall along the back of the specimen and is bushy. The specimen is of a smaller size and has no tuffs on its ears. It stands on a wooden platform and has two paper tags tied to its hands.Grey Squirrel / BMM 7534 / A.4485/ 41. Squirrel Sp / Catalogue Page, 49 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, squirrel

The Squirrel is a small to medium sized member of the rodent family Sciuridae. They are commonly located in America, Eurasia and Africa. The Squirrel was introduced to Australia by humans. Interestingly, the tail of the Squirrel serves the purpose of keeping the rain, wind or cold off the body of the animal, to help it cool off in hot weather, to counterbalance when moving and can be utilized as a parachute when jumping from one location to the next. Squirrels consume foods that are rich in protein, carbohydrates and fats. They eat nuts, seeds. fruits and vegetation. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Carolina Squirrel specimen has dark coloured fur with paler colouring on the face and hands. It grasps a nut between its hands and stands on a wooden platform. A paper tag hangs from the right arm with a smaller tag attached to the left. The squirrel has dark black glass eyes and sharp claws on the hands and feet. A.4481 BMM7535 35. Carolina Squirrel / Catalogue, Page, 49 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, squirrel

The Grey Squirrel is a small to medium sized member of the rodent family Sciuridae. This species is commonly located in England, Wales and central Scotland. They are known for their agility and ability to climb trees. Interestingly, the tail of the Squirrel serves the purpose of keeping the rain, wind or cold off the body of the animal, to help it cool off in hot weather, to counterbalance when moving and can be utilized as a parachute when jumping from one location to the next. Squirrels consume foods that are rich in protein, carbohydrates and fats. They eat nuts, seeds. fruits and vegetation. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This specimen has silver-grey fur with a pale cream coloured underside. The tale stands tall along the back of the specimen and is bushy. The specimen is of a smaller size and has no tuffs on its ears. It stands on a wooden platform and has two paper tags tied to its hands. One hand is stylized in a raised position while the other remains downward.A.4483 / 39. Ash-coloured / Squirrel / Catalogue. page, 49 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, squirrel

The Squirrel is a small to medium sized member of the rodent family Sciuridae. They are commonly located in America, Eurasia and Africa. The Squirrel was introduced to Australia by humans. Interestingly, the tail of the Squirrel serves the purpose of keeping the rain, wind or cold off the body of the animal, to help it cool off in hot weather, to counterbalance when moving and can be utilized as a parachute when jumping from one location to the next. Squirrels consume foods that are rich in protein, carbohydrates and fats. They eat nuts, seeds. fruits and vegetation. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Carolina Squirrel specimen has dark grey coloured fur. This specimen stands on a wooden platform and its arms are stylized in a raised position next to its face. A paper tag hangs from the right arm with a smaller tag attached to the left. The squirrel has dark black glass eyes and sharp claws on the hands and feet.A.4480 36. Carolina Squirrel / Catalogue, page, 49 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, squirrel

The Weasel is the smallest carnivorous mammal in the world. They commonly reside in central and western Europe and in the Mediterranean region. They can also be found in North Africa, Asia and North America. This species was also later introduced to New Zealand. The Weasel prefers to live in locations which include grasslands, sand dunes, lowland forests, upland moors and towns which have a suitable food source. Collective nouns for a group of Weasels include a "sneak", a "boogie", a "gang" or a "confusion". This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.A light coloured weasel standing on a wooden platform. Two identification tags are tied to one of the specimen's back legs. The animal has a long and slim body with a small and triangular shaped head. The teeth are visible from close-up and the eyes have been replaced by dark coloured glass. The snout is pointed and the weasel has long whiskers. The ears are small and rounded.A.4491 ?. Weasel sp. / Catalogue, page, 48 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, squirrel

This image is believed to be taken in 1879. The photograph depicts gaol staff in front of what was believed to be the original timber gates of Beechworth Gaol. This has been proven false through photographic evidence but is believed to be somewhere within the Old Beechworth Gaol. The Old Beechworth Gaol opened in 1864 as a result of the gold rush boom that struck Beechworth in 1852, bringing with it a large population desperate for riches. It is most famously known for holding Australia's most famous outlaw, Ned Kelly, along with his relatives and supporters, the Kelly Gang. It is now open for tour for the public.This photo depicts Old Beechworth Gaol, which has extreme historical significance to the town of Beechworth through both the building and the prisoners who occupied it. This includes famous bushranger Ned Kelly, who was a prisoner here in 1871 and 1880. Black and white rectangular photograph printed on matte photographic paperReverse: 6201/kelly album, beechworth gaol, guard, old beechworth gaol, gaol, uniform, burke museum, #beechworth, gold rush

This photograph depicts a soldier, credited on the reverse as Fred Foster. The young man is dressed in military attire and is standing tall with a gun beside him. He is located in the Australian bush and the date of the photograph is unknown. Frederick “Fred” Arthur Foster was nephew to famous Bushranger Edward “Ned” Kelly. He was born on the 15th of March 1889 in Forbes, New South Wales. He was the eldest son of Catherine “Kate” Kelly and William Henry “Bricky” Foster. After the death of his mother in October of 1898 from apparent drowning, Foster (then aged 9) was raised by his grandmother Ellen Kelly (née Quinn) at Eleven Mile Creek in Victoria. On the 29th of June 1915, 26 year old Foster travelled to Melbourne, Victoria and enlisted in the Australian Army. He was a Private in the 17th Infantry Battalion (originally C.Company, 47th battalion). He previously was attached to the 55th Battalion but transferred in 1916. Prior to enlisting in the army, Foster worked as a Bee Keeper and served in the 16th Light Horse regiment at Benalla. Foster had blue eyes, brown hair and was of Presbyterian faith. On the 28th of February 1917, Foster travelled to France aboard SS “Golden Eagle”. He was killed in action in Lagnicourt, France on the 15th of April 1917 at 28 years old. The Battle in Lagnicourt France, on the Western Front, occurred from the 1st of March to the 30th of April of 1917 and was the location of fierce fighting between Germany and the British Empire. Germany became aware of a weakness they had along the Hindenburg Line, one of these weaknesses was located in Lagnicourt which is a small village in Northern France. Therefore, the Germans decided to launch a counter-attack in this area on the 15th of April at dawn. During this fight, German forces captured several batteries of the 1st Australian Division’s artillery but the Australians led a strong counter-attack by four of their battalions and recaptured the village and most of the guns from the German forces. German forces were forced into a premature withdrawal. This battle was not undertaken in typical WW1 “trench” style warfare. Instead, the battle was up on the ground in what was described as “old open style warfare”. In this battle, slightly more than 1000 casualties were Australian, with 300 of these prisoners of war. German forces suffered a loss of over 2300 casualties with 360 taken captive. Foster was one of 43 in his regiment who died, 87 were wounded and 51 reported missing. Foster was buried at location in Lagnicourt and whilst the grave was initially marked, it is now unknown. Foster’s service, alongside those who fell at Lagnicourt, is commemorated at the Australian National Memorial in Villers-Bretonneux, France along with other national Australian memorial sites.Photography played an important part in World War 1. Photographs of men in their military uniforms served as propaganda during the Great War to reassure civilians back at home of the military prowess of their nation and the bravery of their men. It did this while hiding the true horrors which faced the men in battle. These photographs, which includes those taken at home prior to embarking overseas like Fred Foster’s, act as censored memory for those who have lost a loved one at war. It enables families to remember their relatives in their youth and standing proudly rather than having to face the actual danger and horror which faced these men at the front line. The battle of Lagnicourt France was a victory for the European Empire and therefore, men who lost their lives protecting their countries became heroes and were awarded posthumous medals for their service. Photos of soldiers in their uniforms, were undertaken by men like Foster, so their families would be able to retain their memories and likeness before they embarked for war. Many men were killed or horribly wounded so these images were important for reminding families about their sons/ husbands/ brothers/ cousins and friends. This photo is a part of the Burke Museum Kelly album which includes numerous photographs relating to the Kelly Gang. As the son of Kate Kelly and William “Bricky” Foster, Fred Foster is an important part of the Kelly story after the execution of Edward “Ned” Kelly which has information it can impart relating to the history of the family after 1880. Whilst an important element of the Kelly Album, Foster’s photograph is also historically important in its own right for its connection to the Great War and the experiences of a soldier at the Western Front.Original sepia rectangular photograph developed on matte photographic paper, unmounted.Reverse: (Top right corner of reverse:) FRED FOSTER/ (Top centre of reverse:) Kate Kelly's son.kelly album, fred foster, kate kelly, photograph, australian soldier, the kelly gang, australian bush, burke museum, sepia photo, gum trees, family of the kelly gang, world war i, langnicourt, france, great war, 1917, ned kelly, frederick foster, william "bricky" foster, ellen kelly, military history, australian military

This photograph features a woman and a man, both older, seated together on a bench at Benalla railway station, c.1917. The woman on the left, wearing a hat and face veil is Mrs Kelly (Ellen Quinn Kelly), Ned Kelly’s mother and the man beside her is Ned Griffiths. Born in 1832 in Ireland, Ellen married John ‘Red’ Kelly, an ex-convict who also originated from Ireland, in 1851. She met Kelly after emigrating to Australia with her parents. Ellen and John Kelly had 7 children, the eldest of these is the infamous Bushranger Edward "Ned" Kelly. John Kelly died in 1866. Ellen had 7 children to care for and not much money so she relocated the family to Greta where she had relatives. Ellen remarried in 1874 to a young George King, an American originally from California. The couple married in Benalla and together they had 3 children. Ellen and King's children would later adopt the surname Kelly after George disappeared in 1877. Ellen spent three years in prison for the assault of Constable Fitzpatrick (an incident surrounded by mythology and uncertainty). She later passed away in her early 90s on the 27th of March 1923 at Greta. In this photograph, Albert "Ned" Griffiths wears a hat, full suit, and glasses. He is Ellen Kelly's son-in-law from his marriage to her daughter Grace Kelly. Ned Griffiths was born in 1871 and died in 1939. He married Grace Kelly in 1889 in Benalla and together the couple had nine children.This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Individuals like Ellen Kelly played an essential part in the Kelly story which have been adapted for popular culture. The study of these individuals through their images and records can help researchers to correctly interpret their involvement with Ned Kelly and the Kelly gang.Original sepia rectangular photograph developed on matte photographic paper, mounted on board.Reverse: (Top half of reverse) Mrs Kelly/Mother of Ned Kelly And Mr Ned Griffiths her/ Son in law – husband/ Of Grace Kelly/ (Down right side of lower half of reverse) 855-184-1kelly album, ellen kelly, ned griffiths, photograph, grace kelly, mourning attire, ned kelly, mother, son-in-law, the kelly gang, burke museum, sepia photo, mounted photo, victoria, benalla, australia, 1917, benalla railway station

These pieces of Kelly Gang armour (including pieces manufactured by police) were photographed outside Beechworth Court House during committal proceedings in 1880. Ned Kelly, born in June 1855, was one of the last Australian bushrangers. An outlaw, gang leader and convicted police killer, Ned Kelly's distinctive armour has become entrenched in Australian lore. Ned's younger brother Dan Kelly (born in 1861), wore similar armour to his older brother. Black and white rectangular postcard printed on paper cardObverse: NED AND DAN KELLY'S ARMOUR TAKEN DURING HIS TRIAL AT BEECHWORTH IN 1880 Reverse: POSTCARD / CORRESPONDENCE / ADDRESS ONLY KODAKkelly album, bushranger, ned kelly, dan kelly, daniel kelly, kelly gang, armour, kelly trials

A Carte de Visite (hereafter CdV) (also known as a calling card) was popular within the mid-19th Century. It is a small card with a photographic portrait mounted on it. These cards were exchanged during the Victorian era (peaking in the 1860s) between families and friends. This particular CdV was captured by John Paul Carolin in c.1877. Carolin was a two time Mayor of Bendigo (1889-1990 and 1907-1908) and ran a photography studio on Piper Street in Kyneton from 1866. This photograph depicts a young Daniel “Dan” Kelly posing for his photograph while sitting on an ornate chair and leaning his elbow on a small pedestal table. Dan was approximately seven years younger than his famous brother, Edward “Ned” Kelly. He was born in 1861 to John “Red” Kelly (an Irish ex-convict) and Ellen Quinn. In march 1878, Dan was wanted for arrest on the charge of horse stealing. This event, known commonly as the “Fitzpatrick Incident” resulted in the formation of the Kelly Gang as it is known in popular culture today. After the incident the Kelly Gang disappeared into the bush and a 100 pound award was issued for their arrest. During this period the gang robbed banks including those at Jerilderie, Euroa and Benalla. On the 28th of June 1880, Dan Kelly died at Glenrowan in what was the Kelly Gang’s final stand: the Siege of Glenrowan. Following this event, Dan’s elder brother Ned is the sole survivor of the Kelly Gang until he is executed at the Melbourne Gaol on the 11th of November 1880. The circumstances around the deaths of Dan Kelly and Steve Hart are controversial but it is generally accepted that they died in a suicide pact inside the Ann Jones Inn.This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Individuals like Dan Kelly played an essential part in the Kelly story which have been adapted for popular culture. The study of these individuals through their images and records can help researchers to correctly interpret their involvement with Ned Kelly and the Kelly gang.Sepia, rectangular, postcard on boardObverse: Carolin Photograph Kyneton / Reverse PHOTOGRAPHED / FROM LIFE / ADVANCE AUSTRALIA / BY / J.P. CAROLIN, / KYNETON. / VICTORIA. / COPIES MAY BE HAD ON / APPLICATION. / DK/Dan Kelly/9 2 48/7#carte de visite, kelly gang, dan kelly, daniel kelly, fitzpatrick, ned kelly, steve hart, joe byrne, ann jones inn, glenrowan, kyneton, 1877, john paul carolin, carolin

A Carte de Visite (hereafter CdV) (also known as a calling card) was popular within the mid-19th Century. It is a small card with a photographic portrait mounted on it. These cards were exchanged during the Victorian era (peaking in the 1860s) between families and friends. This particular CdV was captured by James Bray in c.1870. Bray who worked as a professional photographer in Camp Street Beechworth from 1870-1891. He was one of four men who photographed the Kelly Gang after the siege in Glenrowan in 1880. He is also renowned for his previous work photographing members of the Kelly gang. Depicted in this photograph is Isaiah “Wild” Wright. Wright was born in approximately 1846 in County Monaghan, Ireland. At age 11, Wright arrived with his father John Wright, mother Margaret and younger siblings in Victoria on the 9th of July 1857. They sailed on the ship ‘Carleton’ which left from Liverpool in England. Wright was stood 5 foot 11 inches tall and had brown hair with hazel eyes. He had a scar on the inside corner of his left eyebrow, a large scar on his right cheek and a scar on the back of his head. Over the years in Australia, Wright was sentenced on numerous (particularly of horse theft) charges and spent time in Pentridge, Hulk Sacramento and Hulk Sandridge. Wright married Bridget Lloyd in 1973. Through this marriage he was connected to the Kelly family as Bridget’s mother was one of Ellen Kelly’s (Ellen was the mother of Edward “Ned” Kelly) sisters. Wright is famous for his participation in the horse stealing incident of 1871 and subsequent bare knuckle fight against Ned Kelly that occurred in 1874. In 1878, Bridget and Isaiah Wright became parents to John "Jack" Thomas Wright. Jack Wright was an Australian rules footballer who played for Geelong in the Victorian Football League 1902-1906. Wright passed away on the 29th of May 1911.This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Individuals like Isaiah “Wild” Wright played an essential part in the Kelly story which have been enlarged and adapted for popular culture. The study of these individuals thorugh their images and records can help researchers to correctly interpret their involvement with Ned Kelly and the Kelly gang. Artefacts and photographs pertaining to the Kelly gang are particularly valuable for Australian museums. This particular photograph is significant for its connection to Beechworth photographer James Bray who is responsible for many images depicting members of the Kelly Gang. Sepia oval CDV printed on Card. Obverse: J.E. Bray/ Photo Reverse: 10238 Portrait & Landscape/ Photographer J E Bray Signature Beechworth/ Victoria/ Negatives Kept. Copies 5I/. Each May/ Be Had By Forwarding Name And Address/ Accompanied With Remittance To/ The Amount Of Order/ Photographs Coloured In Watercolourskelly album, kelly gang, beechworth, wild wright, boxing, burke museum, imperial hotel, bare-knuckle boxing, isaiah wright, ned kelly, isaiah wild wright, horse theft, hulk sacramento, calling card, pentridge, james bray, cdv, carte de visite

This photograph was taken in c.1870 and depicts Aaron Sherrtt who is best known for his involvements with, and eventual assassination by, the Kelly gang. He stands upright in the image with his arm leaning on a podium which reaches his hip. He is wearing an outfit for which he was infamous. Richard Warren, son of the proprietor of the Ovens and Murray Advertiser once stated that “anyone seeing [Aaron] coming down Ford Street would ask, “Who the hell’s this? Some advance agent for the circus?”’. The outfit Aaron wore for this particular photoshoot is reminiscent of this quote. He wears an unusual spotted shirt with a waistcoat and a sash is tied at his waist. He wears boots which turn up slightly at the toes. The hat is a “pork pie” hat which is worn in the typical “Greta Mob” style with the chinstrap under the nose. Aaron Sherritt was born in 1854 in Prahran, Melbourne, to Irish Protestant parents John and Anne. Sherritt stood at 5 foot 10. He had hazel eyes, dark brown hair and pale olive skin. Sherritt was childhood friends with Kelly Gang member, Joe Byrne, having previously attended the same school. Both men had a reputation for stealing horses and on one occasion, after stealing and butchering a cow, Sherritt and Byrne were convicted to six months in Beechworth Gaol (1876). Sherritt, along with Byrne, were reportedly recruited by Ned Kelly in 1877 in stealing stock; however, Sherritt never became a fully-fledged member of the Kelly Gang. Nevertheless, Sherritt scouted for the Kelly Gang in 1878. He later struck a deal with the police (specifically, with Chief Commissioner Standish) to save Joe Byrne's life in exchange for leading the police to the other members of the Gang. From then on, Aaron Sherritt lived the dangerous life of a double agent, providing police with what is assumed today to have been outdated or incorrect information in return for money. On the 26th of June 1880, Aaron Sherritt was murdered in the Woolshed Valley. He was approximately 23-25 years old at death. This event marked the start of the Kelly gang’s last days. Sherritt was murdered by Byrne in front of his wife, 15 year old and heavily pregnant Ellen “Belle” Sherritt and her mother Ellen Barry. Also in the Sherritt dwelling on this particular night were four policemen. The intention behind Sherritt’s murder was for the police to send word to Melbourne that the Kelly gang had murdered Sherritt and a police train would be sent to Glenrowan where the rest of the Kelly gang were waiting. This plan did not go as predicted and ultimately the Kelly gang fell at Glenrowan in 1880. This photograph was taken by James Bray who worked as a professional photographer in Camp Street Beechworth from 1870-1891. He was one of four men who photographed the Kelly Gang after the siege in Glenrowan in 1880. He is also renowned for his previous work photographing members of the Kelly gang. This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Artefacts and photographs pertaining to the Kelly gang are particularly valuable for Australian museums. This particular photograph is significant for its connection to Beechworth photographer James Bray who is responsible for many images depicting members of the Kelly Gang. The photograph is also of artistic significance as an example of a Carte de Viste dating to 1880 and it's connection to Aaron Sherritt.Sepia rectangular photograph printed on card. Obverse: J.E.Bray./ Photo/ Beechworth Reverse: Portrait & Landscape/ Photographer 5/ Aaron Sherritt J E Bray Signature Beechworth/ Victoria Beware (almost erased out) Negatives Kept. Copies 5I/.Each May/ Be Had By Forwarding Name And Address/ Accompanied With Remittance To/ The Amount Of Order/ Photographs Coloured In Water Colours 10237. kelly album, woolshed valley, 1870s, kelly gang, joe byrne, ned kelly, aaron sherritt, james bray, beechworth, burke museum

This Carte-de-viste (CdV) previously belonged to the donor's grandfather, Daniel Mullins who was a Police Officer stationed at Glenrowan soon after the Kelly gang siege. It is unclear; however, whether or not the man depicted in the photograph is Daniel Mullins or a different police officer. The Police Station at Glenrowan depicted in this CdV stood during the events of the Kelly gang's siege. Today, the siege has become an important part of Australian culture and Ned Kelly and the Kelly Gang (comprising of Ned Kelly, Dan Kelly, Steve Hart and Joe Byrne) has become ingrained in Australian history and mythology. A CdV is a sepia toned photograph mounted on card and is generally of a small size. This particular style was first patented by Andre Adolphe Eugene Disdéri (1819-1889) in 1854. In 1857, the CdV was introduced to England and after photographs of Queen Victoria, Prince Albert and their family were taken using CdV in 1860 the popularity of this method reached a peak. This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Items pertaining to the Kelly gang, including photographs like this one which depicts a police officer standing outside of the Glenrowan Police Station, are of great historical significance. Photographs like this can provide valuable information on the architecture, lifestyle and dress of colonial Australia. When studied, photographs have the ability to shed more light on the events of the Kelly gang and colonial Australia. This photograph is also of artistic significance because of the popularity of the CdV during the nineteenth century.A sepia toned photograph mounted on grey card with rounded corners. The image has been captured by an unknown photographer and depicts the outside the Glenrowan Police Station. In front of the Station stands an unidentified policeman and lying on the ground behind the policeman is a medium sized dog with dark colouring. The Police Station depicted in this photograph is a classic example of Australian country colonial architecture typically seen dating to the nineteenth century. It has the typical features of an Australian colonial 'miners' cottage' with the gable roof and a skillion at rear. A white picket fence is stands between the Station and the policeman. A small building is located at the rear of the Station which may have served as a lockup.BMM 8083kelly album, glenrowan, police, police station, photograph, ned kelly, australia, colonial australia, victoria, james bray, william e barnes, daniel mullins

In July of 1880, Ann Jones' successful hotel in Glenrowan burnt to the ground during the Kelly siege. She had opened her business in the year prior having been unsuccessful in her attempt to run a tea-room business in Wangaratta. The first building on this particular site was the home Ann Jones had built for herself and her family. Two years later she converted the home and added the hotel to the rear of the structure. One year later it was burnt to the ground. This image depicts the streetscape of Glenrowan in 1883, three years after the siege. Importantly, it reveals the appearance of several buildings which can reveal information for how Glenrowan (as a small town) might have stood during the siege. These buildings are of typical Australian colonial "miner's cottage" style. On what would have been the site of Ann Jones' hotel, to the far left of the photograph, a police station stands. This police station was built before April 1883. This image was captured by an unknown photographer. This Carte-de-viste (CdV) previously belonged to the donor's grandfather, Daniel Mullins who was a Police Officer stationed at Glenrowan soon after the Kelly gang siege. Today, the siege has become an important part of Australian culture and Ned Kelly and the Kelly Gang (comprising of Ned Kelly, Dan Kelly, Steve Hart and Joe Byrne) has become ingrained in Australian history and mythology. A CdV is a sepia toned photograph mounted on card and is generally of a small size. This particular style was first patented by Andre Adolphe Eugene Disdéri (1819-1889) in 1854. In 1857, the CdV was introduced to England and after photographs of Queen Victoria, Prince Albert and their family were taken using CdV in 1860 the popularity of this method reached a peak.This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Artefacts and photographs pertaining to the Kelly gang are particularly valuable for Australian museums. This particular photograph is significant for its connection to the Glenrowan Siege and Ann Jones' Hotel which burnt down during the siege in June 1880. Taken in 1883, this photograph (taken by an unidentified photographer) has the opportunity to provide information about the townscape of Glenrowan shortly after the siege. It also provides important insight into the architecture and layout of the town. To the far right of the image, the photograph depicts the police station which was built on the site of Ann Jones' Hotel which can provide important information for the Kelly story and how the town evolved following 1880. It is also interesting to emphasise that the police station was built on the site of Ned Kelly and the Kelly gang's last stand.This photograph is a sepia image of the Glenrowan streetscape depicting several buildings. The newly built police station (in 1883) stands on the far right of the image on the site of the former Ann Jones Hotel. On the left are several buildings built in typical 'miner's cottage' Australian colonial style. This includes the gable roof with the skillion at rear. An unidentifiable individual stands next to the chimney of the front left building. Numerous paddocks appear in the image, particularly in the front right and the rear of the houses contain many trees. To the rear of the image, there is a mountain. A street runs through the centre of the photograph.Glenrowan / taken 1.4.83 ... / BMM 8086kelly album, ned kelly, glenrowan, police history, police, australian architecture, streetscape, glenrowan 1883, 1883, dan kelly, steve hart, joe byrne, carte-de-viste, james bray, daniel mullins, william e barnes, colonial australia, police station, photograph

In July of 1880, Ann Jones' successful hotel in Glenrowan burnt to the ground during the Kelly siege. She had opened her business in the year prior having been unsuccessful in her attempt to run a tea-room business in Wangaratta. The first building on this particular site was the home Ann Jones had built for herself and her family. Two years later she converted the home and added the hotel to the rear of the structure. One year later it was burnt to the ground. This image depicts the streetscape of Glenrowan in 1883, three years after the siege. Importantly, it reveals the appearance of several buildings which can reveal information for how Glenrowan (as a small town) might have stood during the siege. These buildings are of typical Australian colonial "miner's cottage" style. On what would have been the site of Ann Jones' hotel, to the far left of the photograph, a police station stands. This police station was built before April 1883. This Carte-de-viste (CdV) taken by renowned Wangaratta based photographer William Edward Barnes previously belonged to the donor's grandfather, Daniel Mullins who was a Police Officer stationed at Glenrowan soon after the Kelly gang siege. Today, the siege has become an important part of Australian culture and Ned Kelly and the Kelly Gang (comprising of Ned Kelly, Dan Kelly, Steve Hart and Joe Byrne) has become ingrained in Australian history and mythology. A CdV is a sepia toned photograph mounted on card and is generally of a small size. This particular style was first patented by Andre Adolphe Eugene Disdéri (1819-1889) in 1854. In 1857, the CdV was introduced to England and after photographs of Queen Victoria, Prince Albert and their family were taken using CdV in 1860 the popularity of this method reached a peak.This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Artefacts and photographs pertaining to the Kelly gang are particularly valuable for Australian museums. This particular photograph is significant for its connection to Wangaratta based photographer William Edward Barnes and to the Glenrowan Siege and Ann Jones' Hotel which burnt down during the siege in June 1880. Taken in 1883, this photograph has the opportunity to provide information about the townscape of Glenrowan shortly after the siege. It also provides important insight into the architecture and layout of the town. To the far right of the image, the photograph depicts the police station which was built on the site of Ann Jones' Hotel which can provide important information for the Kelly story and how the town evolved following 1880. It is also interesting to emphasise that the police station was built on the site of Ned Kelly and the Kelly gang's last stand.This photograph is a sepia image mounted on yellow card which depicts the newly built police station (in 1882) which stands on the far right of the image on the site of the former Ann Jones Hotel. A fence appears through the lower front of the image and an open paddock is to the left. In the rear centre of the image, there is a mountain. In front of the mountain are many trees, most of them gum. The police station is a one storey structure with a veranda and there are three doorways visible in the image. The image depicts four windows on the front of the station.W.E.Barnes / photographer / Wangaratta / ...1882 / BMM8087kelly album, william barnes, wangaratta photographer, carte-de-viste, glenrowan, 1882, police station, ann jones inn, ann jones hotel, kelly siege, glenrowan siege, colonial australia

In July of 1880, Ann Jones' successful hotel in Glenrowan burnt to the ground during the Kelly siege. She had opened her business in the year prior having been unsuccessful in her attempt to run a tea-room business in Wangaratta. The first building on this particular site was the home Ann Jones had built for herself and her family. Two years later she converted the home and added the hotel to the rear of the structure. One year later it was burnt to the ground. This image depicts the police station in 1882 on what would have been the site of Ann Jones' hotel. This Carte-de-viste (CdV) taken by renowned Wangaratta based photographer William Edward Barnes previously belonged to the donor's grandfather, Daniel Mullins who was a Police Officer stationed at Glenrowan soon after the Kelly gang siege. Today, the siege has become an important part of Australian culture and Ned Kelly and the Kelly Gang (comprising of Ned Kelly, Dan Kelly, Steve Hart and Joe Byrne) has become ingrained in Australian history and mythology. A CdV is a sepia toned photograph mounted on card and is generally of a small size. This particular style was first patented by Andre Adolphe Eugene Disdéri (1819-1889) in 1854. In 1857, the CdV was introduced to England and after photographs of Queen Victoria, Prince Albert and their family were taken using CdV in 1860 the popularity of this method reached a peak.This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Artefacts and photographs pertaining to the Kelly gang are particularly valuable for Australian museums. This particular photograph is significant for its connection to Wangaratta based photographer William Edward Barnes and to the Glenrowan Siege and Ann Jones' Hotel which burnt down during the siege in June 1880. Taken in 1882, this photograph has the opportunity to provide information about the townscape of Glenrowan shortly after the siege. It also provides important insight into the architecture and layout of the town. To the far right of the image, the photograph depicts the police station which was built on the site of Ann Jones' Hotel which can provide important information for the Kelly story and how the town evolved following 1880. It is also interesting to emphasise that the police station was built on the site of Ned Kelly and the Kelly gang's last stand.Sepia coloured photograph with a faded appearance. Image depicts four policemen with three standing and one sitting on a chair outside the Glenrowan police station. The station takes up the majority of the image and is placed in the centre of the photo. The four men are positioned on the left side of the station. The station is a large building with a gabled roof and extensions built into the veranda on either side. In between these extensions, the property has a white picket fence which runs from the extensions directly beneath the veranda enclosing the front of the structure. The letters 1, 2, 3, 4 are written on the yellow paper on which the image is situated and relate to the images in the photo. The reverse of the photo provides the names of each policeman and reveals the image as being from the collection of William E Barnes a Wangaratta based photographer.Obverse: 1. 2. 3. 4. Reverse: No. 1. is Mullins, D. G. / 2. Lord, Edward. / 3. Millar, Allex. / 4. Hedberg, O. G. / All Comrades / Glenrowan Police Station / 1 August 1882 / W. E. Barnes / Photographer / Wangaratta /kelly album, william barnes, wangaratta photographer, carte-de-viste, glenrowan, 1882, police station, ann jones inn, ann jones hotel, kelly siege, glenrowan siege, colonial australia, ned kelly, steve hart, joe byrne, william e barnes

This Carte-de-visite (CdV) taken by renowned Wangaratta based photographer William Edward Barnes previously belonged to the donor's grandfather, Daniel Mullins who was a Police Officer stationed at Glenrowan soon after the Kelly gang siege. Today, the siege has become an important part of Australian culture and Ned Kelly and the Kelly Gang (comprising of Ned Kelly, Dan Kelly, Steve Hart and Joe Byrne) has become ingrained in Australian history and mythology. A CdV is a sepia toned photograph mounted on card and is generally of a small size. This particular style was first patented by Andre Adolphe Eugene Disdéri (1819-1889) in 1854. In 1857, the CdV was introduced to England and after photographs of Queen Victoria, Prince Albert and their family were taken using CdV in 1860 the popularity of this method reached a peak. In this photograph, eight men stand along the railway line near Glenrowan. The photo dates to shortly after 1880 and references the attempt by the Kelly gang to derail a police train in June 1880 on those very tracks. Ultimately, this plan failed and the police train was never derailed. Ned Kelly and the Kelly gang took their final stand at Glenrowan which has been immortalised through Australian popular culture.This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Artefacts and photographs pertaining to the Kelly gang are particularly valuable for Australian museums. This particular photograph is significant for its connection to Wangaratta based photographer William Edward Barnes and to the Glenrowan Siege of June 1880. Taken at an unknown time, after the siege at Glenrowan, this image depicts eight gentlemen standing about the railway line near Glenrowan. This is a reference to the Kelly gang's plan to derail a train which would barrel up to Glenrowan after news reached Melbourne that Aaron Sherritt had been shot by Joe Byrne in the Woolshed Valley. This image is important for its artistic information that it can provide about the Kelly story and the fashion and streetscape of Glenrowan.This sepia coloured Carte de Visite is attached to yellow cardboard. The obverse of the photo depicts the railway line near Glenrowan around 1880s. The rails are positioned in the centre of the image and are made on an incline of earth. In the foreground are three men, two standing next to the rails and one slightly off to the right of the image. In the background are trees which line the side of the rails and slightly in front of these trees is a group of five men standing on the rails. The reverse of the image is yellow card and contains printed and pencil writing. The printed writing is in the centre of the card. It reveals that the photographer was William E Barnes from Wangaratta. The pencil writing provides the inscription stating that the photo was taken near Glenrowan around the time of Ned Kelly.Pencil: Railway line near / Glen Rowan / Kelly's time / Printed: W. E. Barnes / Photographer / Wangaratta / BMM 8089 /kelly album, glenrowan, glenrowan siege, carte-de-visite, glenrowan railway, ned kelly, kelly gang, last stand, colonial australia, kelly siege, train, railway line, railway, sepia, photography, william e barnes, william barnes

This photograph was taken by James Bray who worked as a professional photographer in Camp Street Beechworth from 1870-1891. He was one of four men who photographed the Kelly gang after the siege in Glenrowan in 1880. He is also renowned for his previous work photographing members of the Kelly gang. The photograph depicts pieces of the Kelly gang's armour crafted from plough mouldboards which are arranged on the ground. The exact relation of each piece of armour to the Kelly members was unclear for many years following the siege because the suits were disassembled without documentation and rearranged by guesswork. It was through photographs like this one, which depict the armour very soon after the siege that enabled researchers, in 2002, to reunite each of the suits with their correct pieces. This image is identified as a "Cabinet Portrait". This refers to a photograph mounted on a hard piece of cardboard. They are larger and thicker than the Carte de Visite and gradually replaced the latter in popularity after the 1860s. Identifying features of the Cabinet Portrait is on the front of the image which is generally embossed (or printed) with the details of the photographer. In the case of this image, James Bray is identified as photographer. The image is yellow in tone which compliments the gold coloured mount of the photograph. This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Artefacts and photographs pertaining to the Kelly gang are particularly valuable for Australian museums. This particular photograph is significant for its connection to Beechworth photographer James Bray who is responsible for many images depicting members of the Kelly gang. The photograph is also of artistic significance as an example of a Cabinet Portrait dating to 1880. This image was commissioned by the police shortly after the defeat of the Kelly gang at Glenrowan. The armour was collected and placed on the ground for photography. No care was taken to retain the correct grouping of the armour and therefore, the identity of each piece to the correct owner was unclear for many years. Photographs of the armour taken at the time, like this one, helped researchers to reconstruct the correct armour and identify which pieces belonged to which member of the Kelly gang which is significant for Australian history. This photograph has the capacity to provide important information about the construction of the armour used by the Kelly gang at Glenrowan and importantly dates to 1880.This photograph is a cabinet portrait commissioned by the police depicting the Kelly armour arranged on the ground at Glenrowan following the siege by Ned Kelly and the Kelly gang in 1880. The armour includes helmets, breastplates a rifle and the inner knitted helmet worn by Ned Kelly. kelly album

According to the Victorian Patents Office Copyright Collection (VPOCC) index, Barnes' image was first published on July 3, 1880. Many of the photographs taken by William Barnes concerned with the Kelly Gang were registered with the VPOCC which has ensured their survival in the State Library of Victoria today. Thus image includes the depiction of Sergeant Arthur Loftus Maule Steele (kneeling in front row) surrounded by seven other men. These men are identified as belonging to the Wangaratta police who played a key part in the destruction of the Kelly Gang at Glenrowan. These men could include Constables Causey, Montiford, Patrick Healey, Walsh, William Moore, Dixon and James Dwyer. It is also suggested that the individual standing back right (in the dark coat) is Constable Hugh Bracken, a key figure in the Glenrowan Siege. The police in this image display their firearms in a manner which reflects photographs of hunters, an element which was typical for this period. This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Artefacts and photographs pertaining to the Kelly gang are particularly valuable for Australian museums. This particular photograph is significant for its connection to Wangaratta photographer William Barnes who is responsible for having taken and registered many images depicting members of the Kelly gang. The photograph is also of artistic significance as an example of a photograph dating to 1880. This image depicts members of the Wangaratta police shortly after the defeat of the Kelly gang at Glenrowan. This photograph has the capacity to provide important information about the police who took part in Glenrowan 1880 and depicts key figures like Sergeant Steele.Sepia photograph taken by professional photographer William Edward Barnes (1941-1916) in June of 1880. The photo depicts a contingent of Wangaratta police who were at the capture of the Kelly gang at Glenrowan on the 28th of June 1880. This group of eight men are photographed standing in front of foliage and between the sides of two brick structures. Four men stand upright behind four other men who are depicted in either a sitting, semi-lying or kneeling position.W.E.Barnes / photographer / Wangaratta / BMM8085 Police responsible / for Kelly's capture / (D.S. not there)kelly album, glenrowan, police, wangaratta police, ned kelly, ned kelly glenrowan, william barnes, photography, 1880, australian history, police photograph, sargent steele, sergeant steele

This photograph was taken by James Bray who worked as a professional photographer in Camp Street Beechworth from 1870-1891. He was one of four men who photographed the Kelly gang after the siege in Glenrowan in 1880. He is also renowned for his previous work photographing members of the Kelly gang. The photograph depicts pieces of the Kelly gang's armour crafted from plough mouldboards which are arranged on the ground. The exact relation of each piece of armour to the Kelly members was unclear for many years following the siege because the suits were disassembled without documentation and rearranged by guesswork. It was through photographs like this one, which depict the armour very soon after the siege that enabled researchers, in 2002, to reunite each of the suits with their correct pieces. This image is identified as a "Cabinet Portrait". This refers to a photograph mounted on a hard piece of cardboard. They are larger and thicker than the Carte de Visite and gradually replaced the latter in popularity after the 1860s. Identifying features of the Cabinet Portrait is on the front of the image which is generally embossed (or printed) with the details of the photographer. In the case of this image, James Bray is identified as photographer. The image is yellow in tone which compliments the gold coloured mount of the photograph.This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Artefacts and photographs pertaining to the Kelly gang are particularly valuable for Australian museums. This particular photograph is significant for its connection to Beechworth photographer James Bray who is responsible for many images depicting members of the Kelly gang. The photograph is also of artistic significance as an example of a Cabinet Portrait dating to 1880. This image was commissioned by the police shortly after the defeat of the Kelly gang at Glenrowan. The armour was collected and placed on the ground for photography. No care was taken to retain the correct grouping of the armour and therefore, the identity of each piece to the correct owner was unclear for many years. Photographs of the armour taken at the time, like this one, helped researchers to reconstruct the correct armour and identify which pieces belonged to which member of the Kelly gang which is significant for Australian history. This photograph has the capacity to provide important information about the construction of the armour used by the Kelly gang at Glenrowan and importantly dates to 1880.Sepia rectangular photograph printed on cardReverse: Mrs. E. E. Smith / Loch St. / Beechworth / 1880 / JAMES E. BRAY / Photographer / BEECHWORTH / R. & M. HARVEY / AUTHORISED NEWSAGENTE / AND GIFT SHOP / BEECHWORTH PHONE 114 / (upside down) P/C Neg / 41 --np of armour & / (torn sticker with)fle. Ned Kellys Riflekelly album, ned kelly, kelly armour, armour, rifle

This photograph, taken by Courtney’s Thelma Studios in Wangaratta, depicts Sergeant Arthur Loftus Maule Steele standing in the regalia of the Masonic Lodge. Before his death, Steele was a long term member of the St John’s Lodge of Masons where he was a Past Master and held office of treasurer for over thirty years. He was also a dedicated member of the Church of England and was an Electoral Inspector for Wangaratta. Steele was Sergeant of Police in Wangaratta for much of his life. He was one of 17 children born to Captain Robert Ball Steele and Mary Babington in Tours, France, in 1839. His parents were travelling at the time and soon after settled in Donegal, Ireland. At the age of 12, Steele was sent to the Military Academy of Dublin where he passed his examinations and prepared to enter the British Army. Steele met a bother of Robert O’Hara Burke and was advised to travel to Australia and join as a police cadet. Steele took the advice and travelled to Australia, arriving in Melbourne at the age of 17. He spend some time in a variety of employment including working as a clerk for the White Star Line. He entered the Victorian Police force in 1856. By 1864, Steele married Ruth Ingram Ballinger at Snowy Creek and worked at Omeo until being promoted to the mining centre of Beechworth, taking charge of the Yackandandah Station. Steele and Ballinger had ten children. Steele is well known in Victorian history for a variety of reasons, the most famous being the role he played in capturing Edward “Ned” Kelly at Glenrowan on the 28th June 1880. He also arrested Frank Neville (for the murder of a local resident Mr Nicholls) and Patrick Sheehan (first person to be executed in the Beechworth Gaol 1865 for the murder of James Kennedy at Rowdy Flat Yackandandah). He later worked on the case of Bridget Mepham (charged with the murder of her sister) at Wangaratta and retired from the Police force on the 1st of August 1896. In this retirement, Steele was a keen horticulturalist who enjoyed observing the habits and growth of new varieties cared for in his conservatory. Steele passed away in February 1914. This image has the potential to support current research on Sergeant Steele, the Masonic Lodge and photography during the c.1890s. Sergeant Steele is a well-researched member of the Victorian Police force and is known primarily for his involvement with the Kelly Gang. Therefore, depictions of Steele through photography can help to provide essential information about Steele outside of the Police force. This image has the capacity to inform about Steele’s involvement with the Masonic Lodge in Wangaratta. Therefore, it is important for what it can reveal regarding historic and social aspects. The Burke Museum is home to a large collection of Kelly centred photographs. The study of these photographs in connection to those in other museums have the ability to further current understanding on important figures and events in this historic occasion.Black and White rectangular photograph printed on matte photographic paper and mounted on an oval boardObverse: Courtney's Thelma Studios/ Wangaratta Reverse: 2747portrait, ned kelly, uniform, policeman, wangarratta, sergeant, steele, 1880, photograph, oval, black and white, sergeant steele, arthur loftus maule steele, arthur steele, wangaratta, beechworth