The Country Roads Board was the government authority for the construction and maintenance of main roads in Victoria between 1913 and 1983. It was succeeded by the Road Construction authority on 1 July 1983 and later merged with the Road Traffic Authority on July 1 1989 to form the Roads Corporation. James Cameron, an Orbost farming pioneer and Member of the Legislative Assembly, fathered the Country Roads Board. This plaque was possibly removed from a bridge(?) when the name was changed.A heavy rectangular shaped bronze plaque. the background is dark brown and the print and frame bronze coloured. On the back are two round recesses for screwing and attaching the plaque.COUNTRY ROADS BOARD 1977country-roads-board cameron-james

GFS Australia began as a local branch of the Girls' Friendly Society founded in England in 1875 by Mary Townsend. This was an Anglican Church group which formed to give maids and female domestic staff spiritual guidance and social activities for their days off. The Society later also functioned in part as an employment agency. The first local Australian branch was formed in Adelaide in 1879, with branches being established in all states by 1901. Vera Constance Sophie Saunders (1897 -1967) was the daughter of Arthur Scott Saunders and Agnes Louise Stuart Morris. Her father was a storekeeper in Orbost.The Girls' Friendly Society was an early youth group and was associated with the Anglican Church and were a common way to attract children and teenagers to the congregation. The group is an example of the social importance of the churches in rural communities in the early 20th century.A folded card which is a senior candidate's card for membership of the Girls' Friendly Society. The card is white with blue print. On the front is the name of the member with details of the diocese and parish as well as the date of enrolment. At the top is the emblem of the Girls' Friendly Society.Vera Saunders written in cursive with red pen Orbost April 4 1912 St Jamessaunders-vera girls'-friendly-society anglican-church-orbost

The Young Workers' Patriotic Guild was formed in Victorian schools in 1916. Each child who raised one pound 'by personal productive effort' received a certificate. The money was used for the war effort. This certificate was presented to Eileen McDougall, a pupil of Lochend School, in 1917 in recognition of becoming a member of the Young Workers' Patriotic Guild.This item reflects the war efforts of Victorian children during WW1.A coloured certificate framed in dark plain wooden frame. The certificate is from the Young Workers' Patriotic Guild, and includes mythical representations of 'Justice' and 'Peace' at the top, together with a female face wearing a laurel wreath. Below the banner headline are two young girls, one shown knitting a black and red sock, and the second holding what appears to be a hammer and a block of wood. The certificate commemorates the work done by a pupil at a Victorian school as a member of the Guild. It is dated 1917, and signed by the Minister of Education, the Director of Education, and the Headmaster of Kennington school. The name of the designer appears at the bottom of the certificate; it appears to be Harold Herbert. Laurel leaves and berries, and the initials 'EVD' [Education Department Victoria] appear at the base of the certificate. (from Museum Victoria)mcdougall-eileen ww1 certificate-young-workers'-patriotic-guild education fundraising

The Electoral Act 1856 was passed through Parliament o March 13, 1856. Victoria was the first Australian colony, and the first legislature anywhere in the world, to adopt the practice of the secret ballot. Victoria's constitution prescribed that the Parliament was to be bicameral, consisting of an upper house, the Legislative Council and a lower house, Legislative Assembly. Men were entitled to vote according to the qualifications described in this book - the right to vote in each house was dependent on status - educational qualifications, income and for either literacy. Two names are registered for the Orbost district: James Dickson and J.C. McLeod.This item is a useful research tool.A 16 pp paper back book which has a clear plastic cover. The covers are beige coloured with the title "Gippsland Electoral Rolls for 1856 and Stock Assessment Payable" in blak print. On the left hand side is a vertical pattern in black print. The book contains an alphabetical list of persons claiming or supposed to be entitled to Vote in the Election of a Member for the District. It lists the needed qualifications of electors followed by the Voters Roll for Legislative Assembly, 1856 and the Voters Roll for Legislative Council, 1856 . It then lists the Stock Assessments, 1856.voting-registers-victoria

The Orbost Workers' Band was started in 1889 by Donald and Archie Munro. The band folded after the town was devastated by floods in 1893. Charles Spink reformed the group in 1905. It split in 1908 and the breakaway band was named the Orbost Workers Band. The two bands, The Orbost Workers and Orbost Town Band would often compete against each other. Eventually, in 1913, the two bands amalgamated to form the Orbost Municipal band. The old Orbost Municipal Band recorded its last meeting in 1941 -a lack of effort and membership. The new Orbost Municipal Band was restarted by Clem Heather (a previous member) on Wednesday 20th September, 1961 and continued into the late 1980s when lack of interest caused it to become defunct. Members of the 1910 Orbost Workers' Band in the photograph are from back and left to right : Bill Whillance; Vic Lawless, Tom Reeves, August Redenbach, Alex Stirling, Bert McCoy, Bill Stirling, Ray Napier, Ted Swan, Albert Hight; George Jackson, Jack Richardson, Bill Clark, Wally Swan, Arthur Redenbach, Brick Richardson, Jack Healey, Dave Williams; Ossie Wehner, Charles Black, Val Perry, Charlie O'Brien, Arch Lavell; Tom Swan and Harold NapierThis is a pictorial record of the Orbost Brass Band. The various Orbost bands over the years played a major role in community activities providing entertainment and musical experiences for the many members.A black / white photograph of band members with their instruments. In the fron row are two,small boys sitting on either side of a drum. Behind them is a row of young boys, the one on far left holding a small dog. Another row is kneeling behind them and a row is standing at the back with one man centre back by himself. They are all dressed in suits or uniforms. The photograph has been glued onto cardboard.on back - "Flavel, 1910"orbost-municipal-band spink-charles heather-clem

This portrait is of James Cameron who was the first president of the Croajingolong Shire ( later Orbost Shire). He was also an inaugural member for East Gippsland in the Legislative Assembly from 1902 until 1920. In 1882 Cameron was the first Orbost councillor of the newly constituted Tambo Shire. In the next twenty years he served as justice of the peace, shire councillor, guardian of St James's Anglican Church, Sunday school superintendent, and president of the local agricultural society and railway league Orbost was at first included in the Bairnsdale Shire from 1882 and was later part of the Tambo Shire. Because of travelling distances the Croajingalong Shire was created in 1892 (name changed to Orbost Shire 17.2.1893 with James Cameron as the first Shire President. In 1994 it amalgamated to become part of East Gippsland Shire Council.This item is associated with James Cameron, a prominent early Orbost identity. It is also associated with Orbost Shire Council.A black / white head and shoulders portrait photograph of a moustached man in a suit.on back - "James Cameron"cameron-james orbost-shire-council governance-orbost

The family Chelidae is endemic to Australia, New Guinea, and South America and consists of some 40 species of freshwater turtle. Twenty-four described species are found in Australia and three of these occur in the Murray Darling Basin. Turtles of the genus Chelodina are distinguished by their exceptionally long necks, giving them the names long-neck and snake-neck. These turles are also referred to as side-necked turtles, so named because the neck and head, when not extended, fold under the leading edge of the carapace. They are further characterised by their relatively flattened shells and their clawed webbed feet. 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 Snake-Necked Turtle is stylized standing on a wooden platform. It has a long, narrow neck (the inspiration behind the name of this particular species of Turtle) and a large and relatively flat shell. The head, neck and limbs are all dark grey or brown in colour and the underside is a pale brown. The feet are webbed and have long claws. The eyes are made from pale glass and the specimen has a short tale.BMM5891taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, turtle, australian turtle, australian animal, snake-necked turtle, chelidae

The Freshwater Crocodile can measure up to 3 meters and is generally not considered to be a threat to humans. They reside in Northern Australia, Western Australia and the northern part of Cape York Peninsula in Queensland. They live in freshwater environments and make burrows among the roots of trees which fringe the waters they can be found in. This species of Crocodile mainly feed on invertebrate and vertebrate prey which includes insects, spiders, frogs, fish and small birds and mammals. They are also recognized as "cannibalistic" with the older Freshwater Crocodile occasionally preying on young hatchlings. These crocodiles are known for their "high walk" which they do to move on land. It is named "high walk" because the animal lifts their body off the ground using their long legs for height. They are able to walk considerable distances on land using this technique. In captivity, Freshwater Crocodiles are known to be hostile and aggressive to others of its species. 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 Freshwater Crocodile has a slender snout which is much smaller and thinner than its Saltwater counterpart. This specimen has dark grey and brown colouring with the darker colours concentrated around the face and upper torso of the Crocodile. There are darker stripes along the tail which features triangular scales and is long in length. The teeth are visible and bright yellow glass has been used to replace the eyes of this particular specimen. The crocodile has long but thin limbs which protrude from the sides of the body.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, crocodile, freshwater crocodile, johnstone's crocodile

This large, leather bound journal was made for the Public Library and Burke Museum in Beechworth by book manufacturer, William Detmold in 1875. It was commissioned by the President of the Library and Burke Museum committee, Dr Antoine Mousse, for the purpose of cataloguing all the items in the collection. The cataloguer was the curator at that time, William Morton, whose hand-writing appears in the journal today. When William Morton first started recording in this journal in 1875, there were already a number of existing items in the institution. The Public Library and Burke Museum in Beechworth had actually been operating since the 1850s; first as a Young Men’s Association in 1856, then as Beechworth Athenaeum in 1858, then as the Beechworth Public Library in 1860. Then in 1861 when news of the death of Beechworth’s former police superintended, Robert O’Hara Burke, reached the town, it was agreed that the Public Library would also become a museum to tribute his legacy, renaming it as the ‘Public Library and Robert O’Hara Burke Memorial Museum, Beechworth’. Many of the items from the early institutions would have been used to form the nucleus of this new organisation. Plus, the additional items that were either collected or donated to develop it into a museum. The catalogue is extensive. There are exactly 461 pages of recorded items, each page detailing the various collections the museum acquired in the late 19th century. Collections recorded in this catalogue include a large collection of geological specimens, that were given to the museum in 1868 by the Geological Survey Department of Victoria. A large collection of taxidermy mounts, that were given to the museum as skins by the Museum of Australia in 1865. An extensive collection of Aboriginal artefacts that were purchased from amateur anthropologist R. E . Johns in 1868. As well as artworks, charts, photographs, machinery, maps etc., all of which have been held in the museum since. This catalogue also details the governance and management of the organisation. There were originally 30 rules that governed the actions for the management committee and, while anyone could read in the free library, only subscribers could borrow two books and one periodical. At first, subscriptions rates were 7/6 a quarter. This was later changed to £1 per annum, paid quarterly in advance. This was a considerable amount; 7/6 per quarter meant that the annual fee was £1.10. This was equivalent to about £650.00 or about $1,182.00AUD today, while the reduced subscription fee of £1 a year was the equivalent to £450.00 or about $818.00AUD today. Membership of the athenaeum would have been the reserve of the town's notable citizens. The vale of the catalogue lies not only in its historical connect with the establishment of the Athenaeum and the current museum, but also in its record of the names and positions of all members of the institution's committees of management from 1875-1876. This is a unique object that contains important records for a notable country town. Large brown leather bound book made in 1875 for the Beechworth library and museum by William Detmond. Inside is a comprehensive and detailed itemised listing of the paintings, drawings, charts, photographs, specimens and books that entered the institution from 1850 -1882. non-fictionCover: RULES / CATALOGUE OF BOOKS / INVENTORY OF PICTURES, DRAWINGS, / MAPS, CHARTS, FURNITURE, SPECIMENS / OF THE / PUBLIC LIBRARY AND BURKE MUSEUM / BEECHWORTHburke museum, beechworth, catalogue, museum catalogue, 1875, william morton, william detmold, exposition universelle, ferdinand von mueller, public library, collection, book, leather bound, restored, digitised, robert o'hara burke, hand-written

The Grey Petrel is commonly seen around New Zealand and rarely around mainland Australia. They are large birds with a grey-white-brown colouring who fly just above the water and are often solitary. They mainly eat squid and fish which they catch by shallow diving. Their scientific name, Procellaria cinerea, is derived from Saint Peter and the story of his walking on water. The Grey Petrel can appear to run on water as they prepare to take off. 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 Grey Petrel is a large bird with a grey and cream coloured plumage. It has short legs with webbed feet and a stout bill. The specimen stands on a wooden pedestal with a paper tag tied around its right leg. The eyes are small and made of a dark coloured glass.15a Great Grey Petrel - Catalogue, page 40.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, grey petrel

The White-faced Heron is a common bird located throughout Australasia, including New Guinea, Torres Strait, Indonesia and New Zealand. It can be found in all parts of Australia with the exception of areas which are too dry. The White-faced heron typically resides in wetland habitats including reefs, rock pools, swamps and rivers. They feed on small aquatic animals. These birds get their name from their characteristic white face which contrasts to the ashen grey plumage of their bodies. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The White Faced Heron is stylised in a standing position on a wooden platform, looking forward. The bird has small brown glass eyes in place of the original. The Heron has long dark legs and is mostly covered in grey-brown plumage. Around the face, the plumage is a cream colour. The bill is black. This particular specimen has a paper identification tag tied around its left leg.....[missing] Heron / ....[missing] page 34. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, heron, white faced heron

The Gang-gang Cockatoo can be found throughout much of south-eastern Australia. They reside in mountainous forests and open woodlands, often in small groups or larger flocks at sources of food and water. They eat mainly seeds from native trees and shrubs along with wattles, eucalypts and hawthorns. The Gang-gang Cockatoo is also known to incorporate berries, nuts, fruits and insects to their diet. The sound made by this type of Cockatoo is often described as a rasping screech which resembles the sound of a rusty hinge being moved.This type of call is made when the bird is in flight. These birds also fond of attention and can pick their own feathers if they are bored. The name "gang gang" derives from a New South Wales Aboriginal language, either the Ngunnawal or Wiradjuri. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The male Gang Gang Cockatoo is standing stylised on a wooden perch. The Cockatoo has a dark slate-grey coloured body with a scarlet red/orange coloured head with a wispy crest. This specimen stands with its wings positioned to its sides and has round glass bead eyes. The bill has a hooked shape and is horn-coloured. The legs and feet of this specimen are dark grey.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, cockatoo, gang-gang cockatoo, cockie

The Gang-gang Cockatoo can be found throughout much of south-eastern Australia. They reside in mountainous forests and open woodlands, often in small groups or larger flocks at sources of food and water. They eat mainly seeds from native trees and shrubs along with wattles, eucalypts and hawthorns. The Gang-gang Cockatoo is also known to incorporate berries, nuts, fruits and insects to their diet. The sound made by this type of Cockatoo is often described as a rasping screech which resembles the sound of a rusty hinge being moved.This type of call is made when the bird is in flight. These birds also fond of attention and can pick their own feathers if they are bored. The name "gang gang" derives from a New South Wales Aboriginal language, either the Ngunnawal or Wiradjuri. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This female Gang-gang Cockatoo has a grey head and crest with brown glass eyes. The beak is hooked and a pale bone colour. The neck and torso of the cockatoo is patterned with orange and black stripes. The feathers of the underparts and back are slate-grey with an edging of pink and yellow. The female cockatoo has more yellow in their feathers than the males which gives them a further barred appearance. taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, australaisian shovelor, shovelor, cockatoo, gang-gang cockatoo, cockie

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

Taken in the 1880s, depicted is a large group of children and adults dressed in formal clothing picnicking upon the bank of Lake Kerferd. The five members of the group are holding union jack flags that have been hoisted upon portable flag poles. The group is seated by the lakeside in a grassed area beneath eucalyptus trees.This image was taken in the 1880s at Lake Kerferd. Lake Kerferd was created in 1862 to retain water for gold mining purposes from the Hurdle Swamp, and to additionally serve as Beechworth's main water supply. It was named after George Briscoe Kerferd, a Beechworth businessman and councillor, who later became the tenth Premier of Victoria.Sepia rectangular photograph printed on matte photographic paper mounted on boardentertainment album, picnic, lake kerferd, beechworth, burke museum, kerferd

To commemorate the Centenary of the Great War of 1914-1918, a number of Society Members decided to compile a list of all those who served (in the various conflicts) and were either born, worked or lived in the Ballan Shire at the time. It was noted that the existing Cenotaph outside the Ballan Post Office was not entirely accurate as some names were missing and others were not from the area, thus there was a need to correct the record. Thousands of hours of research resulted in as complete a list as possible of 810 names and the printing of this book. Two copies (each of three volumes) were printed. One is held by the Ballan RSS&AILA, the other is in the archives of this Society, and both are available for research purposes.Three substantial A4 size bound books with red leatherette covers.We Remember 1914-1918 Vol.*ballan shire, ww1 servicemen

Large platform scales such as these ones made by W. & T. Avery were used for weighing goods for trading and passengers' luggage. They would be used in places such as railway stations, shipping ports, customs offices and ticketing offices. Often fees would be charged to customers according to the weight of their goods and luggage. Items would be placed onto the large horizontal platform then weights would be added to the weighing bar until the bar leveled to being horizontal. The weights would be added together and the total of the weights would be used for the final figure. These scales were made in Birmingham, England, by the British company, W and T Avery. The company had its origins in the early 1700s but only became known as W and T Avery when the brothers William and Thomas Avery inherited the scale-making business from a relative, Joseph Balden, on his death in 1813. By 1885 they had three factories and In 1895, the company acquired James Watt & Co and two years later had moved to the 25-acre Soho Foundry site in Smethwick, Birmingham where James Watt had manufactured steam engines. When the last Avery family member died in 1918, the company employed over 3,000 people and had businesses all over the world. Following the highly successful introduction of the first digital retail scale in 1971, the company was taken over by the GEC Group in 1979. The business was subsequently acquired by the American company, Weigh-Tronix, in 2000 which had already acquired a competitor, Salter. The Avery name continues today in the company known as Avery Weigh-Tronix.An item that was used at the turn of the century as train platform scales or for weighing agricultural products. Made by a company that pioneered weighing equipment with offices all over the world. With many examples of this scale in museums throughout the world. Platform scales with wheels. Large cast iron, scales painted black, weight capacity to 7 CWT (hundred weight). Weight beam has markers "0. 5. 10. 15. 20. 25". Platform scale loose weight type with relieving handle; cast iron construction, fluted columns with integral weight stand, the two wheels are fitted to base at front of platform; there is a graduated steelyard 0-14bs with pear-shaped poise. Weight carrier is missing.Pressed into cast iron arm on scale, one side "W. & T. AVERY", opposite side "BIRMINGHAM", and into the platform "TO WEIGH 7 CWT, W. & T. AVERY, MAKERS, LONDON & BIRMINGHAM" flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, measuring scales, weighing scales, weighing instrument, fees for goods, fees for luggage, ticket office

Birthday books are used to record the names and birth dates of friends and relatives. This one has a quote from Charles Dickens for each day of the year .The Dickins Birthday book was chosen a a gift to Clara Skirrow, given on January 19th 1911 by Mr and Mrs B Watson. The artist, Pilford Fletcher Watson (1892-1907) was a well established and prominent artist. He was born in London and lived in Sydney, a foundation member of the Australian Academy of Arts in 1887. His works included local scenery, architecture and the interiors of historic buildings. Many of his works were bequeathed to the State Library of New South Wales. The firm Raphael Tuck & Sons Ltd,, was a printer and publisher that operated in London from 1866 to circa 1960s. Its logo is the artist's easel, palette and brush. In 1960 the firm amalgamated with others to become the British Printing Corporation c. 1960. The fly page states that Ralph Tuck & Sons, Ltd. were publishers to Their Majesties, the King and Queen, and Their Royal Highnesses, the Prince and Princess of Wales. This would mean that this book was published in the period when King Edward VII and Queen Alexandra, and Prince George and his wife Princess Mary were able to use these titles, that is, from 1901 to 1910. This early 20th-century Birthday Book is significant for containing quotes by the famous writer Charles Dickins. It is also significant for being illustrated by renowned artist Pilford Fletcher Watson. Ownership of a rare and beautifully presented book like this indicates the value placed on keeping in touch with friends and family in the early 1900s. Charles Dickins Birthday books were published by the same firm, with a similar layout.Book, The Dickens Birthday Book; with 6 illustrations in Colour by P. Fletcher-Watson Publisher: Raphael Tuck & Sons Ltd Printed in England 1901-1910 Artist: P. Fletcher-Watson This padded red leather hardcover book has embossed gold text on front cover and spine. . The six colour illustrations throughout the book were by artist P. Fletcher-Watson; one is a portrait of Dickins. Each date of the year has a quotes from Charles Dickens' works and blank lines below. The drawing on the fly page depicts a stone building with side pillars and a logo in the centre of the horizontal beam. It has a gift inscription for Clara Skirrow on January 19th, 1911. There are several handwritten entries with names and years.Handwritten in black ink: "From Mr & Mrs B. Watson / To Clara Skirrow / With Best wishes / January 19th 1911" Illustration on fly page: Logo [artist's palette, brush and easel] Handwritten entries of names and datesflagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, dickins birthday book, birthday book, p. fletcher-watson, raphael tuck & sons ltd, 1901-1910, charles dickins, dickins quotes, illustrated, 19-01-1911, mr & mrs b. watson, clara skirrow, red cover, british printing corporation, king and queen and trh prince and princess, king edward vii and queen alexandra, antique book, rare book

This Photograph is one of a number of photographs of the Warrnambool Militia. The photograph entitled "Warrnambool First Volunteer Corps" is dated 24th May 1860. (The First Volunteer Corps began in 1855.) It was presented by James Astley Bromfield (former Mayor of Warrnambool) to Major Walter Helpmann, head of Warrnambool’s 1st Volunteer Corps in 1887. The photograph shows the Corps lined up for inspection in Timor Street, Warrnambool. The location is outside what is now the Archie Graham Centre and the camera is looking west towards Liebig Street. The town band is in the right rear corner and spectators surround the Corps. The names listed on the back of the photograph are "1. R.Bushe (Captain in command), 2. Basil Spence, 3. Thomas Mickle, 4. Alfred Davies (Sergeant), 5. Cawthray, 6. Andrew Kerr, 7. Charles Scoborio, 8. Lacy, 9. James Hider, 10. D. O’Mullane, 11. William Norman, 12. Crouthers (or Cowthers ?), 13. Francis Breckon, 14. Russ, 15. Benjamin Wycherley, 16. C. A. Cramer (Sergeant), 17. James Coulstock, 18. Robert Newton (Sergeant), 19. J.A. Bromfield, 20. Singleton (supernumery), 21. Mostyn (Drill Instructor)," On the left of the picture is Billy Adams, Barnes (road contractor) and James Mason (Bootmaker). On the right of the picture is The Band. This is one of a collection of photographs showing the development of the Warrnambool Militia from its inception as the First Volunteer Corps in 1855. The collection is of local significance as it parallels the development of the town and includes images of significant local people. A number of Warrnambool streets are named after members of the Militia. It is also historically significant because of its connection to the unrest that was taking place in Europe at this time. Photograph of Warrnambool First Volunteer Corps 1860, sepia coloured, mounted on cream card. The photograph shows the Corps lined up for inspection in Timor Street Warrnambool. The location is outside what is now the Archie Graham Centre and the camera is looking west towards Liebig Street. The town band is in the right rear corner and spectators surround the Corps. Photograph taken 24th May 1860. Has names listed on reverse side. The protograph was presented to Mayor Helpman, by Bromfield, May 1887. Title printed below base of photo on the mounting board "May. 24. WARRNAMBOOL First VOLUNTEER CORPS. 1860" On the back of the photograph is a numbered list of names, handwritten in ink. Also on the back are presentation details "Presented to Mayor Helpman, by Bromfield, May 1887". warrnambool, wolunteer corps, militia, helpmann, bromfield, flagstaff hill, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road

The barometer was either made or sold by T. Gaunt & Co. of Melbourne, a manufacturer, importer and retailer of a wide variety of goods including jewellery, clocks and watches, navigational and measuring instruments, dinnerware, glassware and ornaments. Thomas Gaunt photograph was included in an album of security identity portraits of members of the Victorian Court, Centennial International Exhibition, Melbourne, 1888. (See below for further details.) Admiral Fitzroy Pattern Barometer History: The stick mercury barometer was named after Admiral Robert Fitzroy of the Royal Navy (1805-1865) for his detailed instructions on how to interpret the weather, which were included with the instrument. Fitzroy was the captain of the HMS Beagle, also a weather forecaster to Charles Darwin and the second Governor of New Zealand. He developed many different types of barometers and was the first person to introduce the science of weather forecasting to the British Isles. A local manufacturer of scientific instruments, Thomas Gaunt, produced the barometer that was adapted for the southern hemisphere by Robert Ellery, the State Astronomer based at the Melbourne Observatory. In the original sale catalogue for Gaunt's, the item is described as "Gaunt's Fitzroy Barometers" and it was priced from 25/- to ₤9.9s. History of Thomas Gaunt: Thomas Gaunt established Melbourne's leading watchmaking, optical and jewellery business during the second half of the 19th century. Gaunt arrived in Melbourne in 1852, and by 1858 had established his own business at 14 Little Bourke Street. Around 1869 he moved to new premises in Bourke Street on the corner of Royal Arcade. Gaunt's shop quickly became a Melbourne institution. Gaunt proudly advertised that he was 'The only watch manufacturer in the Australian colonies'. While many watches and clocks may have had Gaunt's name on the dial, few would have been made locally. Gaunt did make some watches for exhibitions, and perhaps a few expensive watches for wealthy individuals. Gaunt's received a telegraph signal from Melbourne Observatory each day to correct his main clock and used this signal to rate and repair ship's chronometers and good quality watches. His main horological manufacturing was directed at turret clocks for town halls, churches and post offices. These tended to be specific commissions requiring individualised design and construction. He made the clock for the Melbourne Post Office lobby, to a design by Government Astronomer Robert Ellery, and won an award at the 1880-81 Melbourne International Exhibition for his turret clock for the Emerald Hill Town Hall. He became well known for his installation of a chronograph at Flemington Racecourse in 1876, which showed the time for the race, accurate to a quarter of a second. The firm also installed the clockwork and figures for Gog and Magog in the Royal Arcade. Thomas Gaunt also developed a department that focused on scientific instrumentation, making thermometers and barometers (from imported glass tubes), telescopes, surveying instruments and microscopes. Another department specialised in electroplating for trophies, awards and silverware, and the firm manufactured large amounts of ecclesiastical gold ware and silverware, for the church including St Patrick's Cathedral. There are no records that disclose the number of employees in the firm, but it was large enough for Gaunt to hold an annual picnic for the watchmakers and apprentices at Mordialloc from 1876; two years previously they had successfully lobbied Gaunt to win the eight hour day. Gaunt's workforce was reportedly very stable, with many workers remaining in the business for 15 to 30 years. Gaunt's wife Jane died on September 1894, aged 64. They had one son and six daughters, but only three daughters survived to adulthood. Two became nuns at the Abbotsford Convent and one daughter, Cecelia Mary Gaunt (died 28 July 1941), married William Stanislaus Spillane on 22 September 1886 and had a large family. Gaunt died at his home in Coburg, Victoria, leaving an estate valued at ₤41,453. The business continued as T. Gaunt & Co. after his death. The barometer is historically significant as an example of the work of Melbourne’s leading scientific instrument maker, Thomas Gaunt. The barometer has social significance as an example of the type of scientific equipment that Thomas Gaunt expanded his horology business into producing. Further social significance lies in the fact that Robert Ellery, the Government Astronomer who designed the local version of the barometer, had a direct connection with the Melbourne Athenaeum founded in 1839 as the Melbourne Mechanics' Institution. Its purpose was "the diffusion of literary, scientific and other useful information". There are also records of a T Gaunt as a subscription and committee member of this the Athenaeum organisation during the 1870s and 1880s which may be Thomas Gaunt, unfortunately still unverified.Stick mercury barometer known as the Admiral Fitzroy Barometer. It comprises an oblong wooden case with glass front panel, ornate pediment, barometer with bulb cistern (empty of fluid), cleaning brush with printed instructions for interpreting information given by the gauge affixed to left and right face of instrument. Includes a thermometer. The barometer appears to be intact. Adapted to the Southern Hemisphere. Special remarks by Admiral Fitzroy. Made by Thomas Gaunt, Melbourne. Manufacturer's details are on back of wooden casing. Rear has upper and lower brass screw plates for securing to vertical surface."Manufactured by Thomas Gaunt, 14 Little Bourke Street, Melbourne. "flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, barometer, admiral fitzroy, thomas gaunt, thomas gaunt of melbourne, clockmaker, admiral fitzroy barometer, barometer instructions, gaunt’s fitzroy barometer, gaunt’s of melbourne, gog and magog designer, horological manufacturer, meteorological instrument, melbourne athenaeum, melbourne mechanics' institution, melbourne observatory time signal, robert ellery government astronomer, scientific instrument, stick mercury barometer, thermometer, weather forecast, t gaunt & co

Charity organisation, Ladies' Harbour Lights Guild,was formed within The Missions to Seamen Institute to provide a home away from home, for visiting seamen. The flyer was to recruit members. The flyer mentions the sinking of the Titanic in 1912 and the bravery of the seamen staying in the engine room. The flyer mentions also Lady Talbot Margaret Jane nee Stuart-Wortley (1855-1937), wife of Governor Reginald Taldot, actively promoted advanced social welfare projects.This paper flyer holds historical significance at a local level because it illustrates the Ladies' Harbour Lights Guild involvement in the Mission to Seafarers.The Ladies' Harbour Lights Guild formally named in 1907 grew to become a significant charity in Melbourne raising large amounts of money which helped to establish the current MTSV building, supporting seafarers. In 1960s the LHLG merged with the Flying Angels Club of the MTSV.A cream colour paper flyer describing in blue ink the work and value of membership of The Ladies' Harbour Lights Guild, in order to recruit new members. Also includes a photocopy of the flyer. (2 copies)The photocopy of the original has written in blue "1912". ladies' harbour lights guild, australian wharf, chapel, ephemera, titanic, 1912, lhlg, mission to seamen, seamens' mission, mission to seafarers, alice sibthorpe tracy, reverend alfred gurney goldsmith, philanthropy, charity, welfare, sailors, tragedy, heroism, honorary members, working members, norwegian, foreign language, pit, card game, animal grab, le jeu des animaux, margaret jane (née stuart-wortley), lady talbot, lady margaret jane talbot (nee stuart-wortley), ethel augusta godfrey 1861-1935, knitting, woolies

Charity organisation, Ladies' Harbour Lights Guild, was formed within The Missions to Seamen Institute to provide a home away from home, for visiting seamen. These cards illustrate the rules for different type of Members and the suggested Intercession. These cards hold historical significance at a local level because it illustrates the membership types of the Ladies' Harbour Lights' Guild organization and how each member (according to membership) contributed to charity. The Ladies' Harbour Lights Guild grew to become a significant charity in Melbourne raising large amounts of money which helped to establish the current MTS building, supporting seafarers as well as attending social events. Small bright pink membership card typed in blue ink. Font is for the name of the member and her branch. On the back rules and the suggested Intercession.missions to seamen institute, williamstown, port melbourne, rules for members, ladies' harbour lights guild, australian wharf, school branches, membership

This book records the date, name and ship of seafarers who visited the mission. The book tells a story of which ships were visiting Melbourne in 1981 the nationalities of visiting crew members were predominantly asian, pacific and philipino.Cover: Visitor Log 1981 - 1984ship, crew, visitor, logbook, sailors, seamen, seafarers, mission, mission to seafarers, seamen mission, flinders street

This book records the date, name, ship, nationality and signature of seafarers who visited the mission. A clear picture is provided of the nationalities of crew members coming to Melbourne and the of the ships on which they worked. Cover: Melbourne Visitors Log 22/03/05 to 28/10/2005ship, crew, nationality, visitor, logbook

This photograph is part of a donated sub-collection relating to the history of the Ladies Harbour Lights Guild. This photograph is presumed to be of two sisters named Lillie and Olive Duncan, who were members of the Guild in the 1930s & 1940s. Their father David Hood Duncan was a farmer. This is a photograph of social and historic significance, being part of a sub-collection of material that provides a snapshot of the type of individuals involved in the LHLG and the activities carried out by that organisation. The image is also significant as an insight into the childhood of these two young girls.Sepia photograph of two young girls in white long-sleeved dresses and wide ruffled white hats tied with a large bow under the chin. The photograph is mounted on a brown cardboard.Inscribed on base edge of mount "Wherrett & Co." "The Studio: SALE" ladies harbour lights guild, lillie duncan, olive duncan, girls, lhlg, sale

This letter was written by Aida Duncan, to her daughters Lillie and Olive Duncan following the death of a family member - possibly an Uncle. This letter is of social and historic significance, being part of a sub-collection of material that provides a snapshot of the type of individuals involved in the Ladies Harbour Lights Guild and the activities carried out by that organisation.A letter hand written in black ink from Colaris Eglinton Street, Moonee Ponds addressed to "My Dearest Girls" and signed "Your loving Mother, A.D."The reverse of the letter has something barely legible written in pencil, believed to be a name. Below this inscription is also a sentence that reads "Lillie's Mother married to David Hood Duncan".lillie duncan, olive duncan, 20th century, letter, ada blanche duncan (nee thomson)

This letter and photograph illustrates the broad social circle of Henry Gaucheron Hall Jnr and Olive Hall (nee Duncan), who was a member of the Ladies Harbour Lights Guild. The photograph affords a view of a ship's deck, circa 1938. Irwin (family name unknown), is writing about his camera and sends one photograph as an example. He's also writing about the trip on the ship.This is a photograph of social and historic significance, being part of a sub-collection of material that provides a snapshot of the type of individuals involved in the Ladies Harbour Lights Guild and the activities carried out by that organisation.Envelope with hand written address in ink, to H Hall Esq. Postmarked April 1938. Letter hand written in ink dated 30.04.1938 adorned with the Waldorf Historia crest (New York), signed by Irwin. The letter mentions Olive and has a photograph enclosed. Small photograph of ship's deck and two crew inscribed in same ink with "Roy's best Love".Waldorf Historia letterheadolive duncan, olive hall, new york, irwin, henry hall, grand central, cat, photography, lillie duncan

The photographic album was compiled by various members of the Duncan family in connection with their social activities and charitable work with the Mission to Seafarers Victoria. Image captions refer to a number of Melbourne families: "Barker", "MacEachern", "Johnston" and "Garven." The following ships are also named: "SS Sesther Dollar", "SS Peterton" and "SS Verbania." Some photographs were even taken on board these ships (crossing the line ceremony) meaning they were likely taken by a crew member or a passenger? This would help knowing who is the photographer and maker of this album. Places named include: "Gembrook", "Portsea" and "Port Melbourne Mission."This is a photograph of social and historic significance, being part of a sub-collection of material that provides a snapshot of the type of individuals involved in the Ladies Harbour Lights Guild and the activities carried out by that organisation. Tooling on the left hand side front cover. Cover and pages tied together with mustard coloured cord as binding.barker, maceachern, johnston, garven, ss sesther dollar, ss peterton, ss oerbania, gembrook, portsea, port melbourne mission, ladies harbour lights guild, social, duncan, lillie duncan, olive duncan, duncan album

The original date for the laying of Foundation stone for the first Mission building at Australian Wharf in 1906 had to be changed to the 5th of February 1907 due to industrial action at the Wharves. See scrapbooks and clippings for details. Lord Northcote the Governor General officiated. The invitation marks the establishment for the first time at the Australian Wharf official recognition of the need to establish a Mission for seafarers in this location, some six years after presentation of the letter in 1897 from 22 Captains urging and requesting a respectable and convenient facility. Just ten years later the Mission would have to move to an adjacent site and raise funds for yet another Mission building in 1916. A heavy card with crimped edge with commercially printed invitation in cursive scripts from the Archbishop of Melbourne and the Members of the Committee of the Mission. A blue flying angel Missions to Seamen flag is printed in the top left corner. The invitee name is written in sepia ink as is an altered date. Ink inscriptions: the Rev A.G. Goldsmith and Mrs Goldsmith // ; printed date of Friday 14th of December 1906 is crossed out and superscribed in handwritten ink as: Tuesday 5th of February 1907 lord northcote, governor general, rev gurney goldsmith, foundation stone, australian wharf, the melbourne missions to seamen, victorian seamen's mission, 1907, siddeley street, alfred gurney goldsmith, walter richmond butler