The two articles are about Lake Wendouree, the first relates to the Lake as a major wildlife habitat and the second to the development of the Lake.Not only are there details of the Lake as a wildlife habitat, there is a detailed chronology and history of developments on and around Lake Wendouree.1 page of the Courier newspaper (p.5) with 2 major headings and a " Lake Timeline", 1/2 way down the page.Nonejohn garner, doctor john garner, ballarat botanic gardens, friends of ballarat botanical gardens, lake wendouree, wildlife habitat, yuille's swamp, ducks, grebes, native aquatic plants, white ibis, silver gull, possums, native water rats, history of lake wendouree., john garner collection, gardens, ballarat

Geoffrey R. Hendy was Ballarat College of Advanced Education Registrar since 9 February, 1989,and prior to that, was a senior member of the Registry staff for about 19 years. He died suddenly in Los Angelos, United Stated of America on 8 October 1991. The Ballarat University College Annual Report, 1991 states: "Mr Hendy made a major contribution to the student administrative services of the College and was a highly regarded member of staff. He will be sadly missed." Three photographs of Ballarat College of Advanced Education staff. .1) Wendy Cloke, in a white laboratory coat at the aquatic plant tank, 1982 .2) Geoff Henry, Ballarat College of Advanced Education Academic Secretary, enrolls a student, 1985 .3) Steve Bettes, Technical Officer at the Teaching Resources Centre with an unidentified person, 1985.2) A sticker on the back of the photo states "A student enrolling at Registry with the help of Geoff Hendy 1985"ballarat college of advanced education, hendy, geoff hendy, cloke, bettes, steve bettes, wendy cloke, student activity, enrolment, enrollment

In Of the Sea, Wendy Golden is exploring concerns of marine environment, in form and material. Golden deliberately references ambiguous elements of aquatic plants, creatures and waves to evoke a feeling of sea life in the vessels. The texture, translucency and colour of the monofilament further recall the underwater world, as well as drawing attention to the environmental threat of fishing litter. Golden grew up with strong interest in waterways and the natural environment. Making art grew from this as a means for Golden to communicate and explore social and environmental issues.

The Pacific Black Duck is also known as the Grey Duck in New Zealand. Despite these names, the plumage of the bird is brown in colour with the occasional cream and small amount of black. This species of Duck is located in all of Australia with the exception of the most arid zones. They can also be found throughout the Pacific region. The Pacific Black Duck resides in a range of different habitats that have some sort of water. These birds feed on aquatic plants, crustaceans, molluscs and aquatic insects. To catch their food, these birds plunge their heads and necks under the water with their rear raising above the top of the water. This technique is termed "dabbing". 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.Despite its name, the Black Duck is largely brown in colouring. It has a mixture of light brown and cream plumage on the neck, face and stomach. The wings and rear of the duck are a darker brown. Each brown feather is bordered with a cream colour which separates the feathers from each other. The top of the head is also dark brown and there is a darker stripe of black colour horizontally on either side of the eye. The specimen has two brown and black glass eyes and a black bill. The legs and webbed feet are a dark brown and black colour. Tied around the left leg is a paper identification tag. The number 134 is inscribed on the left side of the wooden platform on which the bird is standing. This specimen is stocky.3a. / Australian Wild Duck / See Catalogue, Page 38. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, duck, pacific black duck, grey duck, australian duck

Digital PDF Filenon-fictionThis story is about how the Maribyrnong River was, how it once ran wild, and how it has changed. You will glimpse the Indigenous connections to the river and the river’s passage through early settlement, industrialisation and modern times. All the while, reflecting on its worth, not through a commercial or residential lens, but through the eyes of recreational fishers who love the river for itself. From historical newspaper articles, through piscatorial societies and angling clubs, fishers have long stood up to protect the environmental values of the Maribyrnong River. By committing their licence fees to this project, anglers are again pressing for the recovery of this wonderful river.maribyrnong river, salt river, aborginal, aborigine, first nations

The Australasian swamphen is a visually striking and socially complex bird found across Oceania. It can be found in eastern Indonesia (specifically the Moluccas, Aru, and Kai Islands), Papua New Guinea, New Zealand, and Australia. As a member of the rail family (Rallidae), it belongs to the diverse order Gruiformes, which also includes cranes and other rail species. Like other rails, it possesses relatively short wings and a strong, elongated bill, both adaptations suited to its semi-aquatic wetland habitat. This swamphen is easily identified by its deep blue-purple plumage, prominent red frontal shield, and sturdy red legs. It primarily inhabits swamps, marshes, and other wet lowland areas, though its range has expanded to include pastures, roadsides, and farmland due to significant landscape modifications over the past 150 years. Unlike many wetland birds, it is highly adaptable and thrives in both natural and human-altered environments. Its diet is similarly flexible, consisting mostly of plant material such as grass stems, shoots, and leaves, but also including invertebrates and, on occasion, the young of other bird species. This specimen was misidentified as a Purple Swamphen in original catalogue records and 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 taxidermy specimen is of a Australasian swamphen which is mounted standing on a wooden platform and has a paper identification tag tied to its upper left leg. The specimen has dark colouring on its back and head with a purple-blue coloured neck, breast and belly. The bill is oversized and is orange/red which is the same colour as the frontal shield on the bird's face. The eyes are made from a red and black glass and the legs of this specimen are orange. The legs are elongated and the toes also long and unwebbed. 17e. / Purple Gallinule / Catalogue Page 35 / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, swamphen, moorhen, purple bird, hen, purple swamphen, water bird