The White Winged Triller is a small member of the Campephagidae family. They can be found all over the Australian mainland, but there have also been sightings in Tasmania, Papua New Guinea and Indonesia. Their breeding season is from September to December, when they migrate to southern Australia for the warmer months. The males can be very noisy during this time, when they 'trill' all day, granting them their name. Throughout the winter they can be found in northern Australia. This species can be found in open areas with shrub and lots of ground cover, in woodlands, forests, scrub and waterways. The males and females are noticeably different, particularly when breeding. Breeding males are the most conspicuous, with black on their heads, bodies and wing coverts, with a white body, lower face and lower wings. Females are brown, with a light body, a faint brow and a dark line through their eyes. When not in the breeding season, males are similar to females, though they have a greyer rump. These birds have a netted pattern on their wings. When in flight they undulate, and when they land they often shuffle and re-fold their wings. This species predominantly forage for insects on the ground or tree foliage, but also 'hawks' insects from higher perches. They build nests on horizontal branches or forks, and can be found sometimes using empty nests of other birds. Many of these birds can be found nesting in the same tree as a colony, and both parents incubate and brood their two to three nestlings. This specimen is a male White Winger Triller, which is apparent from his black and white colouring. While missing some plumage, the distinction between black wings, tail, cap and wing covert are still clear against his white body and under-wings. 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 White Winged Triller has a black cap on its head. It has black wings with black wing coverts, and a black tail. It has a white lower face and body, a white shoulder bar and white under-wings. This specimen stands upon a wooden post, attached to a wooden post and has an identification tag tied around its leg. Swing-tag: 22a / White shouldered Campephagidae/ See catalogue, page 11. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, triller, white winged triller, campephagidae, australian birds

The Mistle Thrush is native to Ireland and Scotland, North Africa and parts of Asia. It is known as a large, aggressive and powerful bird. They have several different calls: the main call, given by both sexes, is a dry chattering 'krrrr', louder when the birds are alarmed or excited. There is also a squeaky 'tuk' contact call. 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 Mistle Thrush has a pale grey-brown upperpart and a greyish-white chin. The yellow/buff breast and off-white belly are marked with round black spots. The long tail has white tips on the outer feathers, and the underwing coverts are white. The glass eyes are dark brown and the bill is blackish with a yellow base to the lower mandible. The legs and feet are yellow/brown. There is no plumage differences between the male and the female Mistle Thrush. This particular specimen stands upon a wooden platform and has an identification tag tied around its leg.Label: 111a. / Mistle Thrush / Catalogue, Page 28. / Other Label: 57. / Turdus viscivorus /taxidermy mount, cancel, taxidermy, burke museum, beechworth, australian museum, bird, mistle thrush

The Ring Ouzel is a member of the Thrush family, Turdis, of which there are about 85 different species, commonly located in Europe. They are found in upland Scotland, northern England, north west Wales and Dartmoor. This species is identified by their dark colouring which contrasts to the white crescent across the breast and the white edging on the wings and some body feathers which provides a scale-like appearance. The diet of this species consists of invertebrates, some small vertebrates and a wide range of fruit. 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 Ring Ouzel specimen is stylised perched on a wooden platform. It is a medium sized bird of the thrush family. This particular specimen is a brown colour with pale edging to the wing feathers rather than the plumage being a darker black which can help identify this bird as female. The feathers have a white edging on the stomach giving this bird a scaly appearance. The bird has a small dark bill, two glass eyes, black legs and a long tail. Around the front of the upper breast, the bird has a striking white crescent shaped band. "Label 1 110a. / Ring Thrush / Catalogue Page 29 / Lable 2 Furdus torquaters / [illegible] 10 OCT. 1859 / near Leiden /"taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, european birds, ring ouzel, blackbird, ouzel

'King Billy' of Ballarat is also known as Frank Wilson, after the surname of an owner of Ercildoun Estate. He was buried in a Wesleyan burial plot at the Ballaarat Old Cemetery on 26 September 1896. The Anglican burial ceremony was organised by the community who thought 'King Billy' to be the last of his tribe. The Ballarat Star of 25 September 1896 stated: that Billy and his subjects 'once virtually owned all the land comprised of the City of Ballarat and its immediate surroundings 'so 'it can be considered only fair that six feet of ground should not be denied for his burial' The Australian Natives Association and the Australian Historical Records Society (later Ballarat Historical Society) took a major role in the burial of Frank Wilson. "As public interest and compassion grew, noteworthy citizens of Ballarat and two key Christian denominations appeared to jostle for pre-eminence in the ritual to follow. Whilst the 'venerable Archdeacon Mercer' from the Anglican Church took the funeral service, the cemetery trustees arranged that the body was placed in 'a central site in the Wesleyan section of the cemetery'. Frank was recorded as a Roman Catholic. The coffin was carried to the grave by several Methodists, including Justice of the Peace, Glenny, and Member of the Legislative Assembly, Kirton, as well as Old Colonists' and noted citizens. (https://www.academia.edu/3246304/2001_Remembering_King_Billy_Journal_of_Australian_Colonial_History_vol_3_2_61-80) Three Images relating to King Billy of Ballarat as illustrated in the Evening Echo Historical Edition 1904. * Image of a group of Aboriginal people. They are most most probably Wathaurung (Wadawurrung) . The picture includes ten standing males, two holding a boomerangs. Six females sit on the ground in front, three hold hats. A seated child wears a hat. * The burial of King Billy in the Ballaarat New Cemetery, 26 September 1896. * King Billy's Grave in the Ballaarat New Cemetery. wathaurung, wada wurrung, wathaurong, king billy, aborigines, aboriginal, frank wilson, mercer, ballaarat new cemetery, glenny, burial, mullawullah

Designed by C Douglas Richardson, ‘The Peace of 1919’ medalet was issued by the Defence Department to school children throughout Australia to commemorate the signing of the Versailles Peace Treaty in 1919.One side of the medal features a symbolic female figure of Peace, holding a sword and standing on a plinth marked ‘PEACE 1919’. Behind her flies a dove, and at her left and right feet are two figures freed from their shackles. The reverse features a central panel surrounded by laurel leaves, surmounted by the King’s Crown with the word ‘VICTORY’ over the rays of the rising sun. A sailor and a digger stand at ease on either side of the panel on which is cast ‘THE / TRIUMPH / OF / LIBERTY / AND / JUSTICE’. Below the leaves is a very small panel with the words ‘THE PEACE OF 1919’, ‘AUSTRALIA’. versailes peace treaty, medal, defence dept., school children

School Exercise Book minus covers. Entries hand written in ink on various topics 1. Nature diary 23 Aug 1929 - 23 Nov; 2. Essays on St George, St Patrick St Andrew; 3. Nature history with flower pressings; 4. the Guide Laws; 5. Health Rules. Teachers name written on some pages s M Hoffmeyer. Note (R Upson, catalog note 2009: ''Would guess that the student was female. Reference made to Crusoe Reservoir on first page is the only link to Bendigo'').bendigo, education, m hoffmeyer. crusoe reservoir

Photographs: Moorhead family/Vahland Bust. The enclosing envelope titles this as relating to the ''Morshead Family'' (sic) and ''D Moorshead -grandson of W C Vahland'' (sic). Also, hand-written on envelope: ''…with Vahland relation from Germany'', and ''with Vahland Bust at Dudley House'' - Exterior photo of group actually outside the Capital Theatre, not Dudley House. Two photos of seated woman (relation from Germany??) beside table with bust of Vahland on it; one photo of group of family and visitor/relation from Germany - three females and three males in group outside Capital Theatre..person, individual, moorhead family

Number 443/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis

Number 204/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis

Number 442/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis

Number 244/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis

Number 245/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis

Number 444/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis

Number 446/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis

Number 442/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis

Taken to mark the wedding of Patrick James Burns and Ivy Lillian Ellen Bolton at Holy Trinity Surrey Hills in 1940. Ivy's sister Beryl Torey is at right and Beryl's daughters were flower girls. Patrick's brothers Eddie and Emet are at either end and his cousin Win Ramage is on the left. Patrick and Ivy's home was at 244 Union Road, Surrey Hills. Ivy was born in 1908 in Seymour, the daughter of Samuel Henry Bolton and Elizabeth Beatrice Maher. She died in 2004 in Mansfield and is buried at Fawkner Cemetery. Patrick was a mechanic. He was born in 1906 at Longwood and died in 1964 at Surrey Hills.A black and white photograph of a wedding group showing bride and groom, two bridesmaids, two flower girls and 3 other men. The men are dressed in dark suits and have a buttonhole flower in their lapel, the bride dressed in a floor length dress of lace with a long train supported on her head by a headband, the bridesmaids are wearing floor length dresses, with short sleeves and a hat styled like a small beret, and the flowergirls are also wearing floor length dresses and short sleeves, and also hats styled like the berets. All the females are carrying bouquets.(mr) patrick burns, (mrs) ivy burns, (miss) ivy bolton, (mrs) beryl torey, (mr) eddie burns, (mr) emet burns, (ms) win ramage, union road, surrey hills, holy trinity church, churches

Students are: Evelyn Yule (1932), Betty Holmes (1932), Margaret Doherty (1932) and Alice Gascodine (1933) in no particular order although Alice Glascodine probably on right.. 2 copies. Text below the photo: "Garden week, which opens today at Wirth's Park, will present the best of the Autumn flowers, together with seasonal shrubs and trees, grown by Victorian horticulturalists. Girl students are here seen preparing one of the exhibits. The display will continue until Saturday inclusive." The Age, April 10, 1934. Newspaper cutting of b/w photograph of four female students preparing a garden display for Garden Week at Wirth's Circus. Students are: Evelyn Yule (1932), Betty Holmes (1932), Margaret Doherty (1932) and Alice Gascodine (1933). 2 copies. Text below the photo: "Garden week, which opens today at Wirth's Park, will present the best of the Autumn flowers, together with seasonal shrubs and trees, grown by Victorian horticulturalists. Girl students are here seen preparing one of the exhibits. The display will continue until Saturday inclusive." female students, evelyn yule, betty holmes, margaret doherty, alice gascodine, garden week 1934, wirth's park

.1) One star denotes one son serving overseas. .2) 2/8 th Batt AIF association badge .3) Made from a one shilling piece, the centre colour patch inlaid made from tooth brush handles..1) Female relative badge WW 11 Circular Floral design, crown at top, map of Australia centre, suspended by 2 links a bar with one star attached. .2) Badge, round metal centre has white over red colour patch, gold writing around, small clip on section has letters "L M" denoting "LIFE MEMBER" .3) Badge, round metal centre has a white over red colour patch with light blue surround 2/8 th Bn A.I.F..1)" To the women of Australia" on rear "issued by C/Wlth govt A8193" .2) "2/8th Australian Infantry Battalion"passchendaele barracks trust, badges, 2/8th, female relative

Shire of Eltham Archives: Series 69, Item 8 Shire of Eltham Retrospective Exhibition 1993: An exhibition of the major acquisitions since 1984 held in the Eltham Community Centre. Opens with a performance of a female quartet performing “Don’t break my heart” (no credit) followed by the opening address (20 min) by Dr Dagmar Eichberger, Senior Lecturer, Department, Department of Fine Arts, University of Melbourne followed by Shire President, Cr. Mary Grant with thanks to the Eltham Arts Council. Reference to the Eltham Art Award – speech dubbed over with scenes of people mingling around the exhibition space in the Eltham Community Centre and a still of an unidentified painting then cutting back to Cr. Grant. (No credits)VHS Video cassette Converted to MP4 file format 00:28:38; 333MBshire of eltham, video recording, shire of eltham archives, eltham shire council, eltham, dr dagmar eichberger, cr. mary grant, eltham arts council, eltham art award, eltham community centre

A mandrel (/ˈmændrɪl/; also mandril or arbor) is one of the following: * a round object against which material can be forged or shaped; or * a flanged or tapered or threaded bar that grips a workpiece to be machined in a lathe. A flanged mandrel is a parallel bar of a specific diameter with an integral flange towards one end, and threaded at the opposite end. Work is gripped between the flange and a nut on the thread. A tapered mandrel (often called a plain mandrel) has a taper of approximately 0.005 inches per foot and is designed to hold work by being driven into an accurate hole on the work, gripping the work by friction. A threaded mandrel may have a male or female thread, and work which has an identical thread is screwed onto the mandrel.Iron frame with handle. Vice section for attaching to bench. Mandrel for shapingmachine wheel, mandrel, forged, shaped, holds workpiece

The Mission Rescue and Children's Home Canadian opened on Friday November 22, 1907. The formal opening at 3pm was conducted by the Mayor of Ballarat City Councillor F. Brawn with Hon David Ham to preside. The Hon Alfred Deakin gave an address. The Town Mission was established in Ballarat East by a group of Wesleyans. "Australian Silverpen" wrote an historical sketch about the Town Missioner, Martin Hosking. From miner's tent to mission pulpit : Martin Hosking, Ballarat's town missionary : an in memoriam sketch /​ by The Australian Silverpen. See https://trove.nla.gov.au/work/223253590?q=town+mission+hall+ballarat&c=book&versionId=244807517 See also Dorothy Wickham's Beyond the Wall: Ballarat Female RefugeImages of a building known as the Canadian Mission Rescue and Children's Home sarah ellis, ballarat female refuge, ballarat, welfare, town and city mission, women, canadian rescue home, mission rescue

The Mission Rescue and Children's Home Canadian opened on Friday November 22, 1907. The formal opening at 3pm was conducted by the Mayor of Ballarat City Councillor F. Brawn with Hon David Ham to preside. The Hon Alfred Deakin gave an address. The Town Mission was established in Ballarat East by a group of Wesleyans. "Australian Silverpen" wrote an historical sketch about the Town Missioner, Martin Hosking. From miner's tent to mission pulpit : Martin Hosking, Ballarat's town missionary : an in memoriam sketch /​ by The Australian Silverpen. See https://trove.nla.gov.au/work/223253590?q=town+mission+hall+ballarat&c=book&versionId=244807517 See also Dorothy Wickham's Beyond the Wall: Ballarat Female RefugeBlack & white photograph of an advertisement for the opening of the Canadian Mission Rescue and Children's Home.canadian home'martin hosking, sarah ellis, ballarat female refuge, ballarat, welfare, town and city mission, women, alexandra babies home, babt, orphanage

The Mission Rescue and Children's Home Canadian opened on Friday November 22, 1907. The formal opening at 3pm was conducted by the Mayor of Ballarat City Councillor F. Brawn with Hon David Ham to preside. The Hon Alfred Deakin gave an address. The Town Mission was established in Ballarat East by a group of Wesleyans. "Australian Silverpen" wrote an historical sketch about the Town Missioner, Martin Hosking. From miner's tent to mission pulpit : Martin Hosking, Ballarat's town missionary : an in memoriam sketch /​ by The Australian Silverpen. See https://trove.nla.gov.au/work/223253590?q=town+mission+hall+ballarat&c=book&versionId=244807517 See also Dorothy Wickham's Beyond the Wall: Ballarat Female RefugeBlack and white photograph of Martin Hoskingmartin hosking, missionary, ballarat east

The success of any flock is through the strength of its females and Blossom, a Border Leicester/Merino Cross ewe is an excellent example. Border Leicester rams are mated with Merino ewes to produce fat lamb mothers. These first cross ewes are mated with meat sheep, such as Dorsets to produce hybrids that pass on quality wool characteristics to their offspring. The Border Leicester/Merino crosses produce good quantities of wool which, despite being of stronger micron than most Merino fleece wool (34 to 38 microns), is still in demand in the marketplace. The Border Leicester sheep takes its name from the border country between England and Scotland, the area in which the breed was first developed in the late 18th century.Border Leicester/Merino Cross ewe. Long body with white fleece. The nose is black and she has large ears, upright and alert. The head and legs are free of wool.drysdale, sheep, new zealand

Prior to the election of female Councillors and Mayors in the 1960’s, the Lady Mayoress role was one of the few ways women could officially undertake civic duties. Mayoresses made important contributions to their local communities through their charity work and as ambassadors for their region on a state and federal level. They also undertook some Mayoral duties on occasions when their husband was unavailable. Ethel Rose Douglas married George Dawson Garvin in 1906 and was twice Mayoress from 1931 - 32 and 1938 - 39. Mayoress Ethel Garvin died in 1952 aged 74 and had been an esteemed member of the Women's Central Auxiliary of the Bendigo Base Hospital, a member of the Baby Health Centre and Mayoral Ladies Auxiliary. Reproduction of photographic studio portrait sitting behind oval mount.vincent kelly, studio photography, raymond kelly, city of bendigo mayoress, city of greater bendigo portraits, mayoress garvin, mayor garvin, ethel douglas

Correspondence dated 24 February 1970 - 6 March 1970 concerning an invitation to a Dinner Dance at Government House on 7th April 1970 in honour of The Prince of Wales and The Princess Anne, hosted by Miss Frances Anne Delacombe. The Governor, via his Private Secretary Lt.Col W.H.A. Becke, asked Melbourne Legacy to nominate two male and two female members between the ages of 18 and 25 who had achieved something in the scholastic, sporting or community service fields. They also had to like dancing and be able to mix. The Junior Legatees selected were Mary W. Lahore, Jacqueline Isles, Ralph E. Norton, and Peter Smith, all of whom were University students.Illustrates Melbourne Legacy's relevance in the wider community at the highest levels.Quarto and foolscap typed sheets x 3 on letterhead stamped 'Copy Only'. Originally black type on white paper, now fading to brown on cream.Handwritten salutation and signature on 01286.1 and 01286.4.junior legatee, royal visit