Taken in 1924, the photograph depicts ten young men and three male children all in formal attire on the day of the Beechworth Concert Party. They are standing in front of Bill Howes' home on Loch St, adjacent to the old swimming bath.Black and white rectangular photograph printed on matte photographic paper mounted on board.Obverse: W. Howes / Beechworth Concert Party / 1924 / Taken at Bill Howes home in Loch St. / (Last house, next to old swimming bath) / Back row. / Ted Warden. / Bill Howes. / B. Shallard. / Jerry Burns. / J. Heatherly. / K. Prowse. / E. Smith / Front row. / P. Burdew. / A. Foster. / J. Warden. / Squidgy Smith / A. Shallard. / G. Foster / Reverse: 1997.2518 / A03063 / 79.19.3 / entertainment album, beechworth concert party, beechworth, 1900s, loch st, concert party

Taken outdoors in 1924, the photograph depicts seven young members of the Beechworth Male Ballet and the group's choreographer. The Loch St swimming bath is in the background. The dancers participated in the Beechworth Concert Party.Black and white rectangular photograph printed on matte photographic paper mounted on board.Obverse: W. Howes / The Beechworth Male Ballet. / 1924 / The swimming bath in the background. / Loch St. / Bill Howes. / Squidgy Smith. / Keith Prowse. / Shinty Shallard. / Ted Warden / Jerry Burns. / E. Smith / Choreographer / Jumbo Heatherly / Reverse: 1997.2516 / A03061 / 79.19.4 /entertainment album, theatre group, dance, beechworth, beechworth male ballet, loch st swimming bath, beechworth concert party

Taken in 1924, the photograph depicts ten males of various ages dressed in different uniforms. They are posing as the Beechworth "Rag Time Band". Some of the men are holding musical instruments.Black and white rectangular photograph printed on matte photographic paper mounted on board.Obverse: W. Howes / Beechworth "Rag Time Band" / Under the baton of Professor E. Smith / Back Row / Geo. Foster / Jerry Burns. / Shinty Shallard. / Bill Howes. / Front Row / K. Prowse. / Ted Warden / J. Warden. / Professor Smith. / A. Shallard / A. Foster / Reverse: 1997.2517 / A03062 / 79.19.2 /entertainment album, music, beechworth rag time band, beechworth, rag time band, music group, concert, band, musicians, musical instruments, entertainment

Taken in 1924, depicted are eleven young men dressed in school uniform attire standing in the playground of Beechworth State School. This group of young men were part of a farcical play titled "School Days" as part of Beechworth State School Concert series. Beechworth Primary School (formally known as Beechworth State School) was constructed in 1875 by architect Henry Bastow (1839 - 1920). Bastow was the chief architect and surveyor for the Victorian Government’s Department of Education. During his chiefship, over six-hundred schools were constructed across the state which was in response to the Victoria’s Education Act of 1872 legislating free, compulsory, and secular education. Performances such as this “School Days” play were common forms of entertainment within Beechworth up into the early twentieth century. This stems from the goldrush period in Beechworth (1852-1866) when travelling entertainers would tour the goldfields offering performances in singing, acting and circus tricks. These were usually held in a local pub or designated concert spaces, such as the Star Theatre in Beechworth. Entertainment offerings begun to slow down mid-twentieth century when the population begun to dwindle. Many locals took up this responsibility and put on their own plays and shows across the town. This photograph is historically significant as it provides insight into the types of entertainment activities held at the Beechworth School during the early twentieth century. It also demonstrates how students engaged with their school outside of their regular schoolwork. Black and white rectangular photograph printed on matte photographic paper mounted on board. Obverse: W.Howes / Beechworth Concert Party 1924 / State School / Beechworth Cyril Smith (Squidgy) / Keith Prowse / Bill Howes / J. Warde / J. Heatherly (Jumbo) / Gea Foster / B. Shallard (Shinky) / A. Foster / Ernie Smith / Jerry Burns / Ted Warden / School Master / Geo Foster in a Farscial Play “School Days” / Reverse: A03065 / 1997.2520 / 79.19.1 / school uniform, beechworth school, school days", concert series., henry bastow, beechworth primary school, victorian government’s department of education, education, victoria’s education act of 1872, beechworth state school

Through its quarterly newsletters, the Arthritis Foundation of Victoria (AFV) was able to inform its members about arthritis-friendly kitchen and household aids, and how to use them. In this photo, Arthritis Victoria member and volunteer, Bill O'Connor, demonstrates how to use a jar-opener to facilitate opening the lid on a jar of coffee.COL close up photo of a man's hands using a jar-opener to open the plastic lid of a glass coffee jar. He is standing at a kitchen bench. On the benchtop, there is a mug with a spoon in it.arthritis foundation of victoria, afv, arthritic aids, kitchen aids, kitchen gadgets, jar opener, coffee, living with arthritis, pain management, 1998

Through its quarterly newsletters, the Arthritis Foundation of Victoria (AFV) was able to inform its members about arthritis-friendly kitchen and household aids, and how to use them. In this photo, Arthritis Victoria member and volunteer, Bill O'Connor, demonstrates how to use a tap-turner to facilitate turning a garden tap on and off.COL close up photo of a man using a tap-turner tool to open a garden tap. The tap is located on an exterior brick wall.arthritis foundation of victoria, afv, arthritic aids, kitchen aids, kitchen gadgets, gardening aids, tap turner, living with arthritis, pain management, 1998

This is a page containing portrait profile sketches of 14 members of Fortuna’s cricket team, possibly taken from a booklet published at Bendigo’s Land Headquarters Cartographic Company circa 1943. Fortuna’s involvement in the Bendigo community and local sporting competitions in the 1940s is covered in page 31 of Valerie Lovejoy’s book 'Mapmakers of Fortuna – A history of the Army Survey Regiment’ ISBN: 0-646-42120-4. It is noted Fortuna’s Cricket Team competed in the summer of 1943. From the annotations of each individual’s name or nickname and other comments, the team members were probably V15403 SGT RC Papworth, 315649 HR Webster, V301426 SGT JR Neander, V510526 SPR RL Neander, VX85797 SGT WH Eddy, VX121647 SGT KH Harris, VX110276 CPL HM Jackson or VX119801 LR Jackson, VX37958 CPL DD Milligan, VX37958 SPR RJ Barber, VX85798 WO2 RR Pratt, VX85805 SGT GW Vallence, VX86152 CP LA Burford, V275492 SGT Ron Little and VF510725 SPR VM Bond or VX100878 WO2 WJ Bond. This is a page containing profile sketches of 14 members of Fortuna’s cricket team, possibly taken from a booklet published at Bendigo’s Land Headquarters Cartographic Company circa 1943. Each sketch is annotated with the individual’s name or nickname, and some have witty comments in relation to their cricketing prowess. The black and white A4 size portrait sketch was printed on a single buff manilla card and are part of the Army Survey Regiment’s Collection. The sketch was scanned at 300 dpi. Each sketch is annotated: Top Row L to R: SLAP HAPPY PAPPY - CAN DRIVE A GOLF BALL OUT OF SIGHT - BUT CAN’T SEE A CRICKET BALL, HEC. WEBSTER – HOOKEY KING, THE NEANDER BROTHERS BOB, JACK “LUCKY”. Second Row L to R: BARRY EDDY – BETTER AT THE MIKE, KEITH HARRIS, SCHNOZ JACKSON - NOSE THE GAME, CAPT. DON MILLIGAN WONDERS HOW TO STOP THE ROT. 3rd Row L to R: SCORER RALPH BARBER LEARNING TO TYPE IN ORDER TO KEEP UP WITH THE FALL OF WICKETS, BOB PRATT OUR HERBERT SUTCLIFFE, BILL VALLENCE, Bottom Row L to R: TORCHY BURFORD, RON LITTLE WICKET KEEPER, DOCTOR BOND – USED MAINLY TO INFLUENCE THE UMPIRE. royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna

"V E Giudice" as an NCO had instruction on various systems and items involved in training for battle. Part of the collection of Sgt V E Giudice, No. 53730. Cat No. 10031P. Overall part of the collection of William (Bill) Thomason. Cat No. 4136P.1. Green cover, 44 page booklet with sequence of instructions in the .303 Lewis Gun as taught at the Australian School of Musketry, Tidworth. Looks at how gun is used and maintained with tables on spares and drawings on structure. 2. Grey covered, 18 page booklet for notes on system and sequence of musketry training as taught at the Australian School of Musketry.Name: “V E Giudice”on front of book 1. Name: “V E Giudice” written on inside front of Book no. 2.collection of william (bill) thomason, v e giudice, manuals, lewis gun

This book was used in the first school in Mt Beauty only started in 1948/1949 this would have been one of the first books used in the school. Also as a state school book it is also significant to the Victorian State school system. There could be a lot of these books in other towns in the state, therefore it may not be just found in Mt Beauty. This item is historically significance as it shows what sort of books were used for that period. It is socially significant as the Mt Beauty school was new in this period therefore shows what the students were using. This item was used in Mount Beauty Primary School as part of a teacher's curriculum. The fact that it was in a rural area, Kiewa Valley did present a slightly different learning atmosphere than in the larger towns and cities. The majority of parents within the Kiewa Valley, had slight reservations of the "high and mighty" attitude of some city dwellers and the effectiveness of city bred teachers was how to overcome these ingrained mores. The mentioning of European nations and lifestyles was to the pupils in the infant schools far more like "fairyland" than the realism that they experienced on the "land". However at this age level fantasy was more important than reality. Australian fantasy tales e.g. Blinky Bill (circa 1930s) introduced main characters that infants could identify, especially in rural schools.This item is a green coloured hard backed book containing 384 double sided pages. Nearly all pages have black writing and free hand sketches. There are some pages of duplicated sheet music.See KVHS 0045, KVHS 0046, KVHS 0048 for the other volumes held.On the spine is "MACMILLANS TEACHING IN PRACTICE" below this "PROJECTS and PICTURES" underneath "VOL 3". On title page "edited by E.J.S.Lay" underneath"VOLUME THREE". Below this there is printed a two branch wreath within these an "Olympic" type torch.book, school, teacher, children, infant, reference, educational

This item was reprinted in 1949 (first edition in 1934) in Great Britain and used in Victorian Infant school classes.This was in the era where "mother England" was still the favourite source of educational text books for Australian primary schools. "Australianism" was frowned upon by educational institutions as being not proper English. This belief lingered on for a longer period in private schools, where "ockerism" was a dirty word. It was not until the mid 1950s that the Australian dialect and social mores were accepted as suitable for educational activities.This item was used in Mount Beauty Primary School as part of a teacher's curriculum. The fact that it was in a rural area, Kiewa Valley did present a slightly different learning atmosphere than in the larger towns and cities. The majority of parents within the Kiewa Valley, had a slight resentment of the "high and mighty" attitude of city dwellers with a "plum in their mouths" and the effectiveness of city bred teachers was how to overcome these ingrained mores. The mentioning of European nations and lifestyles was to the pupils in the infant schools far more like "fairyland" than the realism that they experienced on the "land". However at this age level fantasy was more important than reality. Australian fantasy tales e.g. Blinky Bill (circa 1930s) introduced main characters that infants could identify, especially in rural schools.This item is a green coloured hard backed book containing 384 double sided pages. Nearly all pages have black writing and free hand sketches. There are some pages of duplicated sheet music.See KVHS 0046, KVHS 0047, KVHS 0048 for the other volumes held.On the spine is "MACMILLANS TEACHING IN PRACTICE" below this "PROJECTS and PICTURES" underneath "VOL 1". On title page "edited by E.J.S.Lay" underneath VOLUME ONE. Below this there is printed a two branch wreath within these an "Olympic" type torch.infant school curriculum, teacher's aid reference, instruction book

This postcard is part of an album of postcards which date from late 19th century to mid 20th century. This card is one of two cards which directly connects the album with an Emerald resident. The writer, O E Cowper was the wife of Percy Cowper who was the Emerald Postmaster 1929-1947. The couple appear to have been on a short holiday in the city. The postcard appears to have been written to an Emerald resident, Elsie, who had a brother, Les. It refers to a shop or perhaps a shopping expedition in local town, Belgrave, which was relevant to Elsie.This postcard in an album of postcards dating from the late 19th century to mid 20th century. It reflects the popularity of collecting postcards in Australia which reached a height in the early 1900s until around 1920. Post Card of Flinders Street, Melbourne c1940s. Black and white photographic image.On front at bottom of image: 'THE ROSE SERIES P.210 FLINDERS STREET, MELBOURNE, VIC. / COPYRIGHT' Back of image: Handwritten message 'Dear Elsie We are having a nice holiday / Hope to be home on / Wednesday mornings / bus Have you heard from Stan? / & how did the shop in Belgrave go / on Saturday. Regards, to Mother Les / & Bill Yours O E Cowper' Baack of image: Printed 'Published by the Rose Stereograph (?) / Armadale Victoria'postcard album, 1940s, flinders street, rose series postcards, "green postcard album"

The letter details how the writer GEORGE saw George yesterday and waved and yelled but he did not see him as they were marching past. It also describes how they just came out of the trenches with mud over their knees and higher. The George walking past is possibly George Frederick Pierce DCM. Refer Cat No 4136P for his service details, award and death. Part of the collection of William (Bill) Thomason, refer Cat No 4213P for more items.Cartoon coloured postcard depicting a boyish soldier surrounded by boys and girls. On the rear is a letter from France to a girl, the writing is in blue pen.On the rear “15/11/16 France, Dear Gaddis”. The letter ends “I remain yours sincerely George H..........postcards, military, cartoons

Hardback with dust coverFrom the famous Granada TV Series By Brian Inglis & Bill Grundy Orbis Publishing Ltd. London: 1964 ISBN 0 85613 1784

Brown binder containing blueprints of Scalebuoys, notes on how to use them and reports from Companies using them.sciences, instruments - general, scalebuoy

Postcard - Souvenir of Bendigo - Black and white. 15 assorted pictures of Bendigo. Card addressed to Master J.Devlin, Mine Road, Korumburra. Written 'Dear Cobber Jack, we have not wrote for a long time. How is all the family getting on. Where is bill brown now and would you send me billie maroners adress if you know it remember me to all the old mates. I remain your old mate. Willie White, writ street, Back.place, bendigo, picturesque views of bendigo., bendigo views.

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 Eastern Spinebill is found along the eastern coast of Australia, from Queensland to South Australia. It lives in wooded areas. It is an insectivore and also eats nectar, which is why its beak is a long slender shape. Females and males have slight aesthetic differences; the males have more distinct markings on the head. The female birds build nests and incubate eggs, but both parent birds will feed the young. The Eastern Spinebill has a bright rust coloured belly and throat, with black wings, crown and tail. Its back is light brown. There is a white stripe on its chest which stretches up underneath its eyes. The eyes are red. This taxidermy specimen is not a good representation of the live bird because it is considerably faded and their feathers are very ruffled. 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.There are two birds on a wooden stand. One has its beak in the air and the catalogue tag attached to its foot (main bird). It has some minor pest damage around its eye. The opposite bird looks straight ahead. The birds are placed next to each other, facing opposite directions. They are faded and have some ruffled feathers. 60a/ Spine Bill / See catalogue, page 18taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, eastern spinebill

The Satin Bowerbird is commonly located around the eastern and south-eastern coast of Australia. They reside in wetter forests and woodlands, and nearby open areas. They feed mostly on fruits throughout the year but in summer will supplement their food supply with insects and in winter with leaves. The Satin Bowerbird is most commonly known for it's practice of building and decorating it's bower. They will often collect objects of bright blue to decorate the bower including straws, clothes peg, parrot feathers, pens, marble, string, glass and bottle tops. This decoration is done by a male Bowerbird in the effort to attract females. 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 taxidermy Satin Bowerbird specimen has dark black/blue glossy plumage and a pale coloured bill of small size. The bird is of a medium size compared to other species of birds and has pale legs with short talons. The eyes are made of strikingly blue coloured glass which represents the violet-blue iris of this bird while living. The bird has a short tale and has been stylized in a leaning/crouched position with it's back arched upwards and head out long. This specimen stands on a small platform and there is some deterioration to the tail feathers which protrude beyond the platform which may have otherwise provided some protection. Donor - Mr. E.T. / BH. RO. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, bower, bowerbird, satin bowerbird

The Eastern Whipbird isusually be found in pairs. They have a distinct white stripe on either side of the beak which helps to identify this bird. This species generally resides in wet habitats such as wetlands and rainforests, where there is dense vegetation. The Eastern Whipbird can be commonly found along the east coast of Australia. Since this is a taxidermy mount, there are a few inconsistencies. The main inconsistency is the colour of the specimen, the plumage should be an olive-green colour. This particular colouring has likely faded due to the taxidermy process and also the age of the specimen. There should also be black plume on top of the head which is missing from this specimen. 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 Eastern Whipbird is a small species of bird which has a dramatic stripe of white colouring on either side of the small bill and the crest is black. The belly and throat are black while the back, wings and tail are dark brown. This specimen stands upon a wooden perch and has an identification tag tied around its leg.25a / Thickhead / catalogue page 11taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, eastern whipbird, australian birds

The Dollarbird is so-named because of the coin-shaped patches on the tips of their wings, which is clear when in flight. They have distinctive blue-green colouring on their backs and wings, and a bright blue throat. This species migrates to northern and eastern Australia for breeding, between the months of September and April. These birds migrate to New Guinea and nearby islands in the Winter, but can be found in Japan and India also. This species resides in open wooded areas, preferring hollow-bearing trees for nesting. They can be found spending most of their time perched on high branches in search of insects, and will often 'hawk' at dusk above the tree-tops, hovering on the wing for lengthy periods. This specimen is a good example of this species, however the distinctive coin-patches on the tips of the wings are partially hidden by the tuck of the wing. 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 adult Dollarbird has a brown body and head, blue-green back and wings. It has a distinctive bright blue or purple plumage around its throat. The tips of the wings are brown. The pale-blue coin shaped patches on the tips of the wings are just visible. This specimen stands upon a wooden platform and has an identification tag tied around its leg.Swing-tag: 96a / Australian Roller / Catalogue, page, 25. taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, dollarbird, australian birds, broad-billed roller

The Silver Gull is more commonly referred to as the 'Seagull'. Found all along the coast of mainland Australia and Tasmania, it can also be found in New Caledonia and New Zealand. These birds are a common nuisance at beaches and urban areas, such as shopping centres. Since the 1950s, humans have become increasingly wasteful, leading to an explosion of the Silver Gull population due to the availability of rubbish to scavenge. They feed mainly on small marine life, but they are a versatile scavenger. The population increase has impacted the breeding of other bird species, as Silver Gulls have dominated offshore island breeding grounds. Their breeding season is from August to December, when they nest on the ground, however mating can occur year-round. This species has a harsh, high-pitched call 'kwarwh', well known to all Australians. Although protected under Australian Environmental Law, there are many strategies in place to discourage increasing the numbers of Seagulls. This specimen is an inaccurate example of a Silver Gull, which although is in good condition and intact, does not look like an accurate representation of this species. The legs have been mounted too far towards the tail on this specimen, giving it an unbalanced appearance. 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 adult Silver Gull has a white head, body, underpart and tail. Its wings are silver-grey, with black and white tips. It has an orange-red bill, feet and beak, indicative of its maturity. The irises are white. This specimen stands upon a wooden platform and has an identification tag tied around its leg.Swing-tag: 11a / Silver Gull / See catalogue, page, 40. taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, seagull, silver gull, australian bird, nuisance

Common Starlings are a noisy bird that typically inhabit urban and rural areas, especially those with short grass for easy foraging, though can occasionally be found in open forests or along costal areas. They are native to a wide area of Eurasia and the North of Africa, though have been introduced to North America, some nations in South America, Fiji, South Africa, Australia, and New Zealand. They live in large flocks that fly together in strong unison, and have a range of loud calls. Male Common Starlings usually have brown eyes, in contrast to the light coloured eyes of the taxidermy mount. Otherwise, the specimen bears a reasonable resemblance to a typical Common Starlings. 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 Common Starling is covered in black feathers that each have a metallic orange edge. This gives the appearance of small dots across its head and neck, larger dots along its underbelly and back, and lines along the outer feathers of the wings. Its beak is yellow and its eyes are a light blue with a black pupil. The bird is stretched tall with its head turned towards the left and slightly tilted right. The specimen stands on a brown, wooden perch with a circular bar, curved stand, and circular base. The left leg has a metal tag and a swing-tag tied around it and the right leg has two swing-tags tied around it, one of which is torn.Metal Tag: 4256 Swing-Tag 1: Sturnus vulga[illegible]is / male, adult / 25 January 1861 / near Leiden / Swing-Tag 2: Tris grey-brown / Feet black - brown / Bill brown / 4256 / Swing-Tag 3 (torn): ng / e Page 58taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, starling, european starling, common starling, european bird

Noisy Miners are native to Australia and can be found on the East Coast. Noisy Miners live in northern Queensland and all along the eastern coast to South Australia and Tasmania. Noisy Miners are found in woodlands and open forests. They have also become well adapted to suburban situations and are a common sight in parks and gardens. The Noisy Miner feeds on nectar, fruits and insects. Very occasionally they will eat small reptiles and amphibians. Food is either taken from trees or on the ground. In keeping with its highly social nature, the Noisy Miner usually feeds in large groups. The Noisy miner specimen is mounted accurately. 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 Noisy Miner is identified by its mostly grey body and black crown and cheeks. The bill is yellow, as are the legs and the naked skin behind the eye. The name is well suited as the common calls are uttered repeatedly by the members of the colony .Despite their moderate size, Noisy Miners aggressively attack larger birds such as hawks and kookaburras. These attacks may be so vigorous that most other birds are excluded from an area occupied by Noisy Miners.Swing tag: 65a. Garrulous Honey-Eater / See Catalogue, page 19 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, noisy miner, garrulous honeyeater, yellow beak, honeyeater, east coast

The Satin Bowerbird is a medium-sized common bird found from Queensland to Victoria in rainforests and wet sclerophyll forest. During the summer, the diet consists mostly of fruit, with insects as a supplement. They're famous for their courtship behaviour and for decorating stick-structured nests with blue sparkling objects. With it's stunning glossy blue-black feathers, which evolve from green-brown in appearance, this Satin Bowerbird is more than seven years old, and therefore not any younger as they are often mistaken for females, which are supposed to look like the green catbird. The eyes of this mature male are violet-blue, and the bill is pale bluish white. 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.Satin Bowerbirds are medium-sized birds. The adult male has striking glossy blue-black plumage, a pale bluish white bill and a violet-blue iris.47a / Satin Bower-bird / See Catalogue, page 16 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, satin bowerbird, bowerbird

The Satin Bowerbird is a medium-sized common bird found from Queensland to Victoria in rainforests and wet sclerophyll forest. During the summer, the diet consists mostly of fruit, with insects as a supplement. They're famous for their courtship behaviour and for decorating stick-structured nests with blue sparkling objects. With it's stunning glossy blue-black feathers, which evolve from green-brown in appearance, this Satin Bowerbird is more than seven years old, and therefore, not any younger as they are often mistaken for females, which are supposed to look like the green catbird. The eyes of this mature male are violet-blue, and the bill is pale bluish white. 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.Satin Bowerbirds are medium-sized birds. The adult male has striking glossy blue-black plumage, a pale bluish white bill and a violet-blue iris.Swing tag: National Museum Victoria / Satin Bowerbird / Ptilonorhynchus Violaceus / B2027 / (Vieillot) / W. Shaw Collin. / Mount: PTILONORHYNCHUS / VIOLACEUS / SATIN BOWERBIRD / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird

The Magpie-Lark, also commonly known as a Mudlark, is a carnivorous bird found in many regions of Australia, Indonesia, Timor, and Southern New Guinea. They are a non-migratory species and are extremely adaptable to a variety of environments. These environments include dry forest, savannah, grassland, and even urban areas. Magpie-Larks are typically monogamous and are often found in pairs. They are black and white, with a white underbelly, long legs, and a long, thin beak. The females of this species have a white throat, while the males have a white eyebrow and a black throat. While juveniles have dark eyes, mature adults have light irises. This information helps identify this specimen as an adult male. 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 Magpie-Lark is a small to medium-sized bird which has distinctive black and white colouring. The bill is long and thin and is a whitish colour which differentiates it to other Magpie species. When mature, like this particular specimen, the Magpie-Lark have distinctive light irises. The glass eyes provided for this specimen are accurate in colour. This male specimen has a white 'eyebrow' marking and a black chest or bib. This Magpie-Lark stands on a wooden mount with a swing tag attached to its leg.Swing-tag: 20a. / Reed Grallina / See catalogue page 10 / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, mudlark, magpie-lark