Black and white photo of Bird familybird family, blackburn

Black and white photo of Bird Familyblackburn, bird family

Black and white photo of Mr. Bird and family with a dog at the front of the house.bird family, blackburn

Bird family, c.1905 Back row, L-R: Janet Bird (nee Kilpatrick), George Bird, Ellen May (Nell) Bird Front row L-R: George Hugh Bird, Ernest Reginald Bird, Arthur Andrew Bird, Edwin John Bird Nicholes Photographer, Alphington According to the Sands McDougall Melbourne Directory, George. Nicholes, Photographer was first listed on the north side of Heidelberg Road, Alphington in 1904 and again in 1905. By 1906 he was still listed but with no profession. From 1907 on he was listed as a bicycle agent. On July 23, 1878, George Bird married Janet Kilpatrick (born Ayrshire) at Northcote by Presbyterian minister, Duncan Fraser. The witnesses were daughters of the minister. George gave his profession as farmer. Around 1880 or possibly earlier he acquired the property known as View Hill at the top of Pitt Street, Eltham between Pitt Street and Mount Pleasant Road and what is now Eucalyptus Road. George and Janet developed an orchard and farm around the View Hill home and had 10 children, three of whom died young. George Bird is listed in the 1977 history of the Eltham Methodist Church as Steward and trustee in the early years. In the 1950 history he is mentioned as Sunday School Superintendent. In the early 1900s, Janet regularly went to the church by horse and jinker. Janet died September 2, 1915, age 60 of endocarditis and bronchial pneumonia. At about this time, three children had married (Sarah, George and Ada) and four were living at home. However, Edwin joined the AIF in August 1915 and Ellen married in 1916 leaving two sons, Arthur and Reg, to look after their father and the property although some of the married children may have lived at View Hill for some time. From Edwin's letters, Hilda Pepper, a cousin on their mother's side) stayed with the family for some time to help. In later years, George developed glaucoma and became blind. He died December 6, 1920, aged 75 years, of diabetes mellites. Both Janet and George are buried at Eltham Cemetery, but the gravestone incorrectly gives 1921 for the death of George. The estate was divided into equal portions and distributed to the surviving members with Arthur and Ted Pepper being Executors. Ada Janet Lowe received a portion above what is now Rockliffe Street and Sis Pepper (Sarah Ann nee Bird) the portion below Rockliffe Street. Ernest Pepper built in the 1930s on the Pepper block at the Pitt Street end. George's share was along Wattle Grove and Arthur received the portion at the eastern end. Presumably the other two received portions including the top of the hill and slopes down to Pitt Street, Mount Pleasant Road and Wattle Grove. Read's (at the corner of Pitt Street and View Hill Crescent) was the first additional house brought in on wheels by a Mr Walkenden. The View Hill house was occupied by the Johanssons in the 1930s and was later damaged by fire. Source: Info provided to Marg Ball by Neil and Lyn Pepper (both deceased) abt. 2018. PANEL 1875-1920 Panels began to be produced around 1875, and were particularly suited, because of their larger size, for capturing family, or even larger, groups. They measured 8.5 by 6.5 inches (22 cm x 16.5 cm). - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, 1905, arthur andrew bird, bird family, edwin john bird, ellen may (nell) bird, ernest reginald bird, george bird (1845-1921), george hugh bird, janet bird (nee kilpatrick), nicholes photographer alphington, straw boater

View looking northeast from near junction of Wattle Grove and Mount Pleasant Road across to Eucalyptus Road on right and Pitt Street at top. Early pioneer, George Bird Snr. arrived from England in 1852 and lived with his uncle, George Stebbing. He worked for him as bricklayer's assistant in building, among others, the Anglican and Methodist Churches in Eltham. In 1862 he purchased land in the east end of Pitt Street bounded by Eucalyptus Road and Wattle Grove and established a mixed farm and orchard. His son, Arthur Bird succeeded him and also worked on this orchard which then passed to Arthur's son, Harold Bird OAM, where Harold and Yvonne Bird lived in the family home till the mid 2000s A4 size photographic print reproduction of a paintingaos6, wattle grove, pitt street, arthur bird, bird family orchard, eucalyptus road, george bird, harold bird, yvonne bird, eltham

View looking northeast from near junction of Wattle Grove and Mount Pleasant Road across to Eucalyptus Road on right and Pitt Street at top. Early pioneer, George Bird Snr. arrived from England in 1852 and lived with his uncle, George Stebbing. He worked for him as bricklayer's assistant in building, among others, the Anglican and Methodist Churches in Eltham. In 1862 he purchased land in the east end of Pitt Street bounded by Eucalyptus Road and Wattle Grove and established a mixed farm and orchard. His son, Arthur Bird succeeded him and also worked on this orchard which then passed to Arthur's son, Harold Bird OAM, where Harold and Yvonne Bird lived in the family home till the mid 2000s A4 size photographic printaos6, wattle grove, pitt street, arthur bird, bird family orchard, eucalyptus road, george bird, harold bird, yvonne bird, eltham

Sarah Bird 4th from left (seated) and Edward Pepper on her left (standing). George Bird, 2nd from right (seated). George Bird her great-grandfather and Sarah Bird and Edward Pepper, her grandparents. [from Evelyn Observer and Bourke East Record, morning edition, 18 November 1904, p. 3:] ORANGE BLOSSOM. The marriage of Miss Sarah A. Bird, eldest daughter of Mr George Bird, of "View Hill," Eltham, to Mr Ernest Edward Pepper, of Diamond Creek, was celebrated at the residence of the bride's parents on Wednesday, 9th November, 1904. The ceremony took place at 4 p.m. and was performed by the Rev Percey Knight, B.A., of Alphington. The bride entered the drawing room with her father who gave her away, and the Wedding March, was nicely played by Miss Wild. The bride was prettily dressed in creme voile nicely tucked and gathered, trimmed with guipure lace and silk ruching, sprays of orange blossom, wreath and veil, and she carried a shower bouquet. Her travelling dress was a very pretty blue. The brides-maids were Miss Ethel Barker dressed in pale green voile trimmed with creme guipure lace and silk ruching; and Miss Button in creme voile, guipure lace, silk ruching; both carried pretty bouquets. The groomsmen were Mr Lorimer, of Diamond Creek, and Mr George Bird, brother of the bride. Between forty and fifty relatives and friends partook of a bountifully provided and nicely laid out breakfast. The usual toasts were honored, and congratulations were freely tendered "to the happy couple". The decorations were very tastefully executed by Miss Beatrice Nelson, and Mr Sayers. The evening was very pleasantly spent in singing, recitations, games, and other suitable pastimes, while others "tipped the light fantastic toe". About 10 p.m., "while all was merry as a marriage bell", the bride and bridegroom departed secretly "to cheat surprise and prying eyes". The presents were numerous and handsome:– Parents of the bride, sewing machine; Miss A. Bird, silver breakfast cruet; Miss N. Bird, bread board and knife; Master A. Bird, pair glass dishes; Master R. Bird, pair photo frames; Mr Sayers, tea set; Miss Kidd, silver jam dish and spoon; Miss Wilkinson, carpet; Mr J. Kilpatrick, cheque; Mr W. Kilpatrick, clock; Miss Kilpatrick, silver butter knife; Mr J. H. Kilpatrick, hand painted mirror; Mrs Kerwin, pictures; Mrs Gilsenan, the handsome wedding cake; Mrs Nelson, Japanese occasional table; Misses Nelson, jugs and candlestick; Mrs Bunker, silver cruet stand; Miss Bunker, hand-painted vases; Miss E. Bunker, epergne; Mr E. Bunker, crumb tray and brush; Miss Jessie Gilsenan, cake stand; Mr Harold Gilsenan, auger basin and ornaments; Mr Lorimer, silver breakfast cruet; Mr A. Collins and Miss Jones, epergne; Miss Cassie Sweeney, jardiniere; Miss Ida and Ollie Cooper, silver butter dish; Miss Mills, large vases; Misses M. and F. Shillinglaw, handsome oak clock; Misses C. and E. Shillinglaw, pair large pictures; Mr Lucas and Miss Sutton, silver butter dish and knife, and silver jam dish and spoon; Miss M. and A. Short, teapot, cheese dish, and tumblers; Mr and Mrs J. Anderson, butter dish; Miss Williams, pen tray; Miss Griffiths, vases; Mr I. Hill, cheque; Miss Wild, biscuit barrel; Mr, Mrs and Miss Brown, trifle bowl and crystal jug; Mrs Weller, water jug and glasses; Mrs Hadfield, pair glass dishes and butter dish; Mr and Mrs Blackney, photo frames; Mr Wilson, beaded basket pin cushion; Mr Linsy, cheque; Mrs Linsy, fruit dish; Mrs Stebbing, pair candle sticks; Mrs Blanchard, pictures.Digital copy of framed sepia photographanderson, bird, blanchard, blackney, bunker, collins, cooper, edward ernest pepper, george bird, george bird jnr, gilsenan, griffiths, hadfield, hill, jones, kerwin, kidd, kilpatrick, linsy, mills, nelson, sarah ann bird, sayers, shillinglaw, short, stebbing, sutton, sweeney, view hill, wedding, weller, wild, wilkinson, williams, wilson, brown, lesley mitchell (nee pepper) collection

George Bird was born in England in 1845 and arrived in Australia in 1856 as a child of assisted migrants. Soon afterwards he came out to Eltham to live with his uncle George Stebbings, working for him as bricklayer's assistant in building, amongst others, Shillinglaw Cottage and the Anglican and Methodist Churches in Eltham. He later purchased 72 acres at the eastern end of Pitt Street (bounded by Eucalyptus Road, Mount Pleasant Road and present-day Rockliffe Street) and established the property ‘View Hill’, which was worked as a mixed farm and orchard (including berries). In 1878 he married Janet Kilpatrick, who had emigrated from Scotland. They had ten children, three of whom died in infancy. The wedding in 1904 of their eldest surviving daughter Sarah (‘Sis’) to Edward Pepper appears to have been quite a society event. George was a staunch Methodist and was a Church Steward and a Sunday School Superintendent in about 1890. Janet died in 1915 and George died in 1920 (though his gravestone says 1921). George's will stated that his property was to be divided between all his children in equal shares. This necessitated subdivision of the View Hill property, which took place progressively between 1922 and 1926. One son, George Hugh Bird, operated a drapery store in Main Road (near Bridge Street) in around 1915. Later, in the 1920s, he ran a greengrocer's shop (also selling confectionery) in Main Road opposite Eltham Station. It was the first shop in Eltham to have plate glass windows. At the same time, his brother Reg had a grocery store on the station side of Main Road. George and Janet are buried together in a family plot in Eltham Cemetery. Several descendants are also buried in the cemetery. In Loving Memory Of George Bird Died 5 December 1921 aged 76 years And his beloved wife Janet Bird Died 5 Sept 1915 aged 57 years Also their children William James Bird Died 25 Feb 1888 aged 8 years Mary Jane Bird Died 8 Oct 1891 aged 7 years Pte Edwin John Bird Killed in action in the Great War 11 Aug 1918 aged 30 years Buried in France And on the base stone George Hugh Bird Died 26 Feb. 1965. Aged 79 years Arthur Andrew Bird Died 25 Mar. 1970 Aged 75 years To the left In Loving Memory of Dr. J. R. (Roger) Bird 1927 2001 Son of Arthur & Helen (nee Lyon) Bird Husband of Betty Father of Janet & Alison Grandpa of Evan & Helen Scientist & Gentleman To the right In Loving Memory of Harold Edwin Bird OAM 1922 - 2015 Son of Arthur & Helen (nee Lyon) Bird Husband of Yvonne Father of Estell & Russell In our hearts Forever moreBorn Digitaleltham cemetery, gravestones, arthur andrew bird, arthur bird, edwin john bird, george bird, george hugh bird, harold edwin bird, helen bird (nee lyon), j. r. (roger) bird, janet bird (nee kilpatrick), william james bird, yvonne bird

As financial and in-kind contributions began to increase, the Association utilised certificate templates to acknowledge and thank donors. In these examples, an estate for financial support to the low vision clinic/George Vowell Centre, an individual for his support during an appeal for Elanora and a bequest from a family. All certificates are hand-signed by the Chief Executive Officer/Appeal Chairman and President. Multiple A4 certificates of appreciationdorothy constance riegelhuth, wallace cameron, oriel j grattan, bird family, association for the blind, john cook, john moule, don argus, hermann muncheberg

The Bird family built and conducted the bakery on the highway at grantville diagonally opposite the General Store, circa 1930s. Ron Tilley married eldest daughter, Gloria Bird (Tops) in 1945.grantville; business; bakery

Colourful Christmas cards from the 1950's.Five Christmas cards depicting English style winter scenes: birds, family, woman with umbrella, puppy at a window, a woman with holly. One card of a family scene has a gold coloured satin ribbon on the left side.'To Netta and Neville from Mother Xmas 1954'. Three from Annette & Neville Lord. One from 'Effie M. Macdonald'. The card with the lady with a red parasol has 'Lord" crossed out.greeting cards, christmas cards

Contents: • Next meeting, guest speaker; Harold Bird AOM: An Illustrated Talk on AOS6 and the Bird Family Orchard • Annual General Meeting • AOS6 and the Bird Family Orchard • Opening of the Viewing Platform at Kangaroo Ground • Centenary of Women’s Suffrage in Victoria • Eltham’s Homeless by Sue Law • Shillinglaw Family History • More Coming Events The Shire of Eltham Historical Society was formed in October 1967. The first newsletter of the Society was issued May 1978 and has been published continuously ever since on a bi-monthly basis. With the cessation of the Shire of Eltham in late 1994, the Society's name was revised to Eltham District Historical Society and this name first appeared with issue No. 103, July 1995. The collection of the Society's newsletters provides a valuable resource on the history of the Society's activities, office bearers and committee members, guest speakers and subjects of historical interest pertinent to the former Shire of Eltham and the Eltham District.A4 photocopied newsletter distributed to membersnewsletter, eltham district historical society, shire of eltham historical society

Max COWARD ( -1991) Born Ballarat Max Coward was training to be an art teacher at the Ballarat Technical Art School from 1937 to 1941. He enlisted in the A.I.F. and was a Naval Trainee at Flinders Naval Depot in 1941. During these years Max Coward was described as a cartoonist and illustrator, and was attached to the Naval Intelligence Division in 1945, producing stories and drawings for the Navy newspaper Dit. His work was reproduced in the Christmas annual, HMAS Mk IV and the Army educational journal, Salt. Coward was active as a printmaker in the 1970s. 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.Framed limited edition linocut print showing a family of birdslls 'Family Group; lc edition '27/32' lrs 'Max Coward 65'art, artwork, max coward, coward, alumni, birds, chicken

The property was named 'Cliburn' after Cliburn in Westmorland (later Cumbria) where Mary Sneddon's mother, Mary Bird (nee Coulston) came from. According to the donor all their houses were given this name. William Sneddon (b.1875, Sandhurst - d. 1957, Deepdene) was a postman in Surrey Hills for many years. His father James (1833 - 1901) ran an estate agency in Surrey Hills started in the 1880s by his father, also James. William's wife was Mary Sneddon, nee Bird, (b. 1878 Bethunga; d. 1948, Surrey Hills); they married in Surrey Hills in James Sneddon's house on 12 November 1903. They had 5 sons and 1 daughter: John William 'Jack' Sneddon (b.1908 - d. 1957); married Mabel Creek. Norman Alexander Sneddon (b. 1910 - d 1989); married Eva Pearl Sampson. Alan Coulston Sneddon (b. 1914 - d. 1985); married Netta May Clow in 1941. Jean Isobel Sneddon (b. 1916 - d. 1976); married Clifford James Jenkin. Douglas Haig Sneddon (b.1918, Surrey Hills - d. 1973, Blackburn); married Myra Marjorie Clewett in 1945. Relationship with Alice Keane: According to the donor, Alice Ruby Dore married Herbert Keane. She was born 21/9/1901 and died 14/4/1926. Her entries in the Victorian BDM index give that her father was Henry Dore and her mother Sarah Ann Bird and that she was born in Neerim. She married Herbert Henry Keane in 1922; her death at the age of 24 years was registered in Heidelberg. According to the donor her young children Wallace and Phyllis were embraced by William and Mary Sneddon. William and Mary Sneddon are buried in Box Hill Cemetery. The donor Robin da Costa-Adams is related by her first marriage to the Sneddon family. Relationship with Bird family: Netta Sneddon was correct in that Alice Keane was likely a relative. The exact relationship is yet to be fully established. Alice's mother's name is given as Sarah Ann Bird (1873-1952) with birth at Tarrawingee; father John Bird and mother Sarah Ann Coburn (REF: Victorian BDM index). Her notice of marriage in The Age in 1894 states she is "the eldest dau of John Bird of Drouin, late of Box Hill and Talgarno." Has her mother's surname been misspelt? Is it Coulston? Sepia photo of Douglas Sneddon and his sister Jean Sneddon taken in the garden of 'Cliburn', the home of their parents William and Mary Sneddon. With them is with Alice Keane. Part of the house is seen on the RHS of the photo. It is an Edwardian timber home. The profile of the house next door can also be seen in the background."Alice Keane / at / Doug & Jean Sneddon / taken at Sneddons / Surrey Hills" in grey lead pencil in Robin da Costa-Adams' writing. "Children of Mary & / William" "An Alice Keane may be an Aunt (crossing out) - Netta / was not sure" in ink in Jocelyn Hall's hand.suffolk road, 'cliburn', jean isobel sneddon, mrs jean isobel jenkin, douglas haig sneddon, william sneddon, miss mary bird, mrs mary sneddon, box hill cemetery, children, clothing and dress, mrs alice keane, mrs alice ruby keane, miss alice ruby dore

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

This recording was originally made C1970's-1980's at a service club meeting in Orbost. It was transferred from a tape recording in 2015. Rudy was the son of George James KREYMBORG and Ada Victoria (nee DAVIS). Born at Bulumwaal, near Bairnsdale he arrived in Orbost after time in Melbourne and then at the Bell Bird Hotel where his family had the mail run. In Orbost Rudy lived on the back of his his truck next to the present Murray Goulburn Store in „B‟ Road, Orbost with tw horses for company. (More info. from newsletter "RICHARD RUDOLPH KREYMBORG 1904-1987" by John Phillips.) Richard Rudolph “Rudy” KREYMBORG was a well-known district identity, a man who was often described as a legend in his lifetime. He lived a rough life, breaking horses, delivering mail on horseback, building roads and bridges, driving bulldozers and talking.A disc in a black plastic case. It is a recording of Richard Rudolph Kreynborg(b.1904 d.1987). It has been copied from a n original recording.

The Great Crested Grebe is the largest bird in the Grebe family. It has a long neck with a black crown and orange/black "fans" on the sides of the face. This bird can be found in all Australian states and territories and typically resides in open bodies of fresh water. 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 and the National Museum of Victoria, as well as individuals such 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.A Great Crested Grebe in a tall position standing on a wooden pedestal. It has a long neck and bill with coloured plumage. The crest is black with orange and black cheek "fans" on the sides of the face. The eyes are made of glass and are a red/black colour. On paper tag: "[Austra]lian... [G]rebe... [pa]ge, 42" taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, great crested grebe

The diamond firetail bird is native to inland southeastern Australia, inhabiting woodland regions. It is often described as one of the most stunningly coloured birds of the finch family. The nest is built by both partners but only the female does the weaving. Both partners incubate the eggs and care for the young. 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 diamond firetail finch it characterised by the top of its body being ash brown, with crown, forehead and neck grey. The under feathers are white with a crimson rump. There is a black band across its neck which continues down the flank to be dotted with white. The bill and eye ring are coral, and the legs and feet are dark grey. The female is similar to the male although sometimes smaller. 10057 comprises of one male and one female. This specimen stands upon a wooden platform and has an identification tag tied around its legLabel: 41a./ Firetialed Finch / See Catalogue, Page 15. /taxidermy mount, cancel, taxidermy, burke museum, beechworth, australian museum, finch, diamond firetail

The White-throated Treecreeper is a commonly small bird of the Climacteridae family, that has a loud, piping, whistle-like call. Living in permanent territories and rarely seen on the ground, this species is found in forested areas of south-east and southern mainland Australia. The name tree-creeper comes from their foraging patterns, in which they spiral up the trunk of trees (usually eucalypts for their preferrable rough bark) head-first, probing for ants or nectar with their long, curved beak.The females are distinct from males through orange marks on the sides of their face. The colour of these specimens differ from white-throated tree-creepers, whose plummage on the head and back is usually a dark gray-brown. The beaks of these specimens are also an orange-brown colour whereas these birds usually have a black beak. 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 mount includes two White-throated treecreepers secured on a stick, one above the other. The top specimen is female, distinguished by a distinctive orange mark on the sides of its face underneath the eyes. Both specimens have white throat, chest and streaks on the flank. The top of the head and back are both a brown to dark-brown colour, with streaks of those colours on the flank as well. The stick and specimens are mounted on a wooden platform and a swing tag is secured around a part of the stick.Swing tag: 67a. / White-throated treecreeper / See catalogue, page 20 / Wooden Mount: 85taxidermy mount, taxidermy, burke museum, beechworth, bird, treecreeper, australian birds, white-throated, white-throated treecreeper, reynell eveleigh johns

The Tawny Frogmouth, although often mistaken for an owl, is a nocturnal Australian bird of the Podargidae family that is more closely related to the nightjars. They are widespread in terms of distribution and can be found all across mainland Australia and Tasmania in a diverse variety of habitats from woodlands, forests and urban areas. Masters of camouflage, the Tawny Frogmouth sleeps during the day on tree branches in a stiff upward facing position (as with this specimen) to mimic broken tree branches, their feathers assist in this deception as the mottled grey and brown colours blend into the environment seamlessly. This specimen differs in colours from the usual appearance of a Tawny Frogmouth, as the beak is usually a olive-grey to blackish tone and the plumage is generally more dominantly grey all over the bird. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Tawny Frogmouth has a broad head and a creamy beige coloured wide triangular beak with a hooked tip. The plumage on the head and back of the bird is a combination of darker and rufous browns, mottled with streaks of cream and grey. The underside of the bird from the bottom of the beak to the tail tip is a lighter cream colour with streaks of rufous-brown. The feet are an orange-brown colour. This specimen is adopting the skyward looking pose associated with the species, mimicking dead tree branches.1a. / More-Park / See Catalogue, page 7 /taxidermy mount, taxidermy, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, tawny frogmouth, frogmouth

The Common Buzzard is part of the buteo genus (Latin for buzzard or hawk) which indicates it is part of the raptor group whose features include a medium to large build, a strong body and larger wings. The family includes birds of prey such as hawks and buzzards. Like their name suggests, Common Buzzards are very ‘common’ in the UK but can also be found in other parts of Europe, Africa and Asia. The birds’ habitat consists of woodland, shrubland, forest, wetlands and countryside, and they can live in cold, tropical and temperate climate zones. Similar to other raptor species, Common Buzzards make their nests in tree branches or tree forks. With finely tuned hearing, they are able to detect small marsupials, and their diet consists of small amphibians, birds and mammals. Normally solitary, these raptors can occasionally be seen with others. Common Buzzards are classified as of ‘Least Concern’ on the IUCN Red List. While there is some noticeable fading of this particular taxidermy specimen’s plumage, it is relatively well presented. The completely black eyes and string through the nose of the specimen seem to be taxidermy/curatorial choices, as this is not something that is normally found on living versions today, and the eyes of Common Buzzards are normally golden eyes with black pupils. It is interesting to note, when considering the selected artificial eyes, that the original swing tag labeled this specimen as Saleo tinnunculus Lina, a form of kestrel (known to have complete black eyes), which perhaps explains this taxidermist choice. As a Common Buzzard, this particular specimen could have had its frame and breast area bulked out a little more, as birds within the buteo genus are generally recognised to be of medium to large build. Overall however, this is a fairly reasonable and accurate representation of the species. 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.With similar colourings and features to a range of raptor species, the Common Buzzard can often be mistaken for other varieties of buteo and raptor. The bird’s plumage generally varies by location, but normally includes a variety of shades of brown, commonly with darker brown on its back and lighter coloured feathers on its breast, underbelly areas and face. These birds normally have fine bands on their tail and darker tipped wings. Common Buzzards have smaller heads with a band of yellow around the base of their small curved beaks and golden yellow eyes. This particular specimen’s feathers have faded and he stands upon a wooden perch with an identifying tag hanging from its right leg.Swing Tag: Swing tag obverse seems to read: ‘…io [? First few symbols aren’t clear]/ Saleo /tinnunculus/ Lina [there is also another illegible symbol on the tag in the centre on the second line] Swing tag reverse: illegible sections of text and the beginning of a number ‘403…[?]. Metal tag: 1032[?]taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, common buzzard, buteo, hawks, raptors, birds of prey, buzzards

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. The red-and green Australian King-Parrot is seldom seen flying above the tree tops of the dense forests which it inhabits — it prefers to fly below tree level, weaving in and out through the tree trunks instead. When they are disturbed by a person, they usually fly off with a harsh screech, and often do not land until they are lost to view. Their flight is swift and strong, characterised by deep, rhythmic wing-beats and regularly punctuated with rapid twists and turns.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. Male Australian King-Parrots are the only Australian parrots with a completely red head. Females are similar to males except that they have a completely green head and breast. Both sexes have a red belly and a green back, with green wings and a long green tail. King parrots are normally encountered in pairs or family groups. This particular specimen has duller colour and appears more orange with a misshapen head Label: National Museum Victoria / King Parrot / Aprosmietus W5435 / Gris (recht) Mount: APPOSMICTUS / SCAPULARIS / King Parrottaxidermy, parrot, bird, king parrot

The Rufous-bellied Kookaburra is a large member of the Kingfisher family. It commonly resides in the dense rainforests of lowland New Guinea, Saibai Island, Indonesia, Biak, Maluku/Moluccas Islands, Papua New Guinea, Melanesia and Queensland in Australia. This is unlike other species of Kookaburra which commonly prefer to reside in locations of open country. Another aspect which makes this bird unique to other Kookaburra is its tendency to live in pairs and not in family groups which is typical of other Kookaburras. In the case of the Rufous-bellied Kookaburra, both parents incubate and care for the eggs/chicks. This Kookaburra feeds on small mammals, birds, reptiles and insects. The Rufous-bellied Kookaburra was originally named the Gaudichaud's Kookaburra after the French botanist Charles Gaudichaud-Beaupré. This species of Kookaburra is among the most colorful varieties of the Kookaburra alongside the Spangled Kookaburra. 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 Rufous-bellied Kookaburra is a large Kingfisher with a black coloured cap on the head, white collar around the neck, blue feathers on the wings and rump and a rufous belly. The female Kookaburra has a brown/rufous coloured tail, as is the case for this particular specimen which identifies it as female. This bird has a large white bill and pale coloured legs. The head is a large square shape and the body is stocky.Label: National Museum Victoria / 159a /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, kingfisher, kookaburra, rufous-bellied kookaburra

The American Crow is common throughout North America. They reside in areas with open view and trees but can often frequent city parks, suburbs of large cities and along the seashore. The Crow is a robber and therefore, find living in locations which they can raid for food perfect. These birds are sociable animals and are often found in small groups made up of family members. All their lives they reside in the one location; however, they do migrate south during the autumn. They usually find their food by walking along the ground and eat both plant and animal foods. This includes worms, larvae, insects and fruits and nuts. Crows are also known to feed on small rabbits, frogs and mice. They are also identified as nest predators because they feed on eggs. In areas occupied by humans, the Crow will find their food source from trash and also road kill. The American Crow is not considered to be an endangered species and list them on the IUCN Red List as Least Concern. However, large amounts of crows are killed for sporting and during campaigns (having a desire to reduce the population of the Crow in America). This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This American Crow has black plumage which has slightly faded in colour. This colour fading could also indicate that the bird was molting because the feathers of the American Crow appear brownish when the are about to molt and these feathers give way to new glossy black feathers. The specimen has two black glass eyes, a dark bill and dark legs with talons. Both the edges of the bill and the talons are faded into a pale buff colour. It is likely that the legs and talons were painted a dark black by the taxidermist and the paint has either worn off or faded over the years. The bird is standing tall on a wooden mount and looking forwards. It has a paper identification tag attached to the right leg. The tail is short and the feathers are rounded at the ends.153a. / See catalogue page 61taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, america, crow, american crow

The Kookaburra is a sociable bird commonly seen in small flocks. These flocks mainly consist of family members. If not in flocks, these birds are commonly seen in pairs. They have a distinct appearance with brown wings, back and brown around the eyes, with majority of the plumage being white. This species reside in woodlands and open forests, however they can be seen in parks, wetlands, farms and any other space that is open with grass. This native Australian bird can mainly be found across the eastern Australia, however they have been introduced Tasmania, South-west Western Australia and New Zealand. Although this is a taxidermy mount, it looks exactly like a Kookaburra 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 Kookaburra has a predominantly white body. The back, wings and tail are a light shade of brown. There is a strip of brown going across the eyes. This specimen stands upon a wooden branch and has an identification tag ties around its leg. This bird is stout in shape and has a medium length tail and a broad bill. This bill is darker on top and lighter in colour on the bottom.W8083 / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, kookaburra, australian birds, laughing kookaburra

The Grey-headed Woodpecker is a medium-sized woodpecker of the Picidae family, that is sometimes mistaken for the similar-looking Green Woodpecker. The species is known to have a grey face, neck, and underparts, with green wings and back, and underwing feathers that are a dark brown to dark grey-black with white dots. Although this can vary depending on location, with European and Northeast Asian birds having overall paler colours, to mainland Asian birds being darker overall. The species has a distinctive black mustache-like stripe on both sides of the face and the mature males have a red patch on the top of the head. These tree-clinging woodpeckers usually feast on ants, insects, and berries. This specimen differs in appearance from the common Grey-headed Woodpecker as its back feathers appear a dark grey, where in the wild these birds have sometimes quite vibrant green feathers. The eyes of the grey-headed woodpecker are also usually red with black iris, not white with black iris as in this specimen. The beak is also a pale yellowish colour on this bird, whereas commonly the species has a grey upper beak and pale yellow lower beak. 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 Grey-headed Woodpecker has a bright red head patch and distinctive black mustache-like stripes on both sides of the face, with additional black stripes running from the pale yellowish beak to the inner corner of the eye. The underbelly is a light grey and the back is a slightly darker grey. The underwing feathers are a light rufous-brown with white dots. The specimen is mounted on a sloping vertical wooden cylindrical stick attached to a mount. There are also two paper swing tags, one of which is torn in half.149a. / Unnamed / Catalogue page 60 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, woodpecker, grey-headed woodpecker, gray-headed woodpecker

The Blue-faced Honeyeater is commonly located in northern and eastern mainland Australia. It is also found in Papua New Guinea. This species prefer to reside in tropical locations or those which are sub-tropical and wetter temperate or semi-arid zones. It can be located in open forests and woodlands close to water. Due to these locations along with it's propensity for feeding on the fruit and flowers of the banana in northern Queensland, this species is colloquially known as the "Bananabird". These birds commonly reside in pairs, family groups or small flocks. They can often be found socialising with other species including the yellow-throated miner and the Little Friarbird. The Blue-faced Honeyeater feed on insects and invertebrates, but also may eat nectar and fruit from native and exotic plants. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The blue-faced Honeyeater is large in size with bright white and black colouring. The bird also has golden olive-green colouring on it's rear, tail and wings. Around the eyes is strikingly blue coloured skin which has faded significantly on this particular specimen. It also has a pair of glass eyes to replace the original which do not survive the taxidermy process. There is a patch of dark colouring on the plumage of the stomach and neck of the bird. This dark batch is surrounded by white plumage which also forms a white band across the back of the neck. This specimen is stylized placed on a wooden mount. The bird's feet are attached to a thin stick and the stick attached to the mount.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, honeyeater, blue-faced honeyeater

The Australian Hobby is a medium-sized falcon of the Falconidae family, similar in look to the larger sized Peregrine Falcon. This species is widespread and can be found across most of mainland Australia and Tasmania, preferring lightly wooded areas such as timbered wetlands, open wooded farmland, and some urban areas. Their diet consists of small birds, bats, and flying insects, which are caught mid-air. They sometimes hunt cooperatively to catch their prey. This specimen is an accurate depiction of an Australian Hobby. 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 Australian Hobby has a dark brown cap and cream-coloured half-collar. The back feathers of the bird are also a dark brown colour, while the neck is a cream with lighter brown streaks. The flank is a dappled dark brown, rufous-brown and cream, which transitions back into cream with brown streaks near the legs. The underwing feathers appear to be a banded dark brown and cream. The tip of the hooked beak is black which recedes to light blue-grey and then to yellowish near the head join. The legs are also yellow. The specimen is perched on a wooden perch mount with a swing tag tied around its left leg.23. / Australian Hobby / See catalogue, page, 6 / taxidermy mount, taxidermy, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian hobby, australian birds, little falcon