This large, leather bound journal was made for the Public Library and Burke Museum in Beechworth by book manufacturer, William Detmold in 1875. It was commissioned by the President of the Library and Burke Museum committee, Dr Antoine Mousse, for the purpose of cataloguing all the items in the collection. The cataloguer was the curator at that time, William Morton, whose hand-writing appears in the journal today. When William Morton first started recording in this journal in 1875, there were already a number of existing items in the institution. The Public Library and Burke Museum in Beechworth had actually been operating since the 1850s; first as a Young Men’s Association in 1856, then as Beechworth Athenaeum in 1858, then as the Beechworth Public Library in 1860. Then in 1861 when news of the death of Beechworth’s former police superintended, Robert O’Hara Burke, reached the town, it was agreed that the Public Library would also become a museum to tribute his legacy, renaming it as the ‘Public Library and Robert O’Hara Burke Memorial Museum, Beechworth’. Many of the items from the early institutions would have been used to form the nucleus of this new organisation. Plus, the additional items that were either collected or donated to develop it into a museum. The catalogue is extensive. There are exactly 461 pages of recorded items, each page detailing the various collections the museum acquired in the late 19th century. Collections recorded in this catalogue include a large collection of geological specimens, that were given to the museum in 1868 by the Geological Survey Department of Victoria. A large collection of taxidermy mounts, that were given to the museum as skins by the Museum of Australia in 1865. An extensive collection of Aboriginal artefacts that were purchased from amateur anthropologist R. E . Johns in 1868. As well as artworks, charts, photographs, machinery, maps etc., all of which have been held in the museum since. This catalogue also details the governance and management of the organisation. There were originally 30 rules that governed the actions for the management committee and, while anyone could read in the free library, only subscribers could borrow two books and one periodical. At first, subscriptions rates were 7/6 a quarter. This was later changed to £1 per annum, paid quarterly in advance. This was a considerable amount; 7/6 per quarter meant that the annual fee was £1.10. This was equivalent to about £650.00 or about $1,182.00AUD today, while the reduced subscription fee of £1 a year was the equivalent to £450.00 or about $818.00AUD today. Membership of the athenaeum would have been the reserve of the town's notable citizens. The vale of the catalogue lies not only in its historical connect with the establishment of the Athenaeum and the current museum, but also in its record of the names and positions of all members of the institution's committees of management from 1875-1876. This is a unique object that contains important records for a notable country town. Large brown leather bound book made in 1875 for the Beechworth library and museum by William Detmond. Inside is a comprehensive and detailed itemised listing of the paintings, drawings, charts, photographs, specimens and books that entered the institution from 1850 -1882. non-fictionCover: RULES / CATALOGUE OF BOOKS / INVENTORY OF PICTURES, DRAWINGS, / MAPS, CHARTS, FURNITURE, SPECIMENS / OF THE / PUBLIC LIBRARY AND BURKE MUSEUM / BEECHWORTHburke museum, beechworth, catalogue, museum catalogue, 1875, william morton, william detmold, exposition universelle, ferdinand von mueller, public library, collection, book, leather bound, restored, digitised, robert o'hara burke, hand-written

This is a photograph of two people (James Toole and Beryl Witkowski) amid celebrations for St Patrick's Day at the Burke Museum in an unknown year. St Patrick's Day is traditionally an Irish religious holiday, but has been adopted in countries such as Australia to celebrate an idea of Irish culture. These celebrations often include wearing green clothes, especially a shamrock hat, and drinking beer, all pictured here. This celebration appears to be taking place within the Burke Museum itself, with museum's iconic stained glass oval window in the background. The Museum, situated in Beechworth, holds a collection of over 30,000 individual objects - including this photograph. James Toole (left) was the 'face of the Beechworth Post Office' until his retirement in 2015, following a 45-year career in mail service. He is a Friend of the Burke Museum, volunteering on projects such as crafting the Burke Museum's float in the 2018 Beechworth Bakery and Beechworth Honey Grand Parade at the Golden Horseshoes Festival. He is known for his flamboyant character. Beryl Witkowski (right) was a historian and curator for the Burke Museum, retiring from her position in 2016. She was involved as a Friend of the Burke Museum from at least 2004.This photograph is significant to the Burke Museum and Beechworth as it depicts two prominent, contemporary members of the museum's paid and volunteer staff in the museum itself. It highlights both how the staff interacted with the museum through celebrations and how the museum itself was used in capacities other than object display. The photograph can also be used to interpret Australia's relationship to the St Patrick's Day holiday, especially given the presence of Irish immigrants to the Beechworth area in the nineteenth century.A colour, square photograph printed on rectangular photographic paper.First Card: WITKOWSKI, Beryl / TOOLE, James / BMM 3067 / Databased Second Card: Burke Museum / 3067 /burke museum, beechworth, museum staff, celebrations, st patrick's day, beer, australia, st patrick's day celebration

This series of photos all depict Burke Museum curator Beryl Witkowski. The invitation was created in 2005, the other photographs seem to be throughout Beryl Witkowski's career, however it is not possible to determine exactly what date they are from. The photographs show Beryl in front of the main museum building, standing beside exhibits, receiving awards and holding antiques.This series of photographs are centred around the Burke Museum curator Beryl Witkowski. The collection consists of an invitation that features mid-2000s photo editing and numerous photographs of Beryl throughout her career. The invitation provides artistic/ aesthetic significance for its interesting photo editing technique, as photo editing was becoming increasingly popular during this time. Socially, the collection of photographs are significant to the community of Beechworth and to the Burke Museum. As a curator Beryl would have had significant influence over the running and display of the museum, therefore having photographic evidence is a way for the community to reminisce and connect.Some coloured and some black and white photographs printed on paper.7599.1 Obverse: You are invited to Beryl's Bash, 'for her sins, 30 year's at the Burke' 2 December, 7pm-10pm, 2005 at Robert O'Hara Burke Memorial Museum, RSVP to Burke Museum, 03 57 28 8067 / 7599 7599.1 Reverse: and Christmas Party at the Burke Memorial Museum on 2 December, 2005 7-10pm, RSVP to the Burke by 29th November / 7599 7599.2 Obverse: Library Burke / Burke Museum / Open 10am- 5pm 7599.2 Reverse: Burke Museum / Robert O'Hara Burke Memorial [Mus]eum / Exhibitions / Notices / 1856 7599.3 Obverse: Newsagent / Est. 1853 / (illegible) invitation, christmas party, staff party, burke museum, beechworth, beryl witkowski, 2000s, employees, curator, celebration, 2000s photo editing

Historical photograph taken of the frontage of the Burke Museum in Beechworth. As Australia’s oldest regional museum, the building used for the Burke Museum was originally built as the Beechworth Athenaeum, and was later dedicated as a museum in memorial to the explorer Robert O’Hara Burke, who died on the Burke and Wills expeditions in 1861. The Burke and Wills exhibitions were a significant colonial event that was memorialised in paintings, buildings, monuments, and statues. The photograph has historical significance, connecting with various themes such as exploring, establishing pathways, and significant colonial events or persons. The photograph depicts the frontage of the Burke Museum, which was dedicated as a memorial to the explorer Robert O’Hara Burke, who died on the Burke and Wills expeditions in 1861. Robert O’Hara Burke was a significant person who was connected to both Beechworth and to an important colonial event, the Burke and Wills expeditions. Born in Ireland, Burke migrated to Australia in 1853 and nearly a year later, was appointed to senior inspector at Beechworth. Described as quick-tempered yet generous, Burke later joined an expedition to explore the interior of the Victorian colony, which was later termed the Burke and Wills expeditions. While the expeditions generated a significant amount of interest, the objectives of the Burke and Wills expeditions were hazy, as was its planned route, leading to disaster on the trip as group infighting, poor provisions, and a lack of clear instructions ultimately resulted in Burke’s death. Regardless, the Burke and Wills expeditions promoted discovery and endures today in popular memory.Black and white rectangular photograph printed on paper.Obverse: 1856/ BEECHWORTH/ PUBLIC/ LIBRARY/ BURKE/ MUSEUM/ BURK MUSEUM/ (parking signs illegible) Reverse: BMM 84-2-1/ A02989 1997 2696/ BMM 84-2-3burke museum, beechworth, beechworth athenaeum, athenaeum, memorial, robert o'hara burke, robert burke, burke and wills exhibitions

This photograph depicts female singers accompanied by members of the Beechworth Band at a 'Liedertafel' concert in the main hall at the Burke Museum in 1999. The concert related to an exhibition titled, 'From the Liedertafel to the Skating Rink: Entertainment in Beechworth 1852 - early 1900s', which celebrated the rich and diverse entertainments that were part of Beechworth life in the nineteenth and early twentieth centuries. 'Liedertafel' is a German tradition that accompanied European settlers to Australia. It refers to a friendly society of men united by an enthusiasm for singing. The Beechworth Liedertafel was established 14 March 1894 at the London Tavern, Camp Street, Beechworth, by president, Mr. A.A. Billson, and a visiting conductor, Mr. H. Fielder. The Beechworth Brass Band was formed by Mr. H. Vandenberg in 1887. Marching bands, choirs, circus acts, theatrical performances, races, and seasonal activities, such as Mr. Spiller's roller skating rink, which was founded in the late 1860s, were among the entertainments on offer in Beechworth.This photograph of the Beechworth Band playing at the Burke Museum is historically significant for the information it conveys about an exhibition at the Burke Museum between September and November 1999. The use of the contemporary Beechworth Band in a 'Liedertafel' performance provides insight into curatorial approaches at the turn of the twenty-first century and improves our understanding of how exhibitions use objects in the Burke Museum's Collection to tell stories about the past in the present. The image is historically and socially significant for attesting to the enduring appeal of local musical associations, which were a popular means of entertainment that fostered social connections among settlers from diverse ethnic backgrounds. Liedertafel choirs were originally male-only, therefore, the presence of female singers at the 1999 exhibition reflects progressive social and community values with regard to gender and inclusion.Rectangular colour photograph printed on matte photographic paper.Reverse: 7030 / Label: Burke Museum / Liedertafel Exh / Emily Messen, Luetta / Schier, Hannah / Routledge, Sarah / McKinley 2000 (?) / 2000 (?) / liedertafel, beechworth band, burke museum, exhibition 1999, from the liedertafel to the skating rink, entertainment in beechworth 1852 - early 1900s, past exhibitions, performances at the burke museum, european settlers, german community, german choral societies, brass bands, male choir, colonial passtimes, colonial entertainments, cultural traditions, gold rush, immigration, beechworth's german heritage, london tavern beechworth, camp st beechworth, beechworth historic district, beechworth's first brick tavern, spiller's skating rink, vandenberg's beechworth brass band, benevolent societies, intellectual societies, protestantism, billson brewery beechworth, teetotallism, fancy dress carnivals, skating carnivals, fundraising societies, german musicians, crimean war, beechworth german association, freemasonry, yma's, beechworth athenaeum, beechworth skating rink

This photograph depicts members of the Beechworth Band at a 'Liedertafel' concert in the main hall at the Burke Museum in 1999. The concert was associated with an exhibition titled, 'From the Liedertafel to the Skating Rink: Entertainment in Beechworth 1852 - early 1900s', which celebrated the rich and diverse entertainments that were a part of Beechworth life in the nineteenth and early twentieth centuries. Marching bands, choirs, circus acts, theatrical performances, races, and seasonal activities, such as Mr. Spiller's roller skating rink, founded in the late 1860s, were among the attractions on offer. 'Liedertafel' is a tradition that accompanied German settlers to Australia. It refers to a friendly society of men united by an enthusiasm for singing. The Beechworth Brass Band was formed by Mr. H. Vandenberg in 1887. The Beechworth Liedertafel was established 14 March 1894 at the London Tavern, Camp Street, Beechworth, by Mr. A.A. Billson, and a visiting conductor, Mr. H. Fielder. German clubs, complete with marching bands, athletics associations and Liedertafel choirs, were centres of social activity attracting wide audiences not limited to members of their own ethnicity. Alfred Arthur Billson was the youngest son of Mr. George Billson, who served as Beechworth’s mayor between 1869-1871. In 1872, George purchased the Oven’s Brewery in Last Street, which became Billson’s Brewery, one of the oldest continuing beverage manufacturers in Australia. An active member of Beechworth’s cultural, business and political life around the turn of the century, A.A. Billson served on Beechworth Shire Council from 1884 to 1893, and from 1895 to 1910, with three terms as president (1888–89, 1899–1901, 1908–09). He founded the Beechworth Progress Association in 1891 and produced an ‘Illustrated Guide to Beechworth and Vicinity’ to develop tourism potential. This photograph of the Beechworth Band playing at the Burke Museum is historically significant for the information it conveys about an exhibition at the Burke Museum between September and November 1999. The use of the contemporary Beechworth Band in a 'Liedertafel' performance provides insight into curatorial approaches at the turn of the twenty-first century and improves our understanding of how exhibitions use objects in the Burke Museum's Collection to tell stories about the past in the present. The image is historically and socially significant for attesting to the enduring appeal of local musical associations, which were a popular means of entertainment that fostered social connections among settlers from diverse ethnic backgrounds. Rectangular colour photograph printed on matte photographic paper. Reverse: 7029 / Label: 7029 / Source / Burke Museum / Beechworth / Band / 1999/2000 /liedertafel, beechworth band, burke museum, from the liedertafel to the skating rink, entertainment in beechworth 1852 - early 1900s, gold rush, immigration, beechworth's german heritage, london tavern beechworth, beechworth's first brick tavern, spiller's skating rink, vandenberg's beechworth brass band, protestantism, teetotallism, skating carnivals, beechworth german association, yma's, beechworth skating rink, progress societies, billson's brewery, german-australians, beechworth progess association, lodges, freemasonry, colonial australia

This photograph depicts the entrance to the Burke Museum in Beechworth, most likely in 1980. The building was originally established as the Beechworth Athenaeum in 1857 to provide a lecture hall and reading room at the peak of the gold rush. In 1859, it became the Beechworth Public Library, which is why the writing embossed above the main entry says 'Library' rather than 'Museum'. The building was turned into a museum and renamed the Robert O'Hara Burke Memorial Museum in 1863 in honour of Robert O'Hara Burke, former Police Superindendent of Beechworth who died in 1861 on the Burke and Wills expedition. The Burke Museum has been in almost continual operation since that time. In the 1970s, the building underwent renovations to create several verandas, though the main façade visible in this photograph remained as it was when originally built. The Burke Museum currently contains over 30,000 individual objects, including the Gold Rush era items and the Ned Kelly collection advertised on the a-frame in the photograph. The photograph itself is also part of the Burke Museum collection.The Burke Museum itself is very significant to Victorian history. It is on both the Victorian Heritage Register and is part of the National Trust due to its relevance to the history of the Gold Rush period, its architectural features, and its significant collection. Photographs of it throughout its history are an important part of telling the museum's story. This photograph in particular highlights what the museum staff believed would be appealing to a 1980s public, evident by the A-frame advertising board.A black and white rectangular photograph printed on photographic paper.Top right text: 5147. Bottom left text: Beryl Seatt (or possibly Scatt) & friend 1980beechworth, burke museum, beechworth museum, beechworth historic precinct, architecture, museum, library, 1980s, 1980s australia, museum staff

This series of 3 photographs were taken in 2007. They were taken to show the new protective case for the Burke Museum world globe, made by Kurt Wagner. The three photographs show different angles of the globe and case.This series of photographs is of social significance to the people of Beechworth and the surrounding shire. The case was made by local woodworker Kurt Wagner and therefore shows the bond between the Burke Museum and the community of Beechworth through their collaboration. Additionally, the photographs provide an interesting perspective on late 2000s museum interior design as it is possible to see how this part of the museum was set up in 2007.Coloured rectangular photograph printed on photographic paper.5567.1 / 5567.2 / 5567.3 globe, 2007, burke museum, beechworth, kurt wagner, protective case, world globe, woodworking, museum styling, 2000s, community involvement

A man and two women surround the case of the extinct Tasmanian Thylacine at the Burke Museum. They have been identified as Tim Flannery, Linda Peacock and Pam Magennis. Tim Flannery was an orator at the Kerferd Oration and spoke on "The Climate Change Challenge".This photograph is significant both socially and historically. The Kerferd Oration is held every year and speaks on topics that both challenges and encourages members of the community. In 2008 the speaker was Tim Flannery pictured in this photograph. Flannery spoke on the issue of climate change, and how we can better manage the earth and her resources. This makes this photograph particularly interesting as the Tasmanian Thylacine is extinct because of the acts of man (hunting and introduction of foreign species), this photograph therefore sends a message about climate change and subsequent extinction, which makes it a significant item to the community of Beechworth and to the Burke Museum.Coloured rectangular photograph printed on photographic paper.Reverse: 6854burke museum, beechworth, 2008, event, thylacine, taxidermy, late 2000s fashion, museum display, recreation, arts, community, 2008 kerferd oration, the climate change challenge, extinction

Taken in the early 2000s, this photograph depicts two men and two women, all holding wine glasses. Everyone is casually dressed and seem to be attending a dinner party at the Burke Museum. The group of four have been identified as A. Robbins, J. Indian, S. Routledge and A. Box.This photograph is significant because of its insight into the social aspect of life at the Burke Memorial Museum during the 2000s. The photograph is part of a large collection of photos from this time period and shows fashion trends, social events and interior design trends of the time. The photograph in an interpretive capacity could also assist in further research into the life and development of the Burke Museum, providing a different perspective on early 2000s social events and their development into the social events of today.Coloured rectangular photograph printed on photographic paper.Obverse: No Exit / Reverse: AGFA Watermark / 6511burke museum, beechworth, 2000s, dinner party, function, recreation, fashion, party, 2000s clothing, community

Taken in 1999, the photograph depicts a section of “The Harvest” exhibition held at the Burke Museum between May 1st and June 20th 1999 as part of the Baking Industry Victoria. In the foreground is believed to be an old seed distributor. The grain mill made by B. M. Purshouse in Wolverhampton, United Kingdom, was of special interest during the exhibition. This photograph is of historical and research significance, connecting with various themes such as farming, adapting to diverse environments, and the promotion of settlement in Victoria. The photograph is an example of an exhibition held at the Burke Museum in 1999, demonstrating the communal interest of Beechworth in their farming history. The photograph contains a strong interpretive capacity as it demonstrates the importance of farming to Beechworth and Beechworth's history, revealing the enduring connection between the local community and the surrounding land. The historical and research value of the photograph is further enhanced by the depiction of historical farming machinery, providing a means for future generations to view historical machines used in farming. Colour rectangular photograph printed on photographic paper.Reverse: 2857burke museum, the harvest, exhibition, baking industry, grain mill, b. m. purshouse, beechworth, baking industry victoria, seed, seed distributor

Taken in 1999, the photograph depicts a section of “The Harvest” exhibition held at the Burke Museum between May 1st and June 20th 1999 as part of the Baking Industry Victoria. In the foreground is depicted a seed distributor. The grain mill, which can be seen in the background, was made by B. M. Purshouse in Wolverhampton, United Kingdom, and was of special interest during the exhibition. This photograph is of historical and research significance, connecting with various themes such as farming, adapting to diverse environments, and the promotion of settlement in Victoria. The photograph is an example of an exhibition held at the Burke Museum in 1999, demonstrating the communal interest of Beechworth in their farming history. The photograph contains a strong interpretive capacity as it demonstrates the importance of farming to Beechworth and Beechworth's history, revealing the enduring connection between the local community and the surrounding land. The historical and research value of the photograph is further enhanced by the depiction of historical farming machinery, providing a means for future generations to view historical machines used in farming.Colour rectangular photograph printed on photographic paper.Reverse: 2855burke museum, the harvest, baking industry, baking industry victoria, seed distributor, grain mill, b. m. purshouse, beechworth, exhibition

To commemorate the 125th anniversary of Edward “Ned” Kelly’s committal trial in the Beechworth Historic Courthouse, the Robert O’Hara Burke Memorial Museum (henceforth Burke Museum) commissioned this postcard to coincide with their exhibition dating September 2005 to March 2006 and titled the Ned Kelly 125th Anniversary Exhibition. The postcard depicts a Snider-Enfield of .577 calibre which was reputedly favoured by the Bushranger. The firearm is of typical 1870s hunting design and was displayed as a focal point within this exhibition. The firearm, which was named “Betty” was reportedly taken by Kelly from Henry Dudley. The weapon has the letter ‘K’ engraved into the wood of the fore end. Other items also displayed in this exhibition include the Burke’s Kelly death mask, a replica of the Kelly Gang armour and photographs from the Burke Museum’s Kelly album. This postcard advertises an exhibition held at the Beechworth Burke Museum to commemorate the 125th anniversary of Kelly’s committal trial, which took place in Beechworth's historic courthouse. The selection and interpretation of items like the gun called 'Betty' are significant for understanding the changing nature of Kelly scholarship, treatment and curation, in particular, the popular and iconic myth of the Australian bushranger. The item can be compared with other Kelly photographs in Burke Museum's collection.Rectangular colour printed postcard celebrating Ned Kelly 125th Anniversary Exhibition at Burke Museum, Beechworth. Inset image of Ned Kelly's rifle. Obverse: Ned Kelly / 125th ANNIVERSARY EXHIBITION / ROBERT O'HARA BURKE MEMORIAL MUSEUM BEECHWORTH . VICTORIA . AUSTRALIA / September 2005-2006 / BEECHWORTH / Echoes of History / HISTORIC & CULTURAL PRECINCT / NED / KELLY / TOURING ROUTE / REVERSE: Ned Kelly / 125th ANNIVERSARY EXHIBITION / ROBERT O'HARA BURKE MEMORIAL MUSEUM BEECHWORTH . VICTORIA . AUSTRALIA / September 2005-2006 / AFFIX STAMP HERE / 7250 / This is the rifle that was taken from Henry Dudley by Ned Kelly. It became Ned's favourite / rifle, which he called 'Betty'. Note the 'K' carved into the wood of the fore-end. / Interestingly, there is at least one other rifle owned by Ned Kelly that also has a 'K' engraved / into it by Ned- the Colt revolving carbine used by Ned at Glenrowan /kelly album, ned kelly exhibition, ned kelly's rifle, betty, snider-enfield, .557 caliber, rifle, revolver, exhibition, beechworth, burke museum, 125th anniversary, firearm

This photograph taken c1999/2000, depicts the Burke Museum’s granite façade and vestibule entrance. The museum's large red door is closed and there is a white sign is attached to the door. The museum site dates to the 1857 founding of the Beechworth Public Library and Athenaeum by a newly formed Young Men's Association (YMA). In 1863 the museum was dedicated as a memorial to former Beechworth police superintendent (1854-1858) and explorer Robert O’Hara Burke, following Burke’s death from malnutrition on the Burke and Wills expedition in 1861. Funded by the Victorian Government and the Royal Society of Victoria, the officially titled 'Victorian Exploring Expedition' was tasked with being the first European party to traverse Australia from south to north. The Burke Museum holds objects from the famous expedition and explores the multi-layered history of Beechworth and surrounds from the gold rush era to the present.This photograph is historically significant for its depiction of the Burke Museum c1999/2000. The Burke Museum is Australia’s oldest regional museum and part of Beechworth's Historic and Cultural Precinct, one of Australia’s best preserved historic-town sites and a popular tourist destination. Once the government centre for a vast gold fields region, this collection of nationally significant buildings tells the story of how Australia grew and prospered. The frequent use of honey-coloured local granite as a building material, which can be seen in the museum's fabric, gives Beechworth’s historic buildings a distinct and cohesive local character. This photograph captures this distinctive character and may be compared and studied alongside other images of historic buildings in the Burke Museum Photographic Collection.Rectangular colour photograph printed on photographic paper.Reverse: 7031 / Label: Burke Museum / 1999/2000 /burke museum, indigo shire, beechworth athanaeum, beechworth library, beechworth historic building, historic precinct, burke museum exhibition, from the liedertafel to the skating rink, honey-coloured local granite, robert o'hara burke, victorian gold fields, historic towns in victoria, colonial australia, liedertafel, colonial entertainments, beechworth brass band, historic victorian architecture, australia's oldest regional museum, burke and wills expedition, first europeans to cross australia, yound mens associations, beechworth tourism, things to see in beechworth, beechworth historic trail, young men's associations

Taken in the 1990s, this photograph depicts a line of historically restored shopfronts on Ford Street, Beechworth, with Beechworth Bazaar in the foreground and George Gammon's Chemist and Druggist adjacent to it.This photograph is of social significance to the Beechworth community in depicting the Street of Shops, the creation of curator, Roy Harvey, which opened in 1979 at Burke Museum. According to the Indigo Shire Council webpage for Burke Museum, this addition 'began a new period of collecting with Roy Harvey calling to the community for donations. The response resulted in an influx of material adding to the town history/ development and local identities collections. The Shops and their contents reflect another period in museology.' This photograph evokes the historic shopfronts of Beechworth Bazaar and George Gammon's Chemist and Druggist from the Street of Shops, which were established during the mid-1850s on the back of gold mining wealth. The expansion of banks within Beechworth also stimulated the local economy.Colour rectangular photograph printed on gloss photographic paper.Obverse: BEECHWORTH BAZAAR est. 1855/ CHINA GLASSWARE SILVERPLATE EARTHENWARE/ ?ESTER HO?E/ R.?ALL. ? LT.LITTLEWOO?/ SINGLEMAN & RIEDLE GEORGE GAMMON/ MEDICAL GALVANISM/ CUPPING/ TEETH EXTRACTED/ CHEMIST & DRUGGIST Reverse: 3. 3055 burke museum, beechworth, beechworth bazaar, 19th-century victorian history, beechworth historic shops, burke museum, promoting settlement, marketing and retailing, living in country towns, making regional centres, preserving traditions and commemorating, victorian gold rush towns, beechworth pioneers, 1850s beechworth

A photo of the original Burke Library building between two medium sized trees, a lamp post sits between them and a large tree is behind the building. This photo was taken c1950/60s.This photo is of both historical and social significance to the people and community of Beechworth because it shows the development of the Burke Museum from what it was in this picture, to what can be seen today. It also shows the Burke Museum's prominent architecture marking it as a particular point of interest within Beechworth. Along with the aspects of the building that the Burke museum is known for today, such as the façade and the central lamp post, all of which are significant to the town of Beechworth and its people.Black and white rectangular photograph printed on photographic paper.Obverse: 1856 / Library Reverse: Beechworth Library / 33 1/3% / Caldwell / 19 eu (illegible) / 11 eu (illegible) / 729 / 3 1/6 / BMM 8691 / S / T / E / T (Scribbles and arrows across the page)burke museum, beechworth, 1950s, architecture, landscaping, development

Taken in 1990, this photograph depicts a row of shops in Beechworth, with the shopfront of watchmaker and jewellers, William Turner and C.F. Falck, in the foreground, and newsagent and bookseller James Ingram's shop in the background.This photograph is of social significance to the Beechworth community in depicting the Street of Shops, the creation of curator, Roy Harvey, which opened in 1979 at Burke Museum. According to the Indigo Shire Council webpage for Burke Museum, this addition 'began a new period of collecting with Roy Harvey calling to the community for donations. The response resulted in an influx of material adding to the town history/ development and local identities collections. The Shops and their contents reflect another period in museology.' The historic shopfronts in this image portray those of local settlers, William Turner and CF Falck's Watchmaker and Jeweller store, and James Ingram's news agency and bookshop. William Turner was originally a goldfields official who became a commissioner on the Ovens goldfield, and later a resident warden, at times performing magisterial duties and chairing the Local Court. Charles Frederick Falck, born in Korlin, Germany, in 1833, a skilled watchmaker and jeweller, ran the jewellery business from 1862. Along with William Turner and Melbourne barrister, George Milner Stephen, he prepared a dazzling display of gems and jewellery from Beechworth for the Royal Society's Exhibition in Melbourne in 1865. This act signposted Beechworth's progress as a nineteenth-century gold rush town with a population of around 3000. In the mid-1850s, newsagent James Ingram established a newsagency and supplied papers and stationary to the goldfields. He and bookseller R.T. Vale stocked a wide range of literary, historical and religious works, textbooks, periodicals and newspapers, as well as hosting a reading and writing room on Camp Street{?}. James Ingram was a 'devoted instigator and supporter of the town's welfare institutions', who raised funds for to establish a hospital, primary school and benevolent asylum, and assisted people who'd fallen on hard times with his wife. He was also a mainstay of the early Baptist church, holding meetings in his house. He died in 1928, six weeks short of his 100th birthday. Ingram's Rock, north-west of Beechworth near where he lived in later life, was named after him. Colour rectangular photograph printed on matte photographic paper.Obverse: FALCK 1880 / maker & Jeweller/ WARDENS OFFICE/COACHING OFFICE/ EST. ??55/ ????ON HOUSE/ JAMES INGRAM/ NEWS?????? AND BOOKSELLER/ TOYS visible above shopfront in left foreground. Reverse: Catalogue item number 3305 pencilled in top right-hand corner.beechworth, beechworth historic shops, william turner, cf falck, james ingram, turner and falck watchmaker and jeweller, james ingram newsagent and bookseller, burke museum, promoting settlement, marketing and retailing, living in country towns, making regional centres, preserving traditions and commemorating, beechworth founders, victorian gold rush towns, beechworth pioneers, ingram's rock, 1860s beechworth, street of shops, roy harvey

This photograph depicts four men standing near a large unidentified building. This building is the entrance to a deep lead mine shaft. There is a bridge entering the building, which was used to access the elevator to the shaft. Deep lead mining involved placing large shafts into the ground which miners use to access deeper locations in order to excavate the rocks in the search for lead. Deep lead mining was highly dangerous as roofs could cave in of the soil was loose. Therefore, this particular mining considered to be highly undesirable profession as many miners did not want to work long hours nor risk their lives in the search for lead. Indigo Shire was a large area where deep lead mining took place, and thus the landscape and environment was largely impacted by these mining businesses. The Indigo Shire grew in population and wealth in the early 1850s when people came into this location in the hopes of finding gold and making a fortune. Ultimately, the accessibility and availability of gold and precious metals decreased once the gold reserves dried up and alongside this, the large population moved away. The Ovens was also heavily impacted environmentally as deep mining resulted in the change in land formation.The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray an open cut sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about the methods used to find gold in Indigo Shire. It also shows a location where deep mining was undertook which provides insight into the impact of deep mining on the environment at a time when it was done. This image is important for current research into the history of Indigo Shire, a region in Victoria's north-east. Therefore, this image has the capacity to be beneficial for research into society and the motivations of those living and working in this region during this period and therefore, has social significance. The Beechworth Burke Museum has additional images relating to deep lead mining and Indigo Shire which can be analysed and studied alongside images like this one.Sepia coloured retangular photo printed on gloss photographic paper.Reverse: 1997.2510/ A02510/ Deep Lead Mining/ page 94/ 65%/ Burke Museum, Photo 44beechworth, burke museum, indigo shire, deep lead mining, mining, gold, gold mining

This reproduced photograph is of Pennyweight Flat near Beechworth, a notable area of the 1850's gold rush in Victoria. Donald Fletcher, migrating to Beechworth from Scotland in 1855, had substantial claims at Pennyweight Flat and was amongst the first in the district to utilise hydraulic sluicing and water diverting methods.The flat is said to have seen a flurry of 200 miners to the area around 1857, and by 1861 when work commenced on extending Fletcher's tail race the census recorded 644 people residing there (European males, females and Chinese). Pennyweight Flat is also significant for the cemetery that resides on the hilltop and which noted approximately 200 burials from the gold rush period 1852-1857, known for a long period as a children's cemetery due to the number of children's graves present.This photograph has historic and research potential for study on the gold mining of the Beechworth region, as a record of the topography of the time, and the effect the activity had on the environment and the people. The clarity of the original photo, and the good preserved condition of the reproduction, means it can continue to be used for research into Pennyweight Flat area, Donald Fletcher's water diversion and hydraulic sluicing methods, and the history of gold mining in the area.A black and white rectangular reproduced photograph printed on matte photographic paper.Reverse: Pennyweight Flat / copied from the collection of / Robert O'Hara Burke Memorial Museum, Beechworth / (copyright) / this photograph may not be resold, copied, displayed or republished in any way without / the written permission of the Robert O'Hara Burke Memorial Museum, Beechworth / A few applies for commercial use.pennyweight flat, burke museum, gold rush, beechworth, gold mining

This specimen is a Brown Goshawk juvenile. The Brown Goshawk is widely distributed across Australia, Wallacea, New Guinea, New Caledonia, Vanuatu, and Fiji. In Australia, it predominantly inhabits eucalypt forests, woodlands, farmland, and urban areas, while in the Pacific, it is primarily associated with rainforest environments. Historically, it was also present on Norfolk Island until around 1790, potentially representing an undescribed subspecies. However, the limited material available—consisting of a single historical skin and nine subfossil bones—precludes confirmation through scientific analysis. This specimen was originally identified as a Nankeen Kestral and is catalogued as such in the original Public Library and Burke Museum catalogue. The 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 specimen exhibits distinctive plumage compared to its adult counterparts. It has a streaky appearance, with a buff to pale rufous base color on its underparts adorned with bold, dark brown streaks. The upperparts are brown, with a slightly mottled or scalloped effect due to pale feather edges. Its eyes are yellow and legs are a pale yellow. The wings are broad and rounded, and the tail is long and barred. Identification swing tag with catalogue page number reads: 4. / Nankeen Kestrel - / See Catalogue,/ Page 2. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, birds of prey, goshawk, ornithological, nankeen kestral

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 white-bellied cuckooshrike inhabits regions across Australia, Indonesia, Papua New Guinea, and the Solomon Islands. In Australia, it is distributed widely, occurring in tropical northern areas as well as in the eastern parts of the country, including northern Western Australia, the Northern Territory, Queensland, New South Wales, Victoria, and southeastern South Australia. The species is prevalent throughout Papua New Guinea and the Solomon Islands, but less frequently observed in Indonesia. Within Indonesia, it is most commonly found in the northern Moluccas, with occasional sightings in Eastern Wallacea. This specimen was originally identified as a young Black-Cuckoo-shrike and catalogued as such in the Burke Museum original catalogue. Analysis conducted as part of a conservation treatment in 2024 reclassified the specimen as a white-bellied cuckooshrike. 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 specimen is a young White-bellied cuckooshrike which stands perched on a wooden mount. It has pale grey colouring which is darker on the rear. The wings are tipped with grey-brown feathers and the same colour feathers also appear on the bird's tale. The specimen has dark limbs and bill and this specimen is provided with two glass eyes which are dark in colouring. The bird has a more creamy pale grey on the throat and stomach. It has a black facial mask which is restricted to an eye stripe. 21a / Black Faced Graculus / See catalogue page 11taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, cuckoo, shrike, common birds, australian birds, australian bird, white-bellied cuckooshrike

The Thylacine or Tasmanian Tiger, was a large nocturnal carnivorous marsupial now believed to be extinct that was native to both Australia and New Guinea. The Thylacine is believed to have first appeared over two million years ago with documentation of the species appearing on rock-art that have been dated as far back as 1,000BC. 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. The Burke Museum Thylacine is of great historic, scientific and cultural significance as Australia's most notable example of a species made extinct within living memory. Poignant images of the last known thylacine linger in national consciousness and remain an evocative symbol of the impact of humankind on the natural environment. The Burke Museum thylacine has immense social significance not only for its ability to tell a story to present and future generations, but also for embodying the mythic tiger that lives on elusively, we hope, in the Tasmanian wilderness. Attempts to clone the thylacine from material held in museums attest to the passion that this iconic animal evokes in the scientific as well as mainstream community. Medium sized lean female thylacine with four stocky legs and a stiff tail. The fur is short and coarse and in a light brown-yellow colour with 15 dark brown stripes across the width of the body. The head is long and narrow with two small pointy ears and a large jaw with up to 30 visible teeth.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, thylacine, tasmanian tiger, rare

The White-necked Heron (also known as the Pacific Heron) is commonly found throughout mainland Australia. It resides mainly in locations with freshwater and in tidal areas. These birds are carnivores and mainly eat fish, crustaceans, amphibians and insects. They are also known to feed on young freshwater rats, young ducklings and lizards. 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 White-Necked Heron has been stylised in a standing position on a wooden platform. The bird has long black legs and a long white neck with black spots decorating the front of the neck. The head is also white and the bill black. The front torso of the bird is cream mixed with brown plumage and the back. The rear and wings are a dark brown. [illegible] Heron / See Catalogue, page 33. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, white-necked heron, heron, pacific heron

The White-necked Heron (also known as the Pacific Heron) is commonly found throughout mainland Australia. It resides mainly in locations with freshwater and in tidal areas. These birds are carnivores and mainly eat fish, crustaceans, amphibians and insects. They are also known to feed on young freshwater rats, young ducklings and lizards. 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 White-Necked Heron has been stylised in a standing position on a wooden platform. It is facing forwards but looking over its left shoulder. The eyes of this specimen are made from yellow glass. The bird has long black legs and a long white neck with black spots decorating the front of the neck. The head is also white and the bill black. The front torso of the bird is cream mixed with brown plumage and the back. The rear and wings are a dark brown.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, white-necked heron, heron, pacific heron

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

This photograph was taken in 1999 at 'The Harvest' exhibition at the Burke Museum for members of Baking Industry Victoria. The grain mill, manufactured by B.M. Purshouse in Wolverhampton, England, was of special interest.This photograph is of primary social significance to the Beechworth community because it depicts a 19th-century grain mill, manufactured by B.M. Purshouse in Wolverhampton, England, which was probably used at flour mills in the Ovens District, such as that at Tarrawingee, which opened in 1866. The purchase of agricultural machinery such as the grain mill accompanied the expansion of agriculture, including grain growing, in the Ovens District following the gold mining prosperity of the 1850s. This photograph may be of interest to researchers who wish to observe an image of the Purshouse grain mill.Colour rectangular photograph printed on matte AGFA photographic paper.Obverse: THE HARVEST / THE HARVEST Reverse: 2854beechworth, burke museum, promoting settlement, living in country towns, making regional centres, preserving traditions and commemorating, farming and agriculture, exhibitions, burke museum exhibitions, building local economies, transforming land, victorian agricultural history, marketing and promoting agricultural products, the harvest exhibition, harvests, victorian gold rush towns, grain mill, bm purshouse, crops and grain, baking industry victoria

The Mistle Thrush is native to Ireland and Scotland, North Africa and parts of Asia. It is known as a large, aggressive and powerful bird. They have several different calls: the main call, given by both sexes, is a dry chattering 'krrrr', louder when the birds are alarmed or excited. There is also a squeaky 'tuk' contact call. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. The Mistle Thrush has a pale grey-brown upperpart and a greyish-white chin. The yellow/buff breast and off-white belly are marked with round black spots. The long tail has white tips on the outer feathers, and the underwing coverts are white. The glass eyes are dark brown and the bill is blackish with a yellow base to the lower mandible. The legs and feet are yellow/brown. There is no plumage differences between the male and the female Mistle Thrush. This particular specimen stands upon a wooden platform and has an identification tag tied around its leg.Label: 111a. / Mistle Thrush / Catalogue, Page 28. / Other Label: 57. / Turdus viscivorus /taxidermy mount, cancel, taxidermy, burke museum, beechworth, australian museum, bird, mistle thrush

The spotted pardalote is the smallest of all Australian birds. It has a tendency to nest in a long horizontal tunnel, often dug into the soil of creek banks, the embankments of railway cuttings, and quarries. Its call is characterised by a very clear and repetitive double "ding". The spotted pardalote is common in woodlands and eucalypt forest areas in Australia. 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. One of Australia's smallest native birds, the male spotted pardalotte is covered with small, distinct white spots. Males have a pale eyebrow, a yellow throat and a red rump. Females are similar but have less-distinct markings. 10060 comprises of one male and one female. This specimen stands upon a wooden platform and has an identification tag tied around its legLabel: 14a. / Spotted Diamond Bird / See Catalogue, page 9. /taxidermy mount, cancel, taxidermy, burke museum, beechworth, australian museum, bird, spotted pardalote

The Superb Lyrebird is a large ground-dwelling bird with powerful legs and long tail. Found in rainforest habitats in southeastern Australia, it forages in leaf litter for food. It has a very powerful song and is known for mimicking other species. The males have spectacular long tail comprising a variety of feather types, where juveniles and females lack the longer tail feathers. 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 Superb Lyrebird is primarily grey/brown. It has striking tail feathers that are white, beige and darker brown that vary in size. Aside from the middle of its tail feathers, the parts of the bird which are darker brown include the top of its head, wings and back. The bird has strong legs and a small beak. This specimen stands upon a wooden platform.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, superb lyrebird