Reproduced by permission of Mr John Arnold from his book: "The Riversdale Golf Club - a history, 1892-1977." Copyright to book: Riversdale Golf Club. Surrey Hills Golf Club operated from 1892-1908 then moved and became Riversdale Golf Club. The game was played across paddocks from Trafalgar Street, Mont Albert to Whitehorse Road and down Victoria Crescent to where Box Hill TAFE is now located in Elgar Road. There were problems with cows eating the tee flags! The clubhouse still exists as 30 Trafalgar Street. The Surrey Hills Golf Club was founded by Mr Hugh W McLeod in 1894. The first president was Mr A W Harston. Mr William Meader was the first honorary secretary and the club champion for several years. Another notable identity was Mr. Harry Culliton, who contributed golf notes to "The Argus" for many years. Harry Culliton (clerk; later bank manager) married Christina Mary Rothwell of Surrey Hills in 1897. They initially live in Canterbury Road before moving to 'Bayview' in Harding Street. They had 3 sons. The eldest Kenneth Rothwell Culliton married Molly Fanny Arthur in 1940. They continued to live in 'Bayview'. Molly was a foundation member of the Surrey Hills Historical Society.The image is significant in documenting the Surrey Hills Golf Club, no longer in existence, but also members of early Surrey Hills families. Black and white photo showing a barbed wire and post fence behind which stands a man, identified as Harry Culliton. He is wearing a suit, cap and a tie. He sports a large 'handle-bar' moustache and is gripping an iron golf club, preparing to strike a golf ball which is impaled on the barbed wire.Caption: "Harry Culliton playing from the barbed wire where his ball was impaled on the fence on the side of the coffin. To his opponent's dismay he managed to land the ball near the green and get down in two for a half."sports grounds, surrey hills golf club, riversdale golf club, clothing and dress, john arnold, harry culliton

Minnie PWERLE (c1910-2006) Atnwengerrp/Utopia Minnie Pwerle's Dreamings consist of elements of 'Bush Melon' and 'Awelye'. Awelys-Atnwengerrp' is depicted by a series of lines painted in varying widths and colours. These patters represent the lines painted on the top had of women's bodies during ceremonies in Minnie's country of Atnwengerrp. 'Bush Melon' is depicted using linear design of curves and circles in different colours creating a very loose and bold design. This dreaming tells the story of this lovely sweet food that comes from a very small bush and is only found in Atnwengerrp. Once very abundant and fruiting in the summer season, the Bush Melon is now hard to find. Minnie and other women used to collect this fruit (that was green in colour and then ripened to a brown colour) and scrape out the small black seeds. They would then eat the fruit straight away or cut it in pieces and skewer them onto a piece of wood to dry then to be eaten in the coming months when bush tucker was scarce. These artistic symbols carry potent spiritual meanings.. The physical creation of these Dreamings in an important part of the continuation of an ancient and rich cultural heritage. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Awelye & Bush Melon Dreaming, 2004 Acrylic on canvas, over three panels art, artwork, minnie pwerle, aboriginal, anmatyerre language, atnwengerrp country

Photos of widows, legatees, President Millie and the Transport Minister riding in a tram that was decorated to promote Legacy in 1995. 1995 which was the 50th Anniversary of the end of World War II. Wording on the tram says: "This year - Australia remembers the Heroes of World War II / 50 years on / Legacy never forgets to care for the widows and children of those who fought for our freedom". It appeared in The Answer in June 1995 after the tram had been launched on May 2nd by President David Millie and Public Transport Minister, Mr Alan Brown. The ribbon was cut by Junior Legatees Kim Anderson and Peter Hazelager. "The distinctive white tram will be running on routes around Melbourne for at least six months and our thanks go to the Public Transport Corporation for making it possible." 01810.1 shows President David Mille, Legatee Roger Greene (seated in the centre) and others. 01810.2 shows David Millie with Minister for Transport Alan Brown. 01810.3 is Kim Anderson and her mother Margaret speaking with the Minister Legatee Lucky Luscombe is in 01810.6 and 01810.9 01810.7 shows legatee George Woodward with two widows eating snacks 01810.10 is a photo of 4 widows. Second from the left is Hazel McKean, then Lorraine Dalton, and Irene Noll on the right.A record of a way to promote Legacy during Legacy Week in 1995.Colour photo x 10 of a tram painted to promote to Legacy and widows riding the tram.legacy promotion, tram, answer

A novelty postcard with pull-out strip of 9 miniature photographs that was produced by the Valentine Publishing Co as a souvenir of Marysville.A novelty postcard with pull-out strip of 9 miniature photographs that was produced by the Valentine Publishing Co as a souvenir of Marysville.Having a High Old Time at MARYSVILLE KEEP WELL/ AND BRIGHT/ KEEP SMILING/ AND WRITE 1902 VALENTINE'S/ MAILING NOVELTY From VALENTINE'S "MAIL NOVELTY" POSTCARD. COPYRIGHT/ PRINTED IN GT. BRITAIN To Dear Mrs Bannan, I was expecting/ you down to meet "my folks" while they/ were over. Sorry you couldnt fit it in/ They went back last Tuesday & we came/ up here on Wednesday. Weve settled in/ to have a restful holiday. its a lovely/ place spotlessly clean & beautiful meals/ Ive never eaten so much for years. We/ will be here for 10 days so I should put/ on at least a stone the way Im eating/ love & best wishes to you all from Wm Staceymarysville, victoria, postcard, souvenir, valentine publishing co, crossways cabaret (image 1), taggerty river (image 2), acheron way (image 3), blacks spur road (image 4), nicholl's lookout (image 5), main street marysville (image 6), sugarloaf bay eildon (image 7), steavenson falls (image 8), cumberland falls (image 9)

A black and white postcard of the pool at Mt. Kitchener House in Marysville that was produced by the Rose Stereograph Company as a souvenir of Marysville.A black and white postcard of the pool at Mt. Kitchener House in Marysville that was produced by the Rose Stereograph Company as a souvenir of Marysville.THE ROSE SERIES P. 959/ COPYRIGHT POST CARD The "Rose" Series/ De Luxe A Real Photograph/ Produced in Australia Published by the Rose Stereograph Co.,/ Armadale, Victoria. Thursday/ 14/10/47 Dear Miss Lloyd,/ How are you? Well,/ Mt. Kitchener House has certainly come up to/ expectations. We can't fault the food -/ we simply eat it. Weather has been very kind/ although showery today. Gave Mrs Hull message/ which was appreciated. Have had some good tennis/ + tomorrow morning hope to go riding - weather permitting./ Has the ground glass found its way into the/ Brig's cuppa tea yet? Hope you're not working too hard/ Cheerio for now. Kindest regards from Fay + Ronmarysville, victoria, australia, mt kitchener house, accommodation, rose series, rose stereograph company, postcard, souvenir, p. 959

Although the Kiewa Hydro-Electric Scheme was first proposed in 1911, construction did not commence until 1938. As part of the push to cut electricity costs and diversify supply, the Victorian Government (circa 1930) initiated the conversion from primarily brown coal supply to hydro – electricity. Field investigations during the 1940’s resulted in a new proposal for a scheme that had more than double the capacity of the 1938 scheme. The Kiewa Hydroelectric Scheme became the largest scheme of its kind in the State Of Victoria and the second largest scheme in Australia. The number of personnel involved in the planning and construction of the scheme increased dramatically. During the late 1940’s, most activity centred around the construction of the West Kiewa Power Station, Rocky Valley Reservoir, McKay Creek Power Station and the Bogong Creek Aqueduct.A common thread across all the larger hydro scheme constructions was the need for workers, both qualified and unqualified who came from around the world seeking a new life for themselves and their families. New accommodation and facilities were required for the army of workers engaged in construction in often remote and wild areas. The SEC had a high demand for timber, and set up the first of a number of sawmills at Bogong Creek in 1939 and set up the first hardwood logging in the headwaters of the Kiewa River. These new ‘towns’ such as Mt Beauty and Bogong, survived, serving the needs of operational personnel and their families, and expanding with growth of new industries. Mount Beauty, and to a lesser extent Bogong, are among these places. Large A3 size spiral bound display folder containing photocopied black and white photographs of various aspects of the early days of the Kiewa Valley Hydro-electric scheme including equipment, various work sites and photographs of workers and their families. 1-Workmen working inside one of the tunnels. 2-Workman drilling in West Kiewa Tunnel 3-Junction Dam wall construction 4&5-2B&W photographs Kiewa House residents ready to go to a ball in Mt Beauty 6-Workmen warming up in front of a fire at No 1 bench 7-Workmen being hauled in at No 4 P.S Shaft 8-No 4 Power Station – Drilling 9-Workmen eating a hot meal in the tunnel. 10-2 photographs (a)Pretty Valley camp showing workman’s huts and construction materials & (b)Worker in Langford Gap Basalt Hill Tunnel face 11-Tunnel entrance (unlabelled) with rail tracks in foreground 12- Workmen drilling at No 1 Head race tunnel-Drilling face 13- No 1 Power Station 14-Workmen at the entrance to one of the SECV tunnels under construction 1-SECV number at bottom of picture Half obscured possibly K8461 Page number 53 2-In West Kiewa Tunnel Page number 54 3- Construction of Junction Dam wall – approximately 1941 Page number 55 4&5- Residents of Kiewa House at Bogong ready to go to the ball at Mt Beauty-1946. Handwritten on a copy of the photo on opposite page Mrs Lorna Crosset filled out the names *Dad was Des Crossett – his daughter is Gael Petcopoulis Greta engaged to John broke it off. Charlie, Rosalind, Bill, Priscilla, Max Lawrence-Dad’s Boss, Mary & Max married, Mary, Kay, Gwen McPherson Mum’s boss, John McCluskey (c) At No. 5 Bench Page number 56 6- STATE ELECTRICITY COMMISSION OF VICTORIA Date: 27.2.51 Time:2.15pm No K6373 Kiewa Hydro Electric Works No. 4 P.S. Shaft – Haulage of men in buckets (b) As above Handwritten at top of photo Appendix 4 page number 57 7- STATE ELECTRICITY COMMISSION OF VICTORIA Date: 6.6.52 Time:… No K7122 Kiewa Hydro Electric Works No. 4 POWER STATION – DRILLING page number 58 8-No markings page number 59 9-(a)Handwritten under photograph Approx. 1948/49 (b) STATE ELECTRICITY COMMISSION OF VICTORIA Date: 28.10.54 Time:.. No K7860 Kiewa Hydro Electric Works LANGFORD GAP BASALT HILL TUNNEL FACE Page number 49 10-(a) No markings 11- STATE ELECTRICITY COMMISSION OF VICTORIA Date: 20.3.52 Time: No K6979 Kiewa Hydro Electric Works No. 1 HEAD RACE TUNNEL – DRILLING FACE (E.E.E. CONTRACT) ‘The Frenchies’ (E.E.E) as they were affectionately known Page number 50 12-31.5.56 No. 1 Power Station Aggregate Stock Piles. Page number 51 13&14-No markings Page number 52 secv; kiewa hydro electric scheme; bogong; mt beauty; construction area

The Little Friarbird is a migrational bird, moving between northern Australia and the New South Wales/Victoria border in the spring and autumn times. It is primarily found near in forests and near water: rivers, wetlands. They eat nectar, bugs, fruit and seeds. They form monogamous pairs and nest close to water. They are not a threatened species. The Little Friarbird has a brown head, back, wings and tail. Its chest is light brown. Its legs, beak and face are dark grey. It has bright blue patches on its cheeks under the eyes. This specimen does not accurately match how the Little Friarbird looks because the specimen has lost clumps of feathers on its chest, neck and face. 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 Little Friarbird has blue patches on its cheeks, brown head, back and tail. The front and neck are a light brown. Its back is grey. It has serious pest damage to the back of its neck, which has no feathers. Above its eyes shows early signs of pest damage. The front of the bird has ruffled patches of feathers. It stands on a dark wooden stand. It has an identification tag hanging from its left leg. Label: 61a/ Blue faced Honey Eater / See catalogue page 19 taxidermy mount, taxidermy, burke museum, beechworth, little friarbird, australian bird

The Golden Whistler is native to coastal areas of Australia, from Queensland around to Southern Western Australia, including Tasmania. It usually lives in dense forested areas. The males have bright yellow plumage, whilst the females have only pale yellow plumage. The males and females work together to build the nest and raise chicks. They eat spiders and insects. The taxidermy specimen is not a good example of a Golden Whistler. Its feathers are very faded and ruffled. There looks to be some damage on the throat of the specimen. The Golden Whistler has usually vibrant colours, whilst this one is almost white. The colour markings on the bird indicate that it is male; the specimen should be a bright yellow. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. This male Golden Whistler has a black head and stripe on chest, brown-grey wings and tail and white patches on throat and neck. The belly is a white-yellow, though significantly faded. Its feathers are quite ruffled and there is sign of damage to the throat. The specimen stands on a wooden stand and has an identification tag attached to its leg. Label: 24a / white throated Thickhead / See catalogue, page 11taxidermy mount, taxidermy, golden whistler, beechworth, burke museum, australian bird

The Blue-faced Honeyeater is commonly located in northern and eastern mainland Australia. It is also found in Papua New Guinea. This species prefer to reside in tropical locations or those which are sub-tropical and wetter temperate or semi-arid zones. It can be located in open forests and woodlands close to water. Due to these locations along with it's propensity for feeding on the fruit and flowers of the banana in northern Queensland, this species is colloquially known as the "Bananabird". These birds commonly reside in pairs, family groups or small flocks. They can often be found socialising with other species including the yellow-throated miner and the Little Friarbird. The Blue-faced Honeyeater feed on insects and invertebrates, but also may eat nectar and fruit from native and exotic plants. 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 blue-faced Honeyeater is large in size with bright white and black colouring. The bird also has golden olive-green colouring on it's rear, tail and wings. Around the eyes is strikingly blue coloured skin which has faded significantly on this particular specimen. It also has a pair of glass eyes to replace the original which do not survive the taxidermy process. There is a patch of dark colouring on the plumage of the stomach and neck of the bird. This dark batch is surrounded by white plumage which also forms a white band across the back of the neck. This specimen is stylized placed on a wooden mount. The bird's feet are attached to a thin stick and the stick attached to the mount.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, honeyeater, blue-faced honeyeater

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

Photos from a camp for handicapped dependents in January 1992. These photos show different camp activities, including arts and craft, eating meals, cleaning up in the kitchen and outside activities. Some appeared in the newsletter in March 1992. The article mentions that the annual camps run for two weeks at Somers Camp (believed to be Somers School camp). It is a wonderful gathering of Junior Legatees, Legatees, and dedicated helpers. 50 Legatees attended this camp with the personal attention almost one-to-one. With ages ranging from 22 to into the 60s, Legacy has to ensure it caters for the differing needs. Legatees headed by Camp Chief, Jim Hammon and Chairman of the Handicapped Dependents Committee, Merv Tickell, were supported by two Camp Co-Ordinators and 50 helpers known as 'leaders'. Many of the leaders are people in the workforce wishing to give something back to the community. Junior Legatees are organised into groups. They participate in horse-riding, swimming, golfing, strawberry picking, and many other activities. Every month Legacy's handicapped dependents are invited to go on outing for take part in recreational and educational activities. These programmes aim to develop independence and thus lessen the need for reliance on others for simple routine functions. Other photos from the camp are at 01560, 01561, and 01562 and 01564. Photos were in a scrapbook of photos spanning 1983 to 1992.A record of the type of activities Legacy provided for the handicapped dependents of the Legacy families. Black and white photo x 3 of a HDC camp, a label and an article in the newsletter.Handwritten in blue pen 'HDC Camp -Somers / Jan 1992 / Camp Chief: L/ J Hammon / Co-ordinator Julien Hardy-Smith / Photo Eric Wadsworth / 51 J/Ls'junior legatee outing, somers camp

Photos from a cam for handicapped dependents in January 1992. These photos show different camp activities, including arts and craft, eating meals, cleaning up in the kitchen and outside activities. Some appeared in the newsletter in March 1992. The article mentions that the annual camps run for two weeks at Somers Camp (believed to be Somers School Camp). It is a wonderful gathering of Junior Legatees, Legatees, and dedicated helpers. 50 Legatees attended this camp with the personal attention almost one-to-one. With ages ranging from 22 to into the 60s, Legacy has to ensure it caters for the differing needs. Legatees headed by Camp Chief, Jim Hammon and Chairman of the Handicapped Dependents Committee, Merv Tickell, were supported by two Camp Co-Ordinators and 50 helpers known as 'leaders'. Many of the leaders are people in the workforce wishing to give something back to the community. Junior Legatees are organised into groups. They participate in horse-riding, swimming, golfing, strawberry picking, and many other activities. Every month Legacy's handicapped dependents were invited to go on outings or take part in recreational and educational activities. These programmes aim to develop independence and thus lessen the need for reliance on others for simple routine functions. Other photos from the camp are at 01560, 01561, 01562 and 01563. Photos were in a scrapbook of photos spanning 1983 to 1991.A record of the type of activities Legacy provided for the handicapped dependents of the Legacy families. Black and white photo x 2 of a HDC camp, a label and an article in the newsletter.Handwritten in blue pen 'HDC Camp -Somers / Jan 1992 / Camp Chief: L/ J Hammon / Co-ordinator Julien Hardy-Smith / Photo Eric Wadsworth / 51 J/Ls'junior legatee outing, somers, somers camp

A book about the fighting around the French village of Pozieres in 1916. Many of the early legatees fought on the Western Front and some, including founder Stan Savige, fought at Pozieres. There is a photo in the book of Brigadier-General Gellibrand and his staff, including Savige, eating breakfast in a shell hole. Back in Australia after the war Gellibrand inspired Savige to found a club like the Remembrance Club he had founded in Hobart. Thus Savige founded Legacy. Speeches by Legatees Kemsley and Armstrong in later years showed they had also fought in the Pozieres area. Some research has shown: The fighting around Pozières was part of the brave actions of the Australians during the battle of the Somme from July 1916. Between 23 July and 5 August 1916, the Australian 1st and 2nd Divisions captured Pozières village and Pozières heights, a ridge 500 metres east of the village. The 4th Division then continued the attack north along the ridge, the Australians in ten days of continuous action reached Mouquet Farm. The farm resisted capture until 26 September 1916. In less than seven weeks in the fighting at Pozières and Mouquet Farm three Australian divisions suffered 23,000 casualties. Of these, 6,800 men were killed or died of wounds. It was a loss comparable with the casualties sustained by the Australians over eight months at Gallipoli in 1915.A book about a battle that was important to the early legatees.Hardcover book x 318 pages about the Somme battles of World War One.Handwritten 'Melbourne Legacy Library WW1 in black ink on the fly leaf. Also a sticker saying property of Rob Allison on title page.somme, pozieres, battles, aif

Eastern bluebirds are well-known song birds that live in eastern North America. They are sexually dimorphic, easily recognised by the male's bright royal blue upper plumage, chest of reddish brown and white abdomen. The females is duller in colour than the male, with greyer upperparts and blue tinges to her wings. These Bluebirds, the European variety, are the most common of the three Bluebird species. When not nesting, these birds fly in small flocks around the countryside. Bluebirds feed on small insects including moths, termites and mosquitoes. They also eat grasshoppers, crickets and caterpillars. The Bluebird can spot caterpillars and other insects in tall grass from a distance of over 45 meters. The Bluebird is commonly identified in numerous cultures as being symbolic as a harbinger of happiness. Often in Russian fairytales, the Bluebird is used as a symbol of hope. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This female bluebird (likely Eastern) has a medium brown head and back, a rufous breast, and a cream belly. The bird has blue-tinged wing and tail feathers. The bill is short and has been stylized with the bill partly open to provide the illusion that the bird is making a call. This specimen stands upon a wooden mount and has an identification tag tied around its leg. The bird's plumage has faded since it was first preserved; females generally have duller colouring than their male counterparts but the colour of this particular specimen is paler than it would have been.Label: 122a. Blue-Bird / Catalogue Page 29. / Metal tag: 107taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, american birds, bluebird

The Morepork is a small brown and white spotted owl found in New Zealand, Tasmania and Norfolk Island. It is known by around twenty different names which are all onomatopoeic which emulate the birds distinctive two-pitched call. They are mostly nocturnal and carnivorous (eating insects and small vertebrates). They reside in habitats with trees, they sleep in roosts and hunt mainly in the evenings and early morning. Females are slightly bigger than males. This species attains full plumage in its third or fourth year. They can turn their heads 270 degrees." In Māori tradition the morepork was seen as a watchful guardian. It belonged to the spirit world as it is a bird of the night. Although the more-pork or ruru call was thought to be a good sign, the high pitched, piercing, ‘yelp’ call was thought to be an ominous forewarning of bad news or events." (NZ Department of Conservation). 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 Morepork (also known as the Masked Owl) is covered in brown and white plumage on its head and body. The white feathers delineate its round yellow eyes. Its belly and back are brown and white with the white feathering appearing spotted. This Morepork specimen sits on a wooden perch with his head turned to the left. A swing tag is attached to its left leg.Swing tag: 10 / Masked Owl / See Catalogue, page 3 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, ruru, spotted owl, tasmanian spotted owl, morepork, mopoke, new zealand owls, new zealand birds, tasmanian owls, tasmanian birds, norfolk island owls, norfolk island birds

The Black Shouldered Kite is commonly found throughout mainland Australia in grasslands and other open habitats. It is a raptor (bird of prey) that will eat mice and other small rodents. The species is monogamous and will find a mate by the male giving food to the female while both are in flight. It is sometimes confused with the letter-winged kite though there undercarriages when in flight are very different with the letter-winged showing the letter W or M and the black shouldered kite showing black wing tips with white towards its belly area. The feathers of this species when alive and in the wild are more white than this specimen. The iris is usually red in mature birds so this specimen may not have been a mature bird as its eyes are brown. However, this is difficult to ascertain because it is also possible that the taxidermist who replaced the original eyes with the current glass ones provided a colour which was not accurate to the age/species of the bird. 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 Black Shouldered Kite has a white face and front of body with a grey posterior from the top of its head to its tail. It has black on its wings/shoulders. Its face is white with its eyes delineated by small black apostrophe like shapes from the inner eye to the top of the eye. The specimen stands on a wooden perch and has a swing tag tied around its right leg. Its eye colour is brown rather than red, indicating it is not a mature specimen.9. / Black Shouldered Kite / See Catalogue, page 3 / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, black shouldered kite

The Morepork is a small brown and white spotted owl found in New Zealand, Tasmania and Norfolk Island. It is known by around twenty different names which are all onomatopoeic which emulate the birds distinctive two-pitched call. They are mostly nocturnal and carnivorous (eating insects and small vertebrates). They reside in habitats with trees, they sleep in roosts and hunt mainly in the evenings and early morning. Females are slightly bigger than males. This species attains full plumage in its third or fourth year. They can turn their heads 270 degrees." In Māori tradition the morepork was seen as a watchful guardian. It belonged to the spirit world as it is a bird of the night. Although the more-pork or ruru call was thought to be a good sign, the high pitched, piercing, ‘yelp’ call was thought to be an ominous forewarning of bad news or events." (NZ Department of Conservation). 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 Morepork (also known as a Masked Owl) is covered in brown and white plumage on its head and body. The white feathers delineate its round yellow eyes. Its belly and back are brown and white with the white feathering appearing spotted. He sits on a wooden perch with his head turned to the left. A swing tag is attached to its leg.11 / Masked Owl / See Catalogue, page 3 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, ruru, spotted owl, tasmanian spotted owl, morepork, mopoke, new zealand owls, new zealand birds, tasmanian owls, tasmanian birds, norfolk island owls, norfolk island birds

30 min colour and sound 16mm film, severely faded, beginning with an interview with a Vietnam widow and going on to explain the help Sydney Legacy gave to bereaved families including outings, health, etc. Lionel Long, who was a Legacy ward, is interviewed and sings one of the ballads he was famous for in the 1960s. A Widow's Club meeting is shown and a party of the Northern Suburbs Progressive Twenties who raised money for Legacy. They were smoking, drinking, and eating what looks like cheerios and slices of bread in a large room hung with streamers and balloons and dancing to pop music. Junior Legatee Karen Miller was interviewed about her experience travelling to Switzerland to represent Australia at the Swiss Bank Centenary, Switzerland, with a boy from NSW, going on to stay with a Legacy family in London for a week. The functions of Legatees are explained as a Legatee is shown with one of his families. Also interviewed is a practising solicitor who attributes his qualification to the help he got from Legacy. Girls are shown rehearsing for their debutante presentation and the film segues to the actual presentation with the Governor Sir Roden Cutler, Governor of NSW, and his wife. Legatees are shown cutting, trucking and delivering firewood to widows. Photography by Frederick Richardson; sound by Peter Willesee; Executive Producer Michael Willesee; produced and edited by Bob Lawson. A Trans Media Production. This film has been digitised to preserve its content. Melbourne Legacy gratefully acknowledges the support of the Victorian Government and Public Record Office Victoria for making this possible.A visual record of Sydney Legacy in the 1960s giving an overview of the work they did.A film in a blue plastic canister produced about the activities of Sydney Legacy in the 1960s.Label of 'Colour Film Pty Ltd, client Trans Media Colour print' handwritten 'Copy No 3'activities, widows club, junior legatee, operation firewood, sydney legacy

Commemorative object produced by Simplot Food Service and presented to the City of Greater Bendigo on the occasion of the 50th anniversary of the creation of the Chicko Roll by Bendigo born boiler maker, Frank McEncroe. The Chicko Roll has been an Australian icon since the 1960's and 70's. Inspired by the Chinese spring roll and first sold in 1951 as the "Chicken Roll" despite not actually containing chicken. The snack was designed to be easily eaten on the move without a plate or cutlery and is typically deep-fried in vegetable oil. By 1965 the ubiquitous Chicko Roll was sold in every fish and chip shop throughout the country and at the height of their popularity in the 1970s, 40 million Chiko Rolls were being sold Australia-wide each year and more than one million were exported to Japan.(Wikipedia https://en.wikipedia.org/wiki/Chiko_Roll). Advertised with the slogan 'Grab a Chiko', 'Hit the Hot Spot' and 'You Can't Knock the Roll' the marketing around the Chicko Roll was aimed towards the male population with women perched on Harley Davidson's prevocatively preparing to bite into a Chicko Roll. In 2008 with a push towards healthier eating, Chicko Roll reviewed its advertising and although it continues to target young men, it switched to using a 'fun, active' young women, riding a retro pushbike near the beach to improve its image. In 1995 J.R. Simplot, an American company who also own Leggo's, Birds Eye, Edgell and John Wes,t acquired Chicko Roll to sure up their foothold in the Australian market. Life size gold plated chicko roll in a hinged wooden presentation box with red lining. Double sided, printed letter accompanying the object explains its creation and significance.0365.1; CHICKOcity of greater bendigo commerce, mayor acherman

Sepia photograph of the Bendigo Gaol looking across from Barnard Street, Mining dam in foreground. . Conifers along Northern bank of creek with gaol buildings in the background. All buildings are of masonry. Inscriptions: '37' in red ballpoint ink top RH corner. On back of mount: stamped in circle 'Royal Historical Society of Victoria, Bendigo Branch' In blue ballpoint ink above circly '1959' In red ballpoint ink above circle '37'. In blue ballpoint ink in one corner '1880'. Inclusions in storage envelope: Bendigo Gaol, J Lerk, 28/02/2000. The Bendigo Gaol looking across Commissioner's Gully c1880. The grey granite cell blocks contrast with the red brick exterior walls. Photograph courtesy Bendigo Historical Sociery (No. 136, texta on back). Machine printed inclusion worded as above entry. Another inclusion written in pencil states ' Bendigo Gaol about 1880. Granite from Big Hill was used to construct the cell blocks about 1860. Prisioners did not have heating, beds, seats or eating utensils. A public meeting in 1862 called for the debtor's quarters at the gaol to be lit with gas, handsomely furnished throughout and that inmates be provided with a bottle of wine, one bottle of brandy daily and tobacco and pipes availabe at liberty. (from Butcher, 'Annals of Bendigo 1862, Vol. 1, 76B).buildings, government, watch house, sandhurst

Folder containing various documents regarding the launch of the "Melbourne Met Pass". .1 - Green coloured folded card folder with the Met logo and "Metropolitan Transit" on the outside and two The Met business cards for Jennie Owers - Manager Sales and Services and Margaret Douglas, General Manager Marketing stapled to the inside. .2 - Two page press release headed "Victoria Transport", dated 19/9/1987 regarding the launch of the new Tourist Package by the Met, has quotes from MTA Managing Director - Kevin Shea and Minister Tom Roper. .3 - Folded card A5 sheet, titled "All the information you need to tell them where to go", contains retail and wholesale price information and information on the packages available. .4 - Poster, printed on gloss paper and folded titled "101 things to see around Melbourne" advertising what you could see using the Met Pass. Contained within a green plastic folder titled "Melbourne Met Pass" .5 - book - 80 pages, card cover, printed on gloss paper - a very extensive guide to Melbourne and suggested trips. .6 - folded map showing both the train and tram systems containing information about the zones, art galleries, shopping, gardens sports Arena, museums and eating. .7 - Sample Met Pass - not numbered - printed on yellow card with green ink and conditions of travel on rear.trams, tramways, the met, tourist tickets

This item is from the private collection of George Shirling of Red Onion, Falls Creek. It depicts Dick Stericker & Hans Fisher constructing a wooden bridge. They both arrived in Falls Creek in the early 1960s. Hans worked on the slopes in summer and in winter, including building access bridges over the race-line as shown in this photograph. In 1965 Hans started as the chef Koki Alpine Lodge owned by George Shirling. He later worked as cook at various Falls Creek eating houses, as well as working for the lift company and slope maintenance People like Hans made Falls Creek. He passed away at Noosa, Queensland on 18th January 2022. George Shirling arrived in Falls Creek in 1962. He engaged Phil Nowell to build the original Koki Alpine Lodge which opened in 1965 with 14 beds. George operated the lodge with Michael “Baldy” Blackwell as manager. He also graduated in sport psychology in 1981 and was invited to become team psychologist for the Australian Winter Olympic team which went to Albertville, France, in 1992. He later owned the Red Onion Chalet. George credited the success of Koki to “Baldy” Blackwell. “Baldy” and Phil Nowell started the Trackers Mountain Lodge in partnership during the 1980s. In 1971 George sold Koki Lodge to Sigi Doerr. In 2024 the renamed Koki Alpine resort remains a highly popular destination in Falls Creek. George Shirling passed away on 27th February 2023. He had remained actively involved in Falls Creek and was generous with his time and knowledge, always an amazing supporter of The Falls Creek Museum and Falls Creek Village.This item is significant because it features two prominent members of the Falls Creek community.A black and white photograph of Dick Stericker & Hans Fisher taking a break whilst building a bridge. A typed George Shirling Collection number and description is attached. On label: ITEM NO. 148 Dick Stericker & Hans Fisher - smoko - while building bridge over raceline - Village T-bar, 1961george shirling, red onion, hans fisher

A black and white photograph of Murchison Street in Marysville in Victoria.A black and white photograph of the main street in Marysville in Victoria. This is now known as Murchison Street. This postcard was produced by Murray Views in Gympie in Queensland as a souvenir of Marysville.POST CARD STAMP REAL (illegible)/ AUSTRALIA BY MURRAY (illegible) Tuesday 1st/ Dear Ade,/ Well here I am/ as I said/ writing/ to you. I have 8 minutes/ before the dinner gong goes so/ I'd better hurry./ We're having a super/ time, but the weather is/ shocking. Today we put/ on our raincoats, golf shoes/ & umbrellas & walked to/ the Taggerty River & back/ via Talbot Drive. It/ was lovely (& wet(. It's about/ 6 miles or maybe more./ I didn't think you or John/ would come on such a / terrible day. How's work?/ Think of me eating, sleeping/ & playing won't you./ There are 17 people here. There/ were 30 when we arrived./ Doesn't the Main Street look/ beaut? That's how it really look./ Saw "Mad About Men" here on/ Saturday night. Extra good/ show. Must close. See you/ Friday week. Love Pat.murchison street, marysville, victoria, murray views pty ltd, murray views no 17, postcard, souvenir

The American Crow is common throughout North America. They reside in areas with open view and trees but can often frequent city parks, suburbs of large cities and along the seashore. The Crow is a robber and therefore, find living in locations which they can raid for food perfect. These birds are sociable animals and are often found in small groups made up of family members. All their lives they reside in the one location; however, they do migrate south during the autumn. They usually find their food by walking along the ground and eat both plant and animal foods. This includes worms, larvae, insects and fruits and nuts. Crows are also known to feed on small rabbits, frogs and mice. They are also identified as nest predators because they feed on eggs. In areas occupied by humans, the Crow will find their food source from trash and also road kill. The American Crow is not considered to be an endangered species and list them on the IUCN Red List as Least Concern. However, large amounts of crows are killed for sporting and during campaigns (having a desire to reduce the population of the Crow in America). 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 American Crow has black plumage which has slightly faded in colour. This colour fading could also indicate that the bird was molting because the feathers of the American Crow appear brownish when the are about to molt and these feathers give way to new glossy black feathers. The specimen has two black glass eyes, a dark bill and dark legs with talons. Both the edges of the bill and the talons are faded into a pale buff colour. It is likely that the legs and talons were painted a dark black by the taxidermist and the paint has either worn off or faded over the years. The bird is standing tall on a wooden mount and looking forwards. It has a paper identification tag attached to the right leg. The tail is short and the feathers are rounded at the ends.153a. / See catalogue page 61taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, america, crow, american crow

Published: "The Melbourne Post" page 369, 22 November 1866. Reproduced Page 76 "Pioneers and Painters" One wet and miserable October night in 1866 a well-spoken young Irish braggart, who was wearing a poncho or riding cloak, knocked on the door of the home of Mrs. James Russell (nee Haughton) in Russell Road, Warrandyte. Realising that he was weary and hungry, Mrs. Russell gave the young visitor food and a bed in a hut up the back yard. The next morning she found he had gone as Harry Houghton had obligingly rowed him across the river in a mining punt. The man was Robert Burke (aka Bourke but real name Clusky), a known bushranger, who was being hunted by the police. Burke went to Kangaroo Ground where he stayed at Wellers Hotel before moving onto Hurstbridge. At Hurstbridge some hours later, he was eating breakfast given him by Miss Ellen Hurst, whose suspicions were aroused when she noticed a pistol in his pocket. Hastily she informed her brother, who loaded a shot gun and confronted Burke, an argument broke out and Burke produced a pistol. Hurst fired his shotgun, but missed. The two scuffled and during the scuffle, the pistol fired, wounding both Hurst and Burke. Burke was over-powered by some station hands and placed under arrest. Hurst, unfortunately, died later that day. Poor young boastful Burke - he was found guilty of murder and hanged, despite a strong recommendation for mercy and a large petition signed by Melbourne citizens claiming that he reacted in self defence. Edited extract from ‘Warrandyte a Brief History’ by Bruce Bence 1991. (Posted to Warrandyte Historical Society Facebook page 27/01/2021)This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image Print 16.5 x 22 cmhurstbridge, illustration, robert burke, fight, bushranger burke, other areas, pioneers and painters, sepp, shire of eltham pioneers photograph collection, bushranger

[from EDHS Newsletter No. 80, September 1991:] SPRING EXCURSION: As usual for October we have arranged a bus tour outside the local area. We will leave from the Eltham Shire Offices at 9.00 am on Sunday 27th October and travel to "The Briars" at Mornington and "Mulberry Hill" at Baxter. The cost will be $16.00 for adults and $8.00 for children. This includes admission to each of the houses and afternoon tea at "Mulberry Hill". Bring your own lunch to eat at "The Briars" and something for morning tea if you wish. "The Briars" is one of the oldest pastoral stations on the Mornington Peninsula. It has historical associations with the early settlement of the district and with Alexander Balcombe who settled in the area about 1843. Near the house is a wetland wildlife reserve with walking paths and bird observation hides. "Mulberry Hill" was the home of Sir Darryl Lindsay and his wife Joan. Darryl (1889-1976) was a member of the famous art family of Lindsays and was a prominent artist in his own right. He was also a noted art administrator, being appointed Director of the National Gallery of Victoria in 1942. Joan Lindsay (1896-1984) was an important writer. Her best known work was "Picnic at Hanging Rock". Members may find it interesting to read her autobiography "Time Without Clocks" prior to this trip. Members are welcome to bring their friends. Bookings will only be confirmed on payment. Please complete the attached form and return with payment to the September meeting or to our post office box. The trip is still some time off but there is no further Newsletter before then. Note the date in your diary how. As this will probably be the first day of daylight saving you will need to remember that in organizing yourself on the day. Please arrive at 8.45 am ready for a prompt start at 9.00 am.Two colour photographsactivities, mulberry hill, the briars

When Mrs Julia Ronan nee Arundel lost her husband John to tuberculosis in 1906, she quickly decided to move from their small farm into Wodonga with her 3 children. She was granted the lease of the ground she needed to establish her eating house at one shilling per year in a shed on the Dalgety's saleyard block. Two established merchants Albert Schlink and John Whan and butcher Jack Garrett agreed to allow her credit which enabled her to open Ronan's Dining Rooms at the Saleyards. It was often a challenging environment, with drovers, and horse- breakers, auctioneers and bushmen bringing huge mobs of cattle and horses to the saleyards. Stories of the premises include the unexpected arrival in the passage of a lively bullock which finished up on the girls' bed. Mrs Ronan persevered and beat all obstacles to finally move from the saleyards to the Wodonga Coffee Palace in High Street, beside the railway gates in 1921. The construction of the Hume Weir had begun and some construction workers boarded at the Coffee Palace. Her 3 children achieved success due to their mother’s hard work to ensure their futures. Bill trained for the priesthood and was a parish priest, but died from tuberculosis 1n 1939 aged of 41. Katie became a highly accomplished music teacher, including 32 years at Albury Public School. In the 1930s she was able to buy a house at 49 High Street, Wodonga where she lived with her mother and sister Mary. Mary trained in office work at Edmondson’s solicitors and then worked on the Albury Council. After living with her daughters in the High Street house, Julia passed away on her 90th birthday in 1958. Mary died on 6 January 1983. Katie passed away in Wodonga at the age of 97 on the 16 September 1996. All members of the family are buried at Yackandandah, Victoria.A black and white image of Miss Mary Ronan, Mrs Julia Ronan and Miss Teresa Trudewind at the Old Saleyards Dining Room, Wodonga.On front of building: DINING ROOMS/ MRS. J. RONANmrs. ronan, dining rooms wodonga sale yards, wodonga businesses, wodonga pioneers

Known for its distinctive ‘boo-book’ sound which gives it its name, the Southern Boobook owl inhabits a variety of environments, including woodland, rural, open desert and dense forest. It is found on mainland Australia as well as Tasmania and other costal islands. Some similar species can be located in New Zealand, New Guinea and Indonesia. Young Boobooks’ plumage is mostly off white, and there are slight variations in subspecies based on location - the Cape York rainforest owls are a larger, darker brown bird while the Tasmanian Boobooks are smaller and often have more white flecks on their plumage. Southern Boobooks hunt and eat nocturnally and, like most owls, their diet consists of smaller animals including smaller mammals and insects. While elements of this particular specimen are representative of the actual bird, the form and structuring of this specimen’s neck area appears to be somewhat out of shape in comparison to images of the actual bird, which present a distinct head structure. The eyes on this specimen are also problematic, as they are solely black - not aligning with accurate representations of this species that have a distinct golden yellow outer ring in their eyes around a large black pupil. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.One of the most commonly found Australian species of owl, the Southern Boobook is also Australia’s smallest owl. With a coating of dark chocolate brown coloured plumage on its wings, dorsal area, continuing onto the top of the head and around its eyes, the owl’s breast plumage is flecked with hazelnut brown and white feathers. Its chin and nose areas are a soft creamy white, and the owl’s beak is a darker grey. Traditionally, the eyes are yellow as are the legs and taloned feet. This particular specimen stands upon a wooden perch and an identifying tag hangs from its right leg.Swing-tag appears to read: '39. Boobook Owl / Catalogue page 53.' The 2 digit number at the beginning of the label could also be '3a'. taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, southern boobook, mopoke, australia, boobook, nocturnal, ninox novaeseelandiae, owl