Written by Dr R Reid with assistance from Courtney Page and Robert Adams. Published by Looking Glass Press on behalf of the Department of Veteran's Affairs, Canberra.76 page, cut edged, illustrated softcover book. Cover has sepia images of a smoking soldier, a group of soldiers looking at the sky and two soldiers talking to a woman and child.books, military history, france

1993, 272, alice bugge, youth production

A repeat performance of the 1993_2721993, 277, 272, youth production

44 pages, illustrated.

Castlemaine State Festival, Castlemaine. 2 November 1990. Programme. From the Chairmen - Mr Bereck Segan. Melbourne Committee: B R Segan, O.B.E. (Chairman), M Besen, A.O. (Deputy Chairman), Mrs H Dore (Hon. Sec.), C Anzarut, N Bourke, Ms M Coillet, Prof. C Duckworth, G Fairfax, A.M., K MacKenzie-Forbes, A.M., Mrs B Margetts, Dr F R Moulds, I.S.O., R Nordlinger, J Parker, M.B.E., A Porter, Ms M Prendergast, C Pyett, Ms D Reilly, Mrs, Ms L Schiftan, P M Schiftan, D Segan, B J Stewart, Ms S Walker, Dr R Wlikie. Melbourne Committee: I O'Halloran, (Chairman), Mrs M Rilen (Hon.Sec.), Miss R Wood (Treas), Mrs L Bennet, Mrs M Bock, S Cox, Cr T Daniell, Mrs H Griffiths, B Heydon, N Jennings, Mrs C McKellar, Miss M Oliver, L O'Toole, F Ransome-Smith, J Shortal, Dr D Silver, Mrs V Victor-Gordon, Mes E Warren, Miss L Waters. Welcome to the 1990 Castlemaine State Festival. As one festival closes, planning for the next commences immediately.. . Mr Ian O'Halloran, Chairman, Castlemaine. Castlemaine State Festival Administration, Festival Manager: Phee Broadway, Manager's Assistant: Mary Harris, Technical Manager: Lis Pain, Drawing Prize Co-ordinator: Bev Singleton, Farnham Concert Co-Ordinator: Noel Jennings with Victorian Rock Foundation. Event Listings: Opening by Hon. Jim Kennan M.P., Deputy Premier and Minister for the Arts Castlemaine Stadium. Melbourne Symphony Orchestra, Conductor - Hiroyuki Iwaki, Soloist - Dong -Suk Kang. Royal Variety Club Grand Final Theatre Royal, Town Crier Mr Neville Stonehouse. Kilmna Wildflower Walk. 'Melbourne: Architecture Today and the year 2000' Professor Peter McIntyre, A.O. Wine tasting. Selected Antique Fair. Organ Recital, organist Michael Bottomly. Mickleford Tour. A Closer Look at Castlemaine, Castlemaine Historical Society. 'Local Brew' Love Letters by A R Gurney, Starring Julia Blake and Terry Norris Directed by George Fairfax A.M. The Noel Watson Show. John Pringle and Miriam Gormley sing Operatic Gems with the Rantos Collegium and conductor Nicholas Braithwaite. The Incredible Shrinking Mortgage Show', Pat Wilson and Adrian Barnes. Festival Nightcap, Mr P P an acrobatic delight. Breakfast with Potts in the Park. A Stroll Around Town, Historical Society guide. Gardens Open. Selected Antique Fair. Festive Family Fun, musician Natasha Moszenin, Fratellini Brothers, Tim Hurley, Wally Fair Ground Organ, Foundry Band, Megan Jones, Mr P P. A guided Tour, Mrs Marjorie Rilen. Goetz Richter - Violin, Jeanett Carrigan - Piano. 'King Lear', Berenice Kavanagh and Suzanne Kersten. The Chagell Ensemble, Rita Reichman, Piano, Semmy Stalhammer, Violin. Trevor Jones, Viola. David Pereira, Cello. Steven Reeves, Double Bass. 'The Incredible Shrinking Mortagage Show' Pat Wilson and Adrian Barnes. Festival Hymns. 'Recital' Hellen Noonan, Douglas Horton, David Chesworth, Jacqui Everett, Jude Gunson. Music for Flute and Piano, Dereck Jones - Flute, Jeanell Carrigan - Piano. 'Brass With Class' William Evans - trumpet, David Farrend - trumpet, Russell Davis - french horn, Ken McClimont - trombone, Eric Klay - bass trombone. Piano Recital - Richard Mapp. Chris Ludwick's Society Synocopators - Cup Eve Cabaret, Chris Ludowyk - trombone, Peter Gaudion- Trumpet, Richard Miller - reeds, Pip Avent - tuba, Cal Duffy's - drums. 'Cup Eve Comedy' Rachel Berger and Richard Stubbs. Festival Nightcap Mr P P. Botanical Gardens Tour Kevin Walsh. Alice's Adventures in Wonderland Glenn Elston. By arrangement with Feipp and Park Projects and Elston, Hocking and Woods Pty Ltd. Family Concert, Piano for 4 hands Jocelyn Abbott and Richard Mapp, actor Justin Shortal. Cup Day Sports Carnival. Fashion Parade, luncheon available at Georgians in George Clark Place. The Melba Trio, Carolyn Hayes - Oboe, Jane Stacvy - cor anglais, Seng Tong - Oboe. 'Images' Prudence Davis - flute, Jeffrey Crellin - oboe, Peter Lynch - guitar. 'Sounds in Time' Andree Cozens - soprano, Berenice Kavanagh - words, Dudley - Simons - piano, John Snowden - Guitar, Peter Taylor - Set design & lighting. 'Music for Celestial Voices' Laurence - Jenkins - organ, Mary Anderson - harp, Margot Anderson - harp, Margot Cory - soprano. 'Proms for Preps' Nehama Patkin. Organ Recital Keeith Bottomley. Kaweka Walk, Kaweka Reserve Committee. 'Camille Claudel'. The Tudor Choristers Musical Director - John O'Donnell. 'Something for Everyone' Nehama Patkin - piano, guitar and voice, Peter Clinch - saxaphone and clarinet, major Australian Orchastras. 'The Dock Brief' & 'What Shall We Tell Caroline' Neville Stonehouse, Kay Barker, David Bickart, Angela Walter. 'Bluebeard' The Rag & Bone Theatre Company. Poedijono and the Javanese Gamelan, Poedijono (Teacher), musician, dancer and puppeteer. Botanical Gardens Tour, Kevin Walsh, horticulturist and garden writer. 'Music through the Ages' 'Pizzicato' - classical guitar ensemble, Castlemaine Courthouse, Bruce Millar, Meryl Wilkinson, Greg Wilkinson, Greg James, Joan Maher, Danny Silver. Bach and Vivaldi - Elysium Ensemble Greg Dikmans - Art Director, flute & recorder, Julie Hewison - violin, Lucinda Moon - violin, Janet Ferandez - viola, Miriam Morris - cello, Rosemanry Westbrook - double bass, John O'Donnell - harpsichord. 'Handle by Candle' Laurence Jenkins. Sarah Grunstein at the Piano, Sarah Grunstein. 'Let the Children Sing' Castlemaine Children's Choir, director Michael Bottomley, soloist Peter Bottomley. 'Made in Australia' Phillip Day, Bruce Waston, & 'Twankydillo'. The Dancers Company of the Australian Ballet, Les Sylphides, Dame Peggy van Praagh, Sir John Betjeman, Robert Ray. 'The Wooden Child' Handspan Theatre, Douglass Horton, Ken Evans, Andre Greenwell, Peter J Wilson, Philip Lethean. Botanic Gardens Tour Kevin Walsh. Divine Accidents and Heavenly Venues' William (Bill) Akers, A.M., Director of Productions, Australian Ballet. Jazz at the Jail. Another Stroll round Castlemaine, Historical Society. Muckleford Tour, Naturalists Club. 'Sketches' The Argus Guitar Quartet, Jochen Sxhubert, Tania Ravbar, Samantha Tout, Chi Ly.Scores for Instruments and Voices, Phylis Bachelor. Fred Shade, flute; Mara Miller, Violin; Len Vorster, piano; Loris Synan, soprano; and the students of the Faculty of Music, Melbourne University. Music for Four Hands at One Keyboard, Jocelyn Abbot and Richard Mapp. Paul Grabowsky and the Groovematics, Paul Graboesky, piano. Andrew Gander, Drums. Doug de Vries, guitar. Bob Venier, Trumpet, Flugelhorn. Ian Chaplin, saxophone. Garry Costello, double bass. Shelley Scown, vocals. 'My Most Loved Songs' David Bickart - Basso. Chapliapin, McEachern, Pinza, Robeson, Dawson. A Stroll Around Town, Historical Society. Breakfast at Buda. Garden Open. Festival Eucharist, choir and orchestra Directed by Kevin Bottomley. Music, Madness, Magic. Itchy Feet Pep Band, 'Sound Steppers', 'Legs on the Wall', Andrew Elliot, Antebodies. A Guided Tour of Angligan Parish Church. John Farnham in Concert, The Chain Reaction Tour. John Farnham. Exhibitions: Aspects of France: The Australian Artist's View. Artsits include John Russell, Lloyd Rees, David Davies, John Dent, Eric Wilson, E Phillips Fox, Ethal Carrick, Rupert Bunny, Max Meldrum, Will Ashton, George Bell and others. Annemieke Mein: Embroidery and Applique. Castlemaine Artists Incorporated 6th Biennial Exhibition. Dominique Segan Castlemaine State Festival Drawing Prize 1990. 'Provocative Pieces'. 'Feathered Friends' Barbara Muir. Through the Looking Glass. Handmade - For Pleasure, Julie Cook - dolls and puppets; Traude Beilharz - hats; Gwen Cook - embroidery; Erika Beilharz - woven pieces. 'High Art' students of Castlemaine. 'Works in Wood' Laurie Vella. Old Telegraph Station, Pioneers and Old Residents Association, Jubilee booklet on sale. Studio Exhibition, Juliana Hilton: Prints, paintings decorated screens and furniture. Val Restarick: Pottery and outdoor planters. 2nd Biennial Ernest Leviny Commemorative Silver Exhibition, leading contemporary silversmiths; Hendrick Foster, Tony Kean, Mike Wilson, Flynn Bros, Andrew Last, Mark Edgoose, Peter Gerter, Beatrice Schlabowsly, Marian Hoskings, Karyn Kirby, Chris Sherwin, Peter McBride, Fran Allison. Ray Stanyer - Ceramic Paintings. Norman Anderson - Water Colour Studies. 'Australian & Baroque' David Terry. 'Mediterranean Images' Val Restarick. Framing Shop, Brian Harding. Exhibition of Women Artists, Liz Caffin, Mary Quinlton, Debra Watkins, Lorraine Le Plastrier. Maine Images, Jacki Bickart, Valarie Blake, Sue Breeney, Kate Burtchell, Janet Chapman, Diana Davidson, Betty Hall, Deidre Hull, Molly Maddox, Norma McKenzie, Beth Oag, Rhyll Plant, Michell Phillipson, Diane Thompson. Ceramics, Ian Drumond. 'The Esplanade of Palms' (Brickworks Exhibition), John Wilkins. Han Built Pottery, George Butcher. Hollis Gallery, Richard Hollis, Kathy Hollis. 'End of an Era', Castlemaine Technical College Student Exhibition. 'Building A Country', Commissioned by the Latrobe Library, the Australian State Library of Victoria. The Festival Exhibition. 'Colour - Three Way's, Alice Clague, Geoffrey Clague, Howard Tozer. Tonal Oil Painters and Tapestry Exhibition by a group of local artists, Albert Pollard, Shirley Anderson, Valerie Blake, Ivy Brown, Marjorie Byrne, Janet Chapman, Frances Cree, Colleen Hall, Loretta Harris, Phyllis McClure, Lorraine McDowell, Norma McLean, Margaret Maher, Winsome Morrat, Jean Perry, Martha Phillips, Alison Ross, Norma Sneddon, Val Story, Irene Szabo, Jean Wells, and Alan Winzor. Roma Dodson.'BarleyTwist Cottage', Bill Davies, Linda Long, Fred Kuhnl. Photography Exhibition: Faces and Souls. Children's Books and Illustrations, Meet the authors and illustrators. Burnett Gallery and Garden, Drew Lawson, photographer of Eaglehawk. Decorated Cakes & Sugar Craft Exhibition, Barbara Porter. Sponsored by Marong Hotel. The Central Victorian Unique Design & Restoration Centre, historical photographs, sketches, etc. Badger's Keep Nursery & Mr Badger's Shop, Margaret Lees, Bill Jackson. Carriage Builders & Restorers. 'Harmonious Inspirations X Four' Kristina Browning, Catherine Tait, Rod Pitt, Lindy McAboy, Castle Mice by Sonia. Historic Cottage, 'Orvil Dean Stud', John and Anne Murdock, Judy Dean. The Heritage of Maldon, Geoffery Stocks. Stanyer's Pottery, Dragon Magic, Annett Annand, Ellan Hansa. 2(two) copies of this program.event, entertainment, castemaine state festival, castlemaine state festival, castlemaine 1990. programme. chairmen - mr bereck segan. committee:b r segan, o.b.e. (chairman), m besen, a.o. (deputy chairman), mrs h dore (hon. sec.), c anzarut, n bourke, ms m coillet, prof. c duckworth, g fairfax, a.m., k mackenzie-forbes, a.m., mrs b margetts, dr f r moulds, i.s.o., r nordlinger, j parker, m.b.e., a porter, ms m prendergast, c pyett, ms d reilly, mrs, ms l schiftan, p m schiftan, d segan, b j stewart, ms s walker, dr r wlikie. melbourne committee: i o'halloran, (chairman), mrs m rilen (hon.sec.), miss r wood (treas), mrs l bennet, mrs m bock, s cox, cr t daniell, mrs h griffiths, b heydon, n jennings, mrs c mckellar, miss m oliver, l o'toole, f ransome-smith, j shortal, dr d silver, mrs v victor-gordon, mes e warren, miss l waters. mr ian o'halloran, chairman, castlemaine. castlemaine state festival administration, festival manager: phee broadway, manager's assistant: mary harris, technical manager: lis pain, drawing prize co-ordinator: bev singleton, farnham concert co-ordinator: noel jennings with victorian rock foundation. event listings: opening by hon. jim kennan m.p., deputy premier and minister for the arts castlemaine stadium. melbourne symphony orchestra, condustor - hiroyuki iwaki, soloist - dong -suk kang. royal variety club grand final theatre royal, town crier mr neville stonehouse. kilmna 'melbourne: professor peter mcintyre, a.o. organist michael bottomly. mickleford tour. castlemaine historical society. love letters by a r gurney, starring julia blake terry norris directed by george fairfax a.m. the noel watson show.john pringle and miriam gormley operatic rantos collegium and conductor nicholas braithwaite. the incredible shrinking mortgage show', pat wilson and adrian barnes., mr p p an acrobatic delight. potts in the park. a stroll around town, historical society guide. selected antique fair. festive family fun, musician natasha moszenin, fratellini brothers, tim hurley, wally fair ground organ, foundry band, megan jones, . a guided tour, mrs marjorie rilen. goetz richter - violin, jeanell carrigan - piano. 'king lear', berenice kavanagh and suzanne kersten. the chagell ensemble, rita reichman, piano, semmy stalhammer, violin. trevor jones, viola. david pereira, cello.steven reeves, double bass. pat wilson and adrian barnes. festival hymns. 'recital' hellen noonan, douglas horton, david chesworth, jacqui everett, jude gunson. music for flute and piano, dereck jones - flute, jeanell carrigan - piano. 'brass with class' william evans - trumpet, david farrend - trumpet, russell davis - french horn, ken mcclimont - trombone, eric klay - bass trombone. piano recital - richard mapp. chris ludwick's society synocopators - cabaret, chris ludowyk - trombone, peter gaudion- trumpet, richard miller - reeds, pip avent - tuba, cal duffy's - drums. 'cup eve comedy' rachel berger and richard stubbs. festival nightcap mr p p. botanicla gardens tour kevin walsh. alice's adventures in wonderland glenn elston. by arrangemnent with feipp and park projects and elston, hocking and woods pty ltd. family concert, piano for 4 hands jocelyn abbott richard mapp, actor justin shortal. cup day sports carnival. fashion parade, lucheon available ar georgians in george clark place. the melba trio, carolyn hayes - oboe, jane stacvy - cor anglais, seng tong - oboe. 'images' prudence davis - flute, jeffrey crellin - oboe, peter lynch - guitar. 'sounds in time' andree cozens - soprano, berenice kavanagh - words, dudley - simons - piano, john snowden - guitar, peter taylor - set design & lighting. 'music for celestial voices' laurence - jenkins - organ, mary anderson - harp, margot anderson - harp, margot cory - soprano. 'proms for preps' nehama patkin. organ recital keeith bottomley. kaweka walk, kaweka reserve committee. 'camille claudel'. the tudor choristers musical director - john o'donnell. 'something for everyone' nehama patkin - piano, guitar and voice, peter clinch - saxophone and clarinet, major australian orchastras.'the dock brief' & 'what shall we tell caroline' neville stonehouse, kay barker, david bickart, angela walter. 'bluebeard' the rag & bone theatre company. poedijono and the javanese gamelan, poedijono (teacher), musician, dancer and puppeteer. botanical gardens tour, kevin walsh, horticulturist and garden writer. 'music through the ages' 'pizzicato' - classical guitar ensemble, courthouse, bruce millar, meryl wilkinson, greg wilkinson, greg james, joan maher, danny silver. bach and vivaldi - elysium ensemble greg dikmans - art director, flute & recorder, julie hewison - violin, lucinda moon - violin, janet ferandez - viola, miriam morris - cello, rosemanry westbrook - double bass, john o'donnell - harpsichord. 'handle by candle' laurence jenkins. sarah grunstein at the piano, sarah grunstein. 'let the children sing' castlemaine children's choir, director michael bottomley, soloist peter bottomley. 'made in australia' phillip day, bruce waston, & 'twankydillo'. the dancers company of the australian ballet, les sylphides, dame peggy van praagh, sir john betjeman, robert ray. 'the wooden child' handspan theatre, douglass horton, ken evans, andre greenwell, peter j wilson, philip lethlean. botanic gardens tour kevin walsh. divine accidents and heavenly venues' william (bill) akers, a.m., director of productions, australian ballet. jazz at the jail. stroll round castlemaine, historical society. muckleford tour, naturalists club. 'sketches' the argus guitar quartet, jochen sxhubert, tania ravbar, samantha tout, chi ly.scores for instruments and voices, phylis bachelor. fred shade, flute; mara miller, violin; len vorster, piano; loris synan, soprano; students of the faculty of music, melbourne university. music for four hands at one keyboard, jocelyn abbot and richard mapp. paul grabowsky and the groovematics, paul graboesky, piano. andrew gander, drums. doug de vries, guitar. bob venier, trumpet, flugelhorn. ian chaplin, saxophone. garry costello, double bass. shelley scown, vocals. 'my most loved songs' david bickart - basso. chapliapin, mceachern, pinza, robeson, dawson. stroll around town, historical society. breakfast at buda. garden open. festival eucharist, choir and orchestra directed by kevin bottomley. music, madness, magic. itchy feet pep band, 'sound steppers', 'legs on the wall', andrew elliot, antebodies. a guided tour of angligan parish church. john farnham in concert. exhibitions: aspects of france: the australian artist's view. artsits include john russell, lloyd rees, david davies, john dent, eric wilson, e phillips fox, ethal carrick, rupert bunny, max meldrum, will ashton, george bell and others. annemieke mein: embroidery and applique. castlemaine artists incorportated 6th biennieal exibition. dominique segan castlemaine state festival drawing prize 1990. 'provocative pieces'.'feathered friends' barbara muir. through the looking glass. handmade - for pleasure, julie cook - dolls and puppets; traude beilharz - hats; gwen cook - embroidery; erika beilharz - woven pieces. 'high art' students of castlemaine. 'works in wood' laurie vella. old telegraph station, pioneers and old residents association, jubilee booklet on sale. studio exhibition, juliana hilton: prints, paintings decorated screens and furniture. val restarick: pottery and outdoor planters. 2nd biennial ernest leviny commemorative silver exhibition, leading contemporary silversmiths; hendrick foster, tony kean, mike wilson, flynn bros, andrew last, mark edgoose, peter gerter, beatrice schlabowsly, marian hoskings, karyn kirby, chris sherwin, peter mcbride, fran allison. ray stanyer - ceramic paintings. norman anderson - water colour studies. 'australian & baroque' david terry. 'mediterranean images' val restarick. framing shop, brian harding. exhibition of women artists, liz caffin, mary quinlton, debra watkins, lorraine le plastrier. maine images, jacki bickart, valarie blake, sue breeney, kate burtchell, janet chapman, diana davidson, betty hall, deidre hull, molly maddox, norma mckenzie, beth oag, rhyll plant, michell phillipson, diane thompson. ceramics, ian drumond. 'the esplanade of palms' (brickworks exhibition), john wilkins.han built pottery, george butcher. hollis gallery, richard hollis, kathy hollis. 'end of an era', castlemaine technical college student exhibition. 'building a country', commissioned by the latrobe library, the australian state library of victoria. the festival exhibition. 'colour - three way's, alice clague, geoffery clague, howard tozer. tonal oil painters and taperstry exhibition by a group of local artists, albert pollard, shirley anderson, valerie blake, ivy brown, marjorie byrne, janet chapman, frances cree, colleen hall, loretta harris, phyllis mcclure, lorraine mcdowell, norma mclean, margaret maher, winsome morrat, jean perry, martha phillips, alison ross, norma sneddon, val story, irene szabo, jean wells, and alan winzor. roma dodson.'barleytwist cottage', bill davies, linda long, fred kuhnl. photogralhy exhibition: faces and souls. children's books and illustrations, meet the authors and illustrators. burnett gallery and garden, drew lawson, photographer of eaglehawk. decorated cakes & sugar craft exhibition, barbara porter. sponsored by marong hotel. the central victorian unique design & restoration centre, historical photographs, sketches, etc. badger's keep nursery & mr badger's shop, margaret lees, bill jackson. carriage builders & restorers. 'harmonious inspirations x four' kristina browning, catherine tait, rod pitt, lindy mcaboy, castle mice by sonia. historic cottage, 'orvil dean stud', john and anne murdock, judy dean. the heritage of maldon, geoffery stocks. stanyer's pottery, dragon magic, annett annand, ellan hansa.

These binoculars appear to have been made for use by service personnel, carrying a broad arrow symbol on the barrel. The inscriptions "MG" may indicate the manufacturer or initials of the owner. The service number 48582 may indicate that the pair was owned by Lionel James O'Dempsey, a Victorian who served as a Lance Sergeant with the 3 Light Anti Aircraft Regiment during the Second World War.Brass binoculars with cotton cord acting as strap, fastened via a knot on one side of a small loop cast into the side of the barrel. Two cone shaped barrels with circular convex glass disc on each wide end. Each barrel joined together via a joint platform approximately halfway and 9/10ths of the way up the binoculars. Binoculars can change shape by barrels swivelling on a central pin. Binoculars also zoom in and out (i.e. barrel reduces and expands) due to grooved dial in centre of pin. One eye piece missing on left side, right side intact but able to be unscrewed. Barrels are tinted green from copper corrosion and retractable barrel sections have black colouring in parts.Inscribed on centre platform between eye pieces "M G", in the direction of the wearer. On top of adjustable barrels: "[broad arrow] (right side)", "Mk VSP-/48582"second world war, worl war two, world war ii, binoculars, looking glass, surveillance

Achromatic Telescope, 4 fold, brass, with leather optical covers attached to each end by leather straps.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, achromatic telescope, looking, glass

Brass (looking) oil lamp with glass funnel top. Lamp has no burner, wicker lid.

Thought to have originated in Austria in 1869, postcards first gained popularity in Australia in the 1890s.They were used to send short messages to friends and family. This collection was generated by Mary Emma Elliot of Talgarno. Talgarno is a rural locality in Victoria, Australia, situated on the southern shoreline of Lake Hume, about 23 km east of Albury-Wodonga. The collection contains postcards from across the world. Mary Emma Sibley was born in Ironbark, Bendigo in 1859. She married James Elliot in 1893 and they settled at “Kelso”, Talgarno. They had two children – Mona and Sibley. Mary Emma Elliot died in Melbourne in 1944, aged 84 years. Australian postcards collected by Mrs James Elliot between 1898 and 1915. 1405.001 Botanic Gardens Sydney 1405.002 Yass 1405.003 Dead Beat 1405.004 Clifton Cliffs, Illawarra 1405.005 The Bridal Veil Falls, Leura 1405.006 Path to Bell Fall, Leura 1405.007 Fern Grotto, Leura 1405.008 Marguerite Cascades, Leura 1405.009 The Botanic Gardens and Harbour, Sydney 1405.010 Botanical Gardens - Sydney 1405.011 National Park, Sydney N.S.W. 1405.012 Caves House, Jenolan Caves, N.S.W. 1405.013 Coast scene, Wattamolla 1405.014 Looking-glass Rock, Hawkesbury River 1405.015 The Harbour, Kiama 1405.016 River Scene, National Park N. S. Wales. 1405.017 Church of England, Cootamundra 1405.018 Flood, 1917 1405.019 Murray River 1405.020 Bathurst postcards, collecting, collections, talgarno

The Phoebus is a fibreglass composite sailplane that was designed by H. Nagele, R. Linder and R. Eppler in the early 1960s for competition flying. It is a derivative from the Akaflieg Stuttart Phonix which was the first sailplane to be built of fibreglass. The first Phoebus, a Standard Class design with a 15 metre wingspan, flew in 1964. The Phoebus C is the open class version of the type that was introduced in 1967. It has a 17 metre wing span, retractable wheel and tail brake parachute. Several hundred Phoebus sailplanes (all versions) were made by the manufacturer Bolkow at Ottobrun in Germany before production ended in 1970. The Museum’s Phoebus C, serial number 866, was built in 1969. It was donated to the Museum by Ian Cohn in 2008. Early fibreglass design that was manufactured in numbers. The Phoebus is a modern looking single seat glass fibre sailplane with a ‘T’ tailplane. It is finished in white with light red detailing including thin red stripe on wings and some red striping on fuselage sides from nose to underneath wings.Serial number 866 on plate affixed inside cockpit – registration VH-GSW which has been painted on the sides of the fuselage rear of the wings. A Freistaat Bayern crest has been applied to each side of the vertical stabilizer. australian gliding, glider, sailplane, bolkow, phoebus, cohn, nagele, linder, eppler

CLUNES TOWNSHIP IN 1886.1 BLACK WOODEN FRAMED PHOTOGRAPH OF CLUNES. HAND TINTED WITH A NARRATIVE WHICH WAS GLUED ONTO THE GLASS. VIEW LOOKING SOUTH NEAR THE PRESENT DAY SCENIC ROAD LOOKOUT. .2 BROWN WOODEN FRAMED PHOTOGRAPH OF THIS SKETCH. WITH MATT BORDER..1 TOWN OF CLUNES - Population 4874 - Number of dwellings 1100. Gold first discovered here 1st July 1851 Printed narrative: A hand-tinted photo-engraving from the Handbook of Victoria, published for the Colonial and Indian Exhibition in London, 1886. Looking south from near the present-day Scenic Road lookout, the illustration projects the image of Clunes as a goldmining town The view shows the headframes of several mine shafts, the Central Clunes Q.M.Co., and the Boundary, No.1 and No.2 shafts of the South Clunes G.M.Co. The headframe on the skyline in the middle distance was probably that of the Bute & Downes Amalgamated G.M.Co., near the railway station. .2 PAPER CERTIFICATE OF AUTHENTICITY ON REAR OF FRAME.colonial and indian exhibition in london 1886, bute & downes amalgamated, buildings, mining

Colour photo taken from the interior of the Methodist Church, looking towards the stained glass window. These photographs are in the presentation album given to Vera Wigley in memory of her husband, builder Evan Wigley. See Registration Numbers 11002-00 to 11002-10 for the full set of photographs.

Undated newspaper cutting titled 'Cataloguing the cards'. Contains a photograph of Elaine with a magnifying glass looking at some postcards from the Elliott Postcard Collection. Photo taken from under a glass table by Andrew Perryman. The Heritage care program is a partnership between the State Government agency Heritage Victoria and Conservation Volunteers Australia, which recruits volunteers and manages projects on behalf of Heritage Victoria. Other volunteers are Ray Smith, Philip Wilkin, Maxine Hawker and Margaret McCluskey.person, individual, elaine swanson, newspaper article - elaine swanson, elliott postcard collection, bendigo historical society, bendigo gaol, ray smith, philip wilkin, maxine hawker, margaret mccluskey, heritage victoria, conservation volunteers australia, ken beasley, andrew perryman

Two newspaper cuttings pasted onto a sheet of paper. (1) "Golden fruit - girl students at the Burnley Horticultural College gathering a fine crop of oranges in the orchard." in The Argus, 16th July 1931.(2) student examining some blossom, with the caption: "Searching for thrips: the thrips menace has made its appearance again on fruit blossom in some districts of Victoria. This photograph, taken today at the Burnley Horticultural School, shows one of the girl students with a magnifying glass looking for the minute insects. A few isolated thrips have been discovered on the buds of some of the trees at the school."female students, oranges, thrips, students working outside, fruit, orchard, field station, blossom

Wedgwood was founded on 1 May 1759 by Josiah Wedgwood and in 1987 merged with Waterford Crystal to create Waterford Wedgwood, an Ireland-based luxury brands group. After the 2009 purchase by KPS Capital, Wedgwood became part of a group of companies known as WWRD Holdings Ltd, an acronym for "Waterford Wedgwood Royal Doulton." In 1765, Josiah Wedgwood created a new earthenware form which impressed the then British Queen consort Charlotte of Mecklenburg-Strelitz who gave permission to call it "Queen's Ware"; this new form sold extremely well across Europe. Wedgwood developed a number of further industrial innovations for his company, notably a way of measuring kiln temperatures accurately and new ware types Black Basalt and Jasper Ware. Wedgwood's most famous ware is jasperware. It was created to look like ancient cameo glass. It was inspired by the Portland Vase, a Roman vessel. Wedgwood had increasing success with hard paste porcelain which attempted to imitate the whiteness of tea-ware imported from China. High transportation costs and the demanding journey from the Far East meant that the supply of chinaware could not keep up with increasingly high demand. In 1812 Wedgwood produced their own bone china which, though not a commercial success at first eventually became an important part of an extremely profitable business. An oval white china platter with blue flowers and fruit. Back is marked WEDGWOOD CHRYSANTHEMUMOn base ; CHRYSANTHEMUM / i / W / 7 / WEDGWOOD china, pottery, crockery, england, moorabbin, bentleigh, cheltenham, kitchenware, wedgwood josiah

This item was inherited from the donor's father, René Dupuche. John Dupuche, writes: This magnifying glass was used to remove the burrs and thorns that wool-buyers tended to get in their fingers when examining bales of wool. The open end was placed on the finger since the thorn was sometimes buried under the skin. The buyer looked through the magnifying glass and with tweezers or a pin removed the thorn which had rendered the finger inoperative. The wool-buyers needed the sensitivity of their fingers to appraise the suitability of the wool, as buyers had for centuries past, measuring the length of the staple, feeling and counting the crimps in the fibre, its finesse, softness, elasticity and strength, assessing the colour, watching for extraneous matter such as dust or seeds which would not be welcome by manufacturers half-way across the world. Their skills took years to acquire. Knowledgeable buyers were invaluable to their employers, since they were able to evaluate to the last percentage the yield of a bale. My father, René Dupuche, was the ‘principal buyer’ from 1927-1966 in Victoria, South Australia and Tasmania for the international wool company ‘Masurel Fils’ which was one of the largest wool businesses in Europe. It was based in the north of France, in Tourcoing, one of the major wool centres of the world. He was sent to Australia as a young man at the age of 23 and took part in the ‘golden era’ of wool in Australia, and the eventual replacement of hands-on appraisal by ‘core-testing’. Masurel Fils was one of the dozens of French and Belgian firms operating in Australia. These men from Flanders enjoyed a cosmopolitan society augmented by diplomats, European bankers and shipping-line executives for various countries and a handful of scientists and academics.Small black metal magnifying lens with three fold design and two hinges. One panel contains a circular glass lens, the centre panel has a circular hole, and the third panel has a square hole with three lines on each side.wool buyer, magnifying glass, magnifying lens, burrs, rené dupuche, john dupuche, migrants, masurel fils, french, belgian, flanders, working life, sheep industry, wool industry, agriculture

Jack Hargreaves drove Adaptor to win the 1969 Bendigo Cup. Jack Hargreaves, who died on December 6 at the Bendigo Hospital aged 77, trained and drove countless winners during a 34-year harness racing career in which he became one of the true icons of the sport. Born John Henry Hargreaves in Wedderburn on December 3, 1926, harness racing was always in his blood. His father, Hughie, was a successful driver and trainer who raced horses all over Victoria. Jack drove his first winner at the age of 16 at Woodend. He lived on the family farm at Kuracca, near Wedderburn, until the age of 22, when he then married Elvie Stephenson from Fentons Creek. He and Elvie went on to have four children - Helen (now 53), Judi (51), Roslyn (49) and John (45). They are grandparents of 15 and great-grandparents of two. After spending two years at Tallarook where he worked on a sheep property, Jack and Elvie then moved to Korong Vale, where Jack set up his own training stable. He kept about 20 horses at a time at his Korong Vale stable, training and racing all of them for 26 years at his property. His greatest moment was the 1969 Miracle Mile, when he drove Adaptor to victory. Adaptor would later be sold to America for the then highest figure paid for an export horse - about $250,000. He also notched up many wins in country pacing cups, including Bendigo, Geelong, Maryborough, Kilmore and St Arnaud. During his career, Jack built a reputation of being a fine judge of pace and he consistently brought out the best in some difficult horses. His natural ability led to him being crowned Bendigo's leading driver for the season on two occasions. But an accident at Mildura on November 26, 1976 - just days before his 50th birthday - led to his driving career being cut short prematurely. Jack sustained head injuries after he was trampled by another horse after being tipped out of his sulky while driving Go Ned. He was regaining his senses and sitting up in the middle of the track when the horse went straight over him. The hoof of the horse came down between his left ear and skullcap, shattering that part of his skull. In the weeks following the accident, Jack underwent lengthy operations in Melbourne, to firstly clear splinters of bone from his brain. He then had a piece of bone removed from one of his ribs to cover a hole in his skull. He was left with injuries that were described as being similar to those of a person who had suffered a stroke. Months of physiotherapy and speech therapy followed in Melbourne and later Bendigo, before he was finally allowed to go hone in August, 1977 - almost one year after the accident. After losing part of his speech in the accident, Jack learned to communicate using his hands. "It became second-nature to us that we could read his hand signals and most of the people in the harness racing world could, too," Jack's daughter, Judi Bond, said."He learned his own way to communicate with people."While Jack was no longer able to continue his passion of driving competitively, he would still take the reins at the training track when given a chance to by his fellow drivers.He also continued to breed horses. "He was a skilled horseman, a good farrier and horses were the love of his life," Judi said. Two years after the accident, Jack and Elvie built a house in Wedderburn, directly above the trotting track. "That was so in the early days after his accident he could still see what was going on at the track," Judi said. "Everyday, he would watch the trainers . . . he'd watch what they were up to on the track."Jack was able to sit in his loungeroom and look out through large glass doors with a "grandstand" view of Leg 5 races, trials and training at the trotting track. Jack's love of harness racing filtered through to his children, with both Judi and John having careers as drivers. Judi drove for 10 years, finishing in 1978, but she continues to breed horses. Judi won the first women's race where bets were allowed to be made when she drove Youdini to victory at the Melbourne Showgrounds track in 1974.Blue with yellow vertical panelbendigo cup, adaptor, horse, jack hargreaves, bhrc, bendigo harness racing club, lords raceway, j hargreaves

The Rainbow Bee-Eater is native to Australia, living across the mainland, except in desert areas. Male and female birds are both brightly coloured, the primary difference being the length of their tail streamers. Male Bee-Eaters have longer streamers than the females. They are insectivores and use techniques to remove threats to themselves; eg. they will remove wasp's stingers to avoid the poison. They nest in sand and dig a long tunnel, at the end is a 'chamber' where they lay the eggs. 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 Rainbow Bee-Eater is a uniquely beautiful species of bird with strikingly bright colouring. The plumage is green, blue, chestnut and yellow. The build of this specimen is small and graceful and the bill is slender and curved. This Bee-Eater has two distinct streamers that extend from the base of the tail. The glass eyes provided to this specimen are dark black in colour; however, in life, this specimen has red eyes which contrast with the black stripe of colour that is located from the base of the bill to the ears. Below the black stripe, is a smaller pale blue colour. The throat is orange-yellow and the breast is green. The tail is black with a blue tinge to the plumage closer to the rear of the torso. The colouring on this particular specimen has faded significantly, but it provides a good example of what this specimen looked like while alive.Label: 5a / Australian Bee-Eater / See catalogue page 7 / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, rainbow bee-eater

The Scarlet Tanager is an American songbird of medium size with bright coloured plumage. They are commonly located in eastern North America and in northwestern South America. They can often be found within woodlands that have oaks. On occasion, the Tanager can be seen in suburban areas including parks and gardens. These birds are sociable and often join with other foraging flocks. They are carnivores (insectivores) and feed on insects including wasps, ants, moths, beetles, butterflies and grasshoppers. The numbers of these birds in America are declining due to exposure and starvation during the colder months. These birds can also die from collisions with man made objects which includes the TV and radio towers, buildings and cars. They also have high rates of predation and brood parasitism. However, at current the IUCN classifies this species as Least Concern and note that their numbers are stable. 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 Scarlet Tanager specimen stands perched on a wooden platform looking towards the ground. It has bright red/orange feathers on the main body and head with dark black feathers on the tail and wings. Overall, whilst retaining a bright appearance the bird has faded in contrast to it's original colouring This particular specimen has disheveled feathers and is missing one leg. The bill is short and pale and the specimen has been provided with glass eyes made in a dark colour. The specimen has two paper identification tags attached to the damaged leg.Swing tag: 114a / unnamed / catalogue, page 59 Cotton tag: A.4440 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, american, american birds, scarlet tanager, tanager, medium bird, small bird

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 Scarlet Tanager is an American songbird of medium size with bright coloured plumage. They are commonly located in eastern North America and in northwestern South America. They can often be found within woodlands that have oaks. On occasion, the Tanager can be seen in suburban areas including parks and gardens. These birds are sociable and often join with other foraging flocks. They are carnivores (insectivores) and feed on insects including wasps, ants, moths, beetles, butterflies and grasshoppers. The numbers of these birds in America are declining due to exposure and starvation during the colder months. These birds can also die from collisions with man made objects which includes the TV and radio towers, buildings and cars. They also have high rates of predation and brood parasitism. However, at current the IUCN classifies this species as Least Concern and note that their numbers are stable. 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 Scarlet Tanager specimen stands perched on a wooden platform looking forwards in a raised position. It has bright red/orange feathers on the main body and head with dark black feathers on the tail and wings. Overall, whilst retaining a bright appearance the bird has faded in contrast to it's original colouring. The bill is short and pale and the specimen has been provided with glass eyes made in a dark colour. The specimen has two paper identification tags attached to the right leg.Swing tag: 143a / unnamed / catalogue page 59 Metal tag: A4439 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, american, american birds, scarlet tanager, tanager, medium bird, small bird

The Little Pied Cormorant is commonly seen in Australia's wetlands. These birds reside amongst large flocks in locations where fish is plentiful. On the occasion that this bird is seen on inland streams and dams they will be solitary. This particular species willingly mixes with similar sized birds including the Little Black Cormorant. They feed on aquatic animals ranging from insects and yabbies and are labelled as benthic feeders because they find their prey on the seafloor. 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 Little Pied Cormorant specimen is a small bird with white and black colouring. The back of the head, neck, wings and tail are black while the undersides are a creamy white. The feet are webbed and are also dark in colouring. The bird has pale glass eyes and a medium sized bill and a long tail. This specimen is styled to look over it's left wing with its long neck bent to look in that direction. It stands on a wooden mount with a paper identification tag attached to the bird's right foot. The mount has the number 152 written on the wood.Swing tag: 21a. / Pied Cormorant / Catalogue page 41 / Mount: 152 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, cormorant, little piet cormorant, waterbird

The Little Black Cormorant is mainly found in freshwater wetlands in Australia and Tasmania. It nests colonially and can sometimes be seen among Heron or Ibis colonies. This specimen has dark webbed feet which enable the bird to catch its prey underwater by diving and using the feet for propulsion. Interestingly, this species have nictitating membranes which cover the eyes underwater protecting them. The feathers of this species are not waterproof despite being commonly located in wetlands and therefore, can often be seen perched with wings outstretched in an effort to dry them after hunting for food in the 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 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 Little Black Cormorant is a slim and small specimen of entirely black colouring with some lighter specks on the back. The bill is grey and is slender and hooked at the tip. The bird has been stylized with glass eyes and is placed on a wooden mount designed to look like a perch. The neck is long and the bird is looking over its right wing. It has dark webbed feet and is standing on the platform with a paper identification tag tied the right leg. 12a. /Little Pied Cormorant / See Catalogue Page 42 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, tasmania, australia, birds of australia, cormorant, little black cormorant, wetlands

This glass slide captures the unveiling of the two cannons at Queen Victoria Park which were secured by Sir Isaac Isaacs and presented to Beechworth in 1901. In the foreground, elegantly dressed ladies and dapper gentlemen can be seen gathering around the park's iconic rock, with excited children looking on from the sides. Atop of the rock stands an intricately designed gas lamp that has since been removed but evidence of its existence still remains. The unveiling of these two cannons would have been a celebratory affair for those in attendance, marking a momentous occasion for Beechworth residents that was captured in this lantern slide. Sir Isaac Isaacs was an influential figure in Beechworth, having grown up and studied there. He began his education at the Common school and eventually graduated as dux of the Beechworth Grammar School. His commitment to public service was evident early on and he was elected to the Legislative Assembly in 1892, representing Bogong, a district which included Yackandandah and Beechworth. During his time in office he pushed for better education, healthcare, employment opportunities and housing for the people of Beechworth. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide captures social and historical significance as it represents a moment of celebration for Beechworth residents and symbolises an important milestone in the town's history. This lantern slide stands testament to a special moment in Beechworth’s history and its significance continues to be remembered today. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide. burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, queen victoria park, rock, victoria, cannons, isaac isaacs, governor-general, politicians, judges, indigo shire, north-east victoria, 19th century, nineteenth century, parks

This particular Musk Duck is a female specimen. This is ascertained through the lack of a large bulbous lobe of skin hanging under the bill. This particular duck has a much smaller lobe on the underside of its bill which is only visible when close. The name Musk Duck comes from the strong musk odour produced from a gland on the rump of the bird. These ducks are found only in Australia, in south-western and south-eastern mainland and in Tasmania. They prefer to reside in locations which have deep water and plenty of aquatic vegetation. 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 large duck with a sooty-brown plumage and paler brown colouring on the stomach and areas of the neck. This bird stands with its head turned to look over its right shoulder. The eyes are made of brown coloured glass. The legs on the Musk Duck are positioned towards the far back of the stocky body and the feet are webbed. This enables the duck to swim but provides a clumsy gait. The bill of this Musk Duck is dark grey and the tail feathers are positioned in a fan-shape.Paper tag reading "9a Musk Duck. See Catalogue, page, 39."taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, duck, musk duck, aquatic, biziura lobata

Nankeen Night Herons reside in Australia wherever there is permanent water. They can often be found in wetlands, shallow river margins, floodplains and parks and gardens. These birds spend the day time roosting in groups among dense foliage and emerge during the night. An adult Nankeen Night Heron is identified by the black cap on its head and a pale breast. This particular specimen has these signs which enable it to be identified as adult. The large eyes of the Nankeen Night Heron are a bright yellow colour which are adapted to night vision. 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.The Nankeen Night Heron has a stocky body and is standing tall on a wooden pedestal and looking towards the upper right. This adult specimen has yellow and black glass eyes and a long pale grey bill. Plumage on the head is black which turns a pale cinnamon on the nape of the neck. The wings are placed along the back of the body and are a light brown. The torso is a pale buff colour. This specimen has nuptial plums which look like they come out of the back of the birds head. These plums are long white feathers which appear during the breeding season.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, nankeen night heron, heron, nocturnal