The item was collected by Dr Geoffrey Kaye from a Vichy French military hospital during World war II.The inhaler comprises a black rubber face mask that connects to a metal circular chamber from which two white rubber valves are used to administer the anaesthetic agent. The ethyl chloride vials are labelled 'Kelene', a brand name. A waxed paper rebreather bag is attached to this metal chamer. mask, gas, anaesthesia, rebreather bag, world war ii, dr geoffrey kaye, ethyl chloride, kelene, french, vichy

.3) Arthur CowleyWebbing belt & kit. .1) Belt with shoulder straps, khaki webbing, brass fittings. .2) Shoulder strap. .3) Back pack, khaki webbing with discoloured metal fittings. .4) Gas mask pack, khaki canvas with webbing straps & metal fittings. Ventilation holes at sides..1) Stamped in ink inside surface: “ZL&T 1945” .3) Handwritten inside flap: “A Cowley” .4) Stamped inside flap: “VII RMA 1942” On press studs: “Newley Pat, 1430.22*”military equipment - army, packs, gas

Adjustable metal 8"x 8" masking board for cropping and photographic printing Imperial scale, excellent condition Adjustable frame for variable cropping of prints; maaximum printing 240mm x 190mm (8.5"x 6.5") An Elande product manufactured by Lee & Diverell, Mitcham, Victoria, AustraliaELanDE product manufactured by Lee & Diverell, Mitcham, Victoria, Australia

Yields information about the dressing of a BTM tram in 2nd world war garb, white bumpers and headlight mask for the purposes of an exhibition. Demonstrates how the trams may have looked during the war period.Colour print (two copies) photograph of BTM tram No. 27 "dressed" in war time garb of white bumper bar, steps and headlight mask, photographed on the access track, c10/1995. White strips made with cardboard. See also Reg item 242. Photographed by Carolyn Dean.secv, ballarat, btm, world war ii., tram 27

Black and white negative by Wal Jack of S160, fitted with a head light mask at the St Georges Road terminus of the Holden St line in Barkly St North Fitzroy. Note the tram stop signs on the adjacent pole. Photo dated, 1/9/1941 in the Wal Jack album.trams, tramways, s class, barkly st, holden st, st georges road, headlight mask, tram 160

Used by mothers during childbirth, the anaesthetic Trilene (trichloroethylene) was inhaled through a face mask [missing] attached to the rubber tubing [missing] and the vaporising chamber. The Trilene was poured into the chamber to be turned into a vapour. The machine was used in the obstetric wards at University College Hospital, London. Trilene was introduced in the 1940s. The machine was made by Cyprane Ltd.Khaki metal multi layered cylinder. Set on top of khaki metal plate with four (4) rubber feet.Stamped in red on top level of vaporiser: Cyprane Ltd •Stamped in red on serial plate: TECOTA MARK 6 / CHARGE WITH TRICHLOROETHYLENE B.P. / CYPRANE LTD. SERIAL No / KEIGHLEY / YORKS. / T1469 •Clear sticker with red printed text stuck on metal plate: PAT No 646680 / PATENTS PENDINGtrichlorethylene vaporiser, tecota mark 6

This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. If you can provide information on this artist or artwork please use the comment link below.art, artwork, laurena richards, sculpture, masks, wimmera campus, horsham campus art collection, papier mache, horsham available

Rectangular medical chart made from printed and coated paper laid on white fabric (?cotton) and showing a fracture to the right leg. The chart is attached to two wooden batons with masking tape. The top baton is moulded while the lower baton is circular in cross-section. Both batons are stained black. Printed on the RHS front face of the chart at bottom edge are the words 'All rights reserved'. Printed on the LHS front face of the chart at bottom edge are the words 'RUDDIMAN, JOHNSTON & CO., Ltd., LONDON'medical chart, human body

This biscuit/tea caddy was probably targeting the "theatre going" family or those who liked looking at the colourful shakespearian scenes. This item however demonstrates that the rural (Kiewa Valley) appreciation of classic English plays was, in this time period (early 1900's), just as strong as in the larger towns and cities. This item also presents the period in which the "olde" Elizabethian phrases and words were taught in regional high schools. Although this speech pattern and phraseology was of a specific time period and going out of fashion when Australia was first settled it was an inherited form of communication(higher social/economical level). In the context of the rural Australia "scene" and in this time frame of the elite "boarding school" generation this item was a visual reinforcement of the education level and position of the family who owned this tin.This item is highly significant because it not only presents the social aspects of early life in the Kiewa Valley but also the variety of educational levels and economical variations of the rural population within the Kiewa Valley. The egalitarian perception of the inhabitants of the Kiewa Valley was still at the infancy of early Australian social interactions. This biscuit /tea container was however a leveling of the socio-economic playing field of the time.This biscuit or tea tin, has besides having an outer lid (hinged), it also has an internal lid(with a circular finger grip). Although the shape is rectangular it has a slight concave bulge at each side of the centre of each of its main frame. It is made of pressed light steel and has a raised floor. The corners are bevelled and the outer lid has a bevelled slope ridge in parallel to the extremities of the main tin frame. There are painted scenes from the following Shakespearian plays on each side of the tin; "As you like it", "Hamlet" and on each of the bevelled corners are the portraits of Shakespeare(in the middle), the caricature mask faces of "the theatre" above and on the bottom section the "Director's chair"food storage, kitchen table container, domestic educational storage, shakespeare illustrations

The Powerful owl is native to south-eastern and eastern Australia and is the largest owl on the continent. It is found in coastal areas and in the Great Dividing Range rarely more than 200 km (120 mi) inland. An apex predator in its narrow distribution, the Powerful owl is often an opportunist like most predators, but generally hunts arboreal mammals, in particular small to medium-sized marsupials. It is a typically territorial raptorial bird that maintains a large home range and has long intervals between egg-laying and hatching of clutches. Unlike most raptorial birds, male Powerful owls are larger and stronger than females and so the male takes the dominant position in the mating pair, which extends to food distribution. This example of a Powerful Owl show lighter brown coloured feathers and slight discolouration. The Powerful Owl has darker colourings and whiter feathers in real life. This example also show discolouration in the feet and they are brighter yellow in colour in real life. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th centuryThis Powerful Owl has medium brown to dark grey-brown above, with white barring, and off-white front. The glass eyes are yellow, set in a dark grey/brown facial mask. The legs are feathered with yellow feet and talons. The specimen stands upon a wooden platform and has no identification tags attached. Swing-tag: n/a Metal tag: n/a Mount: no markings taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, owl, powerful owl

Diggers & Mining: The Diggers. Slide with 2 images. 1st image: Soldier standing by tripod, 2 narrow boardwalks in background, then a sandbagged wall, on top of wall there are images appear to be soldiers. 2nd image: Soldiers fighting in gas masks. Markings: VISAR COPYRIGHT SET - THE DIGGERS, 15. Used as a teaching aid.Visaireducation, tertiary, war

One sheet of paper containing a compilation of photographs of the Bendigo Deutscher Verein 1903, the Masquerade Ball given by the German Turn Verein 1881, the Flights City Band 1903, a programme from the German Mask Ball 1901 and the transcript of a newspaper article from the Bendigo Advertiser 7/8/1901 describing the ball. bendigo deutscher verein, flights city band bendigo, emu creek bush band

Black and white photo, the same as 8626.479a, but the men are holding the monkey masks in their left hand and the frying pans are on the floor in front of them. Their names, Jean Dean, Joe Borrell, John Borell, F. Donaldson, A. Hurst, Kathleen Dixon (Mrs. Coglin) (third from the left) are typed on a piece of paper under the photo.photo, group, mixed group, peter ellis collection, mrs coglin, mrs bourke, jean dean, joe borrell, john borell, f. donaldson, a. hurst, kathleen dixon (mrs. coglin)

The Country Women's Association of Victoria was founded in 1928. It was formed to promote the interests of women and children in rural areas. Mabel Hedditch (1897 - 1966) moved to Australia and was postmistress in Bridgewater. Aswell as being elected to the Portland Town Council she was a founding member of the Country Women's Association of Victoria. Programme for Country Women's Association Choral and Drama Festival 1990. Yellow front and back cover with a green content page. Three pages in total stapled together. The cover page shows pixelated images of four drama masks with title information. Held at the Portland Civic Hall, 9th-10th Oct. 1990. Cover page: The Country Women's Association of Victoria Inc. / Choral & Drama Festival, Portland Civic Hall, 9th & 10th October 1990 / Convenor - Mrs M Stratford / Adjudicators, Mrs J Irving - Drama, Mr P Sargeant - Choralcountry women's association, cwa, fesitvals, choral and drama festival

Rectangular (hand tooled) worked (raised) copper plaque on wooden base in dark wood frame with light wood edges. (Eight sided backing). Metal name plate on base. Design on copper of trees/ leaves/ plants. Two screws and wire on reverse side of base for hanging. "Doris Long" written on masking tape on rear, however creator is unknown.1 x digital image of copper wall hangingRainforest Doris Longrecreation, association for the blind

This bottle was used in the Tawonga District General Hospital which was built in the 1950's specifically for the increase in population due to the Kiewa Hydro Scheme.Clear glass bottle with glass stopper that has string around it and the bottle so remaining attached when taken out. The fitted part of the stopper is opaque as is that part of the neck into which it fits. The neck is short. Base is embossed. Used for anaesthetic possibly ether. It may have had a special cork with dripper on it to drop on the mask.Base: 'L 75 / M / Common Seal'anaesthetic bottle, medical, hospital

Black and white negative, by Wal Jack, of S160 at the corner of Lygon and Holden St Brunswick. The conductor is attending to the pole while another person can be seen in the front cab. The tram has the destination of Lygon St and a headlight mask. Photo dated 1-9-1941 in the Wal Jack album along with details of the location.trams, tramways, lygon st, world war 2, holden st, s class, conductors, tram 160

This is believed to be a photograph of Cartographic Squadron, one of the Army Survey Regiment’s squadrons at Fortuna, Bendigo. It was probably taken on Corps Day in July 1985 as its members appear in winter dress. Cartographic technician tasks undertaken by Cartographic Squadron at that time were scribing, compiling, retouching, masking, type setting, type stickup, terrain embossing, correcting and proving quality control. This is a photograph of Cartographic Squadron taken at the Army Survey Regiment, Fortuna, Bendigo. c1985. The black and white photograph was printed on photographic paper and is part of the Army Survey Regiment’s Collection. The photograph was scanned at 600 dpi. .1) - Photo, black & white, 1985, Cartographic Squadron, Army Survey Regiment. Back Row L to R: CPL Dave Cook, SPR John Keely, CPL Perry Burt, CPL Terry ‘TJ’ Wicker, CPL Roger Pearson, CPL Simon ‘Andy’ Capp, CPL Paul Richards, SPR Owen Jones, SPR Bjorn Sakariassen, CPL Graeme Priestley, SPR Roger Graf, SPR Robin Marshall, SGT Paul Hopes. Middle Row L to R: SPR Max Watson, CPL Doug Home, SGT Mick Flynn, SGT Alan Staley, CPL John Reid, SPR Denise (Muldoon) Marshall, CPL Mark Casey, SGT Greg Anderson, SPR Leah (Hoffman) Peppler, SPR Gayle Humphrey, CPL John ‘Stormy’ Tempest, SGT Paul Leskovec CSM, SGT Graeme Dowd, SPR Tracy (Parker) Ash. Front Row L to R: SGT John Zuringer, SSGT Adrian ‘Charlie’ Creedy, SSGT Dennis McCarthy, SSGT Ian ‘Rock’ Thistleton, SSGT Trevor Pearson, WO2 Russ Larsen, WO1 Doug Arman, MAJ Terry Edwards, WO1 Bill Griggs, WO1 Dick Manley, SSGT Tony Harder RE (UK Exchange), SSGT Doug Gay, SGT Tim Allanson, SGT Dennis Learmonth.No personnel are identified. royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, carto, asr

Track cycle won by Jack Phillips 1929 in the Melbourne - Ballarat - Geelong - Melbourne Road Race. This was the first open road race won by a Geelong Amateur Cyclist. The Amateur Cycling Club was formed in 1929. This bike was restored by Ken Dickie who did his apprenticeship in fine line restorations and the painting was by Fred Cook. Hand grips by Harry Clarke. They used photographs from Jack Phillips of the original bike to restore the bike to its original colours and appearance.Track cycle one by Jack Phillips - the first of the big open road races won by an amateur.Restored Malvern Start Road Bike from 1929. Painted in red with the words Malvern Star highlighted in white on a blue background on the frame. The stem features two silver stars on a blue background. Single speed with wooden wheel rims. It has a leather saddle and rubber hand grips (formerly used as gas masks in WWI)"Malvern Star"jack phillips; geelong amateur cycling club; malvern star; geelong cycling club; 1929;

The Bendigo Advertiser began a reader's recipe section in 1954. It was so popular that readers asked that some of the recipes were produced in book format. The first edition (this item) was published in 1955. By 1980 a third edition had been published.The Bendigo Advertiser Reader Cookbook Seventy two Page cookbook, includes black and white illustrations. Dated July 1954 Used Cookbook, torn cover, repairs by masking tape, aged yellow pages, with red and yellow print gloss cover. Stored in a plastic display book, includes newspaper cuttings and index of contributors to the book.Donated by Judith Randall July 2014bendigo advertiser, recipes

During World War One poisonous gas was used as a weapon. When gas was detected or suspected an alarm was given in the trenches so soldiers could put on masks and protective gear. The gas rattle was a simple and effective method of raising the alarm. Gas precautions were taken in World War Two but gas was not used. This rattle might be WWI vintage or it might be from WWII era.A wooden box incorporating a toothed cog attached to a 'swing' handle. When swung the toothed cog engaged with a wooden flap enclosed in the box causing a loud noise. world war one, wwi, gas

Black & white photograph of M&MTB T class 178 in Glenhuntly Road Elsternwick Railway station, 23-2-1942. Tram modified as a 1 man tram. Has shops in background. Tram possibly fitted with war time blackout mask. See Inscriptions for further details. Reimaged 17/7/2017 both front and back.On rear in ink, 'T308, M&MTB 'T' class No. 178 rebuilt as one man car. Glenhuntly Road Elsternwick (near Rly stn.) 23-2-42. Ex Melb. Brunswick & Coburg Tramways' car. W.Jack Photo.'trams, tramways, mmtb, t class, mbctt, elsternwick , tram 178

Dr James (Jim) Villiers went to Vietnam as an anaesthetist with the Australian Surgical Team (civilian) during 1963. He used this bag for carry-on luggage. Despite assurances about the quality of resources available on arrival, he carried an essential part of the breathing circuit for an EMO vaporiser in his carry-on. The actual vaporiser was packed in his check-in luggage. In 1963 the Vietnamese government sought training in Australia in anaesthetics for several medical technicians. Australia was not able to meet the request as anaesthesia training in Australia is restricted to qualified doctors. Instead, the Dean of the Faculty of Anaesthetists at RACS suggested sending a team of anaesthetists to Vietnam to conduct training for technicians there. However, they requested a preliminary survey be undertaken in order to determine the abilities of the prospective trainees and establish contacts with medical authorities in Vietnam. James (Jim) Villiers was one of the people who undertook the survey and made a report. Training of Vietnamese medical technicians was undertaken using the Epstein MacIntosh Oxford Anaesthetic Apparatus (EMO). This equipment was robust, portable and relatively cheap, there are few moving parts for servicing, it requires only ether and air for operation.Brick-red vinyl bag with white Qantas branding including the flying kangaroo printed on both sides. The bag has a zipper opening and contains an anaesthetic apparatus mounted on a piece of wooden particle board. There are two black hoses, a white hose, a black plastic connector, a metal t-bar connect, a green resuscitation bag and black face mask.james villiers, malignant hyperthermia, vietnam, qantas, australian surgical team, long xuyen, bien hoa, anaesthesia training

Automap 2 was the Army Survey Regiment's computerized Mapping system. This letter is a request for an additional 700 Mb of computer disk space for the Automap 2 System because of newly developed applications. Those applications were: Analytical Hill shading, Digital Terrain Modelling, Mask and stipple Production, RAAF Chart symbol Placement, ASTIS - Army Survey - Topographic Information System, and, Map Catalog Production.Two page letter, foolscap size, Stapled top left corner"A Spurling, Computer Operations Manager for CO"royal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: Marcuse / Beechworth Old Courthouse / Reverse: B4 / BEECHWORTH OLD COURTHOUSE / BW - 09 (on masking tape) COURTHOUSE / BEECHWORTH / VICTORIA / NATIONAL TRUST / CLASS (A) ERNEST MARCUSE / 17 CADDOCK AVE / CAUFIELD / VIC / 53-7374 001 (pencil) ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

Regimental 543 Trooper Geoff Gilbert of Northcote Victoria enlisted in the 13th Light Horse Regiment AIF aged 21. He served at Gallipoli and Egypt before the regiment moved to the Western Front in March 1916 as Corps cavalry. Steel helmets and gas masks became regular equipment as the regiment engaged in all the major actions involving the Australians. Gilbert brought his helmet home after the war as a souvenir.Rare souvenir of headwear worn by an Australian light horseman of World War 1 (1914-18). Steel helmet worn on the Western Front by Lance Corporal Geoff Gilbert 13th Australian Light Horse during World War 1 (1914-1918).helmet, 13th light horse, wwi, world war one, the great war, first world war, gallipoli, australian imperial forces, aif

The Powerful owl is native to south-eastern and eastern Australia and is the largest owl on the continent. It is found in coastal areas and in the Great Dividing Range rarely more than 200 km (120 mi) inland. An apex predator in its narrow distribution, the Powerful owl is often an opportunist like most predators, but generally hunts arboreal mammals, in particular small to medium-sized marsupials. It is a typically territorial raptorial bird that maintains a large home range and has long intervals between egg-laying and hatching of clutches. Unlike most raptorial birds, male Powerful owls are larger and stronger than females and so the male takes the dominant position in the mating pair, which extends to food distribution. This example of a Powerful Owl show lighter brown coloured feathers and slight discolouration. The Powerful Owl has darker colourings and whiter feathers in real life. This example also show discolouration in the feet and they are brighter yellow in colour in real life. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Powerful Owl has medium brown to dark grey-brown on its wings and back, lighter patterning on its chest lightening with white barring, and off-white front. The eyes are yellow, set in a dark grey/brown facial mask. The legs are feathered with yellow/browning feet and talons. The specimen stands upon a wooden platform and has no identification tags attached. Swing-tag: n/a Metal tag: n/a Mount: wooden with no markings.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, owl, powerful owl

Photograph - black and white. Photograph the same as 1453.2, dancers advertising 'Monkey Brand Soap'. Firms paid for costumes. All female are in the same order. The female third from the left is Mary Bourke's sister Kathleen (Dixon). The girls holding their small suitcase, the men wearing their monkey looking masks whilst holding up the frying pans.Info. Photo from Peter Ellis.entertainment, dance, monkey brand soap., mary bourke. kathleen (dixon). monkey brand soap.