Receipt Perpetual Executors' & Trustees Association of Australasia, for 641/4/11, being payment for Peat's Estate. Dated 6th. May 1889.Green one penny stamp at the topt of the document Company emblem on the top leftbusiness, legal, peat's estate

This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. The male Turquoise Parrot is bright green above, with a turquoise blue crown and face. A brilliant two-tone blue band around the bend of the wing contrasts with a dark, brick-red shoulder patch. Its underparts and tail edges are a rich yellow. The female is similar, but not as bright, with a whitish facial mask, no red on the wing, and a pale wing stripe. Old birds of both sexes may have orange underparts. Once common throughout many parts of eastern Australia, the Turquoise Parrot was formerly recorded from near Mackay in Queensland south to Melbourne until the 1880s, when its population suddenly crashed. It was even considered to be extinct by 1915, but populations recovered spectacularly over the next 20 years or so, and by the 1930s they were again recorded through much of their former range. Now the species can once more be seen in many parts of eastern and south-eastern Australia, though not quite as extensively as before. These birds are vulnerable in NSWThis 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 Turquoise Parrot is bright green above, with a turquoise blue crown and face. A brilliant two-tone blue band around the bend of the wing contrasts with a dark, brick-red shoulder patch. Its underparts and tail edges are a rich yellow. Old birds of both sexes may have orange underparts. This particular specimen is faded with some missing feathers. It is mounted on a wooden stand with a tag wrapped around its leg.Label: 80a. / Chesnutt-shouldered Grass Parakeet / See Catalogue, page 22.taxidermy, parrot, turquoise parrot, taxidermy bird, australian bird, burke museum, trustees of australia

Cohns bros Victoria Brewery Co 100 Share scrip numbers 28126-28225 in the name of William E Seadon dated 31 st January 1888. Capital £ 55,000 in 55,000 Shares or twenty shillings each. Cohns seal impressed upon document. Transferred after his death to William Charles Vahland 50 shares, and to Ralph William Brown 50 shares on the Seventh of December 1905. Executors of his will 'The Union Trustee Company of Australia Limited. Document impressed with executors wax seal. One penny victoria stamp duty affixed to reverse of share scrip document paid in addition at rate of five shillings per share £25 authorised by E I hastings Secretary with February 1888 date. One penny stamp duty also affixed to transfer document.bendigo, industry, cohn bros., 19th century cohns bros share scrip. the union trustees company of australia. mr w e seadon.

Documents: Collection of Legal Documents: Solicitors, Registrar General's Office, State Savings Bank, Department of Mines Victoria, Share Brokers, Taxation Office, The Union Trustee of Australia Limited, Profit and Loss Statements, Letter from South Costerfield Antimony & Gold Mining Company No Liability & other letters, Letter Dated 26-10-1953 states Mine not worked for many years may go into Liquidation, 17-03-1955 Company has disposed of all assets and entered into voluntary liquidation.organization, business, industrial - mining, mccoll rankin & stanistreet, mining, gold mining, central napoleon

Typed correspondence on printed letterhead of The Union Trustee Company of Australia Limited Melbourne dated 19th December 1921 to Cohn Bros Brewery re shares in estate of M C Gibson deceased. Signed J M Carroll.bendigo, industry, cohn bros brewery, the union trustee company of australia limited. m c gibson j m carroll

Typed correspondence on printed letterhead of The Union Trustee Company of Australia limited at Union Trustees Buildings 333 Collins Street Melbourne dated 29th December 1921 to the Secretary Cohn Bros brewery re shares in estate of M C Gibson deceased. Signed ? Manager.bendigo, industry, cohn bros brewery, the union trustee company. m c gibson. cohns bros brewery shares

The Trustees of the Australian Ex-Prisoners of War Memorial have defined a Prisoner of War to be a person who was captured by a common enemy and/or interned in a neutral or non-combatant country. To be defined an Australian Prisoner of War, the person needs to be either an Australian Born person serving in the Uniform of an Australian Service; or in the Uniform of a friendly country, or Born Elsewhere and serving in the Uniform of an Australian Service. A Prisoner is a person who has lost personal privileges, suffers deprivation of liberty or is unable to return home or dies in captivity.Colour photograph of a War Memorial designed by Peter Blizzard. The granite wall of the Australian Ex-Prisoners of War Memorial features a listing the names of Australian Prisoners and was opened on the 6th February 2004 by General Peter Cosgrove AM MC to recognise and remember over 36,000 Australians who became Prisoners of War during the Wars of the 20th Century. In 2008 the Memorial became the First Military Memorial of National Significance outside Canberra. The Memorial which was designed by Peter Blizzard OAM, symbolises that all Australian prisoners embarked on a journey to serve away from their homeland and acknowledges the hardship, deprivation, brutality, starvation and disease endured by Prisoners of War during their capture and the scars that many continued to endure upon their repatriation to Australia. Heritage Victoria describes the memorial in the following way" "A JOURNEY OF HONOUR, REMEMBRANCE AND HEALING - The Australian Ex-Prisoners of War Memorial is a dramatic and highly symbolic tribute to the sacrifice made by more than 35,000 young Australian service men and women in four theatres of war. At the heart of the monument is a stark, 130 metre long, highly polished black granite wall, engraved with the names of all Australian prisoners of war. The names on this 'honour roll' are listed in historical order from the Boer War in 1899, through to the Korean War in 1953. It is a testament to the contribution made by so many. Standing sentinel at the centre of the Memorial are six huge basalt obelisks, etched with the names of all the countries where Australians were held prisoner of war. The obelisks stand in a large reflective pool, set back from the central pathway, symbolising the distance that separated Australia's prisoners of war from their homes and their loved ones. Opposite the pool is a larger obelisk flanked by flagpoles and a ceremonial stone on which to lay wreaths. The central pathway is itself symbolic, with each of the paving stones cut in the shape of a railway sleeper. The pathway defines 'the journey' taken by the prisoners of war and the journey visitors take around the monument. At the end of the granite wall where the pathway ends, visitors face a large stone engraved simply 'Lest We Forget'. Water flows from beneath the stone, along the base of the granite wall and into the reflection pool in which the obelisks stand. This cycle of flowing water, symbolising spirituality, healing, cleansing, birth and rebirth, guides visitors on their journey through the Memorial." ballarat, ballarat botanical gardens, peter blizzard, ballarat north gardens, war memorial, prisoner of war, prisoners of war

The Ballarat School of Mines circulated their annual reports to a number of collecting organisations.Foolscap correspondence to the Ballarat School of Mines, on letterhead from the Australian Museum. The majority of the letter is printed, with dtaes, signature and recipient handwritten. "The Australian Museum Sydney Oct 31st 1898 Sir I a instructed by the Trustees of the Australian Museum to acknowledge the receipt of the Publications named on the following page [Annual reports for 1896 and 1897], which you have been pleased to present to them and I am further directed to convey to you the expression of their grateful acknowledgement and best thanks for the same. I have the honor to be Sir Your most Obedient Servant S. Sinclair Secretary & Librarian. To The Secretary School of Mines Ballarat"ballarat school of mines, australian museum, s. sinclair, sinclair, annual report, mythical, myth, folklore

Quolls are small carnivorous marsupials native to Australia and New Guinea. Tjilpa is the name given to the quoll amongst the Northern Arrernte language group of Australian Aboriginal people. Quolls are primarily nocturnal and spend most of the day in a den. Of the six species of quoll, four are found in Australia and two in New Guinea. The six species vary in weight and size, from 300g to 7kg. They live in coastal heathlands, sub-alpine woodlands, temperate woodlands and forests, riparian forests and wet sclerophyll forests. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from either the Trustees of the Australian Museum or from the amateur anthropologist Reynell Eveleigh Johns between 1860-1880 and mounted by members of the Burke Museum Committee around the same time. When all taxidermy mounts were completed, they were quickly 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.Small quoll with a small round head, long body, and long, thin tail perched on a branch attached to a wooden mount. The quoll has four skinny legs which have long, dark claws. The quoll's hair is a fawn colour with cream spots. There are two black eyes made of glass, two short pointed ears and black whiskers.On wooden mount: BMM5897 /taxidermy, quoll, animal, australia, burke museum, beechworth, reynell eveleigh johns, taxidermy mount, marsupial

A rufous bettong is about the size of a rabbit, with body length ranging from 30cm to 38cm among species. All bettongs have long tails, roughly equal to body length. Body weight ranges from 1.2 kg in the smallest species (Northern Bettong) to 2.8kg in the Rufous Bettong, the largest of the group. Males tend to be slightly larger than females. Bettongs have furry coats, ranging in colour from grey to ginger and brown. The bettong is endemic to Australia, and is an important part of Australia's Indigenous biodiversity. There are five living species of bettong; Eastern Bettong, Burrowing Bettong, Brush-tailed Bettong, Northern Bettong, Rufous Bettong. The bettong is a member of the Potoroidae family along with the endangered Potoroos, and the extinct Desert Rat-Kangaroos. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from either the Trustees of the Australian Museum or from the amateur anthropologist Reynell Eveleigh Johns between 1860-1880 and mounted by members of the Burke Museum Committee around the same time. When all Taxidermy mounts were completed, they were quickly 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.Average sized rufous bettong with large clawed hind legs, small clawed fore legs, and a long tail that is roughly the length of its body and covered lightly in fur. The pelage of the bettong is fine and soft with the body fur cream and pale ochre in colouring with specks of brown while the underbelly is a solid cream colour. The head is small with a short muzzle and two small rounded ears, and features two round dark brown eyes made from clay.On mounting board: BMM5893/burke museum, taxidermy, taxidermy mount, bettong, rat kangaroo, bettongia, fauna, animal, animalia, potoroidae, reynell eveleigh johns, rufous bettong, rufous rat-kangaroo

Pinned documents totalling 31 in number of Cohns Bros Co, Ten Union Bank, Bendigo payment slips dated from 19th June 1919 to 16th dec 1921 in name of E M W & S E Watson of London. Cohns Bros receipts No's 3435, & 3436 dated 8th December 19?. Typed letter from Cohen & Kirby re interim divi payments Mrs M Tankard and Miss M Landeshut with Receipt No 4431 from M Cohn re Mrs Landeshut and Miss Tankard. Cohen Kirby & Co typed note acknowledging receipt of three cheques dated 14th June 1919 to Mrs Tankard and Miss Landeshut. Union Trustee Company of Australia Limited No 7064 receipt from Cohns Bros being half yearly Dividend dated 9th May 1918. Receipt No M4683 from Cohns Bros re A Salaman's trust in The Equity Trustees Company Ltd dated 21st Jun !917. Receipt No N 5752 re Asher salaman's Trust dated 17th Jun !918. Receipt dated 4th June 1917 in names of Carl, Mary, Rose & V C Dyring. Receipt No J 99 dated 10th December 1917 issued to R W Brown deceased into farmers and Citizens Trustees Company Bendigo Limited. Acknowledgement from farmers and Citizens Trustees Company Bendigo Limited re R Brown estate dated 7th December 1918. Receipt No L 125 re estate R M Brown dated 16th June 1919. Receipt Dated 28th June 1917 re shares held by T Hyland. Receipt dated 14th June 1920 re Hyland estate stamped S J Warnock, F C P A with S J Warnock signature. Union bank of Australia Limited payment slip for credit of E M W & H C Watson dated 11 December 1922. Union Bank of Australia payment slip dated 22 June 1923 for credit E M W & H E Watson. Union Bank of Australia payment slip dated 13th Dec 1923 re E M W & H E Watson. Bank of Australia pay slip estate Mrs F Hyland dated 13th Dec 1922 attached to one penny stamped envelope. The National Bank of Australasia Limited payment slip dated 14th Dec 1923 in name of Mrs F Hyland.bendigo, industry, cohn bros brewery

Published: The Age, Sat 14 October 1933 Published title: A Royal Portrait Published caption: "Seen at his studio, Alphington, Mr. W. B. Mclnnes's portrait of the Duke of York, which he painted recently on commission from the trustees of the Castlemaine Gallery, at St. John’s Wood, London, impresses as a vital record of one whose natural habitat is a palace, and whose place in life is one of near relationship to the throne of England. The Duke is painted in the uniform of the admiral of the fleet, a highly ornate vesture entailing much elaboration of gold and numerous medals, in dealing with which the artist has not failed to centre his attention on the head, and has succeeded in producing what is undoubtedly a soundly painted portrait and a good likeness. During the five fittings Mr. Mclnnes, apart from the ordinary social amenities, found his Royal sitter little inclined to talk, though he spoke feelingly of his trip to Australia and the pleasure it had given him: but with the Duchess the tendency to be sociable was much more clearly pronounced. She took, and expressed, a keen interest in the social and political matters of the day with a special concern for the supremacy of England and Australia in all questions relating to sport, such as cricket, tennis and golf. She spoke well of her portrait painted by Quinn, and regretted that she would not see the two hung side by side at the Castlemaine Gallery." Description: An unframed painting of a standing, middle-aged man dressed in the uniform of a Royal Navy admiral of the Fleet with medals, sash, ornate belt, cuffs and epaulettes. His left hand rests on the handle of a sword in its scabbard and his bicorn hat and white gloves are on a table beside him. To his right is a globe of the world showing Australia. Research by project volunteer, Fiona Collyer: In 1933, Castlemaine Art Gallery trustees commissioned artist W.B. McInnes (1889-1939) to paint a portrait of Prince Albert, Duke of York as a companion piece to the portrait of his wife, the Duchess of York, that the gallery had commissioned Australian official war artist James Quinn (1869-1951) to paint in 1930. During the First World War, the Duchess’s childhood home, Glamis Castle in Scotland was used as a makeshift military hospital and convalescence home for wounded soldiers. Many servicemen from the Castlemaine area recuperated there and had fond memories of the kindness of the teenage Lady Elizabeth Bowes-Lyon (1900-2002, later Duchess of York) who spent the war years running errands and aiding in the welfare and morale of the patients. In 1927, the Duke and Duchess of York (later King George VI and Queen Elizabeth) came to Australia to formally open the newly built Parliament House in Canberra and to tour the country. While visiting Victoria in April, they embarked on a whistle-stop train journey to Bendigo, stopping at Kyneton for ten minutes and Castlemaine for 15 minutes. At Kyneton, an excited crowd of 10,000 people welcomed the couple with “three cheers and three cheers for Baby Betty” before the Duchess was presented with a bouquet of locally grown roses and the Duke a bound album of photographs of noted beauty spots of the district. Next the Royal Couple stopped at Castlemaine to the cheers of 15,000 people. There the couple were presented with a basket of prime quality Harcourt apples and a pair of cot blankets, manufactured at Castlemaine Woollen Mills, a birthday gift for baby Princess Betty. The Duchess recognised Colonel W.E. James, of the Seventh Battalion, who had convalesced at Glamis Castle in 1917, and they chatted before the train departed, while the Duke shook hands with returned soldiers. Last stop was the town of Bendigo which was colourfully decorated with bunting and flags, arches and flowers. 3000 pigeons were released on their arrival and the liberated birds circled overhead for several minutes as if to welcome the Royal Couple. A crowd of 50,000 cheering people lined the streets in bright sunshine as the couple drove by. From an arch over Hargreaves Street, pretty girls showered the pair with rose petals. The Duke was presented with a gold nugget and an album, handsomely bound in morocco, of a history of the Bendigo mining industry, while the Duchess received a bouquet of prize winning white chrysanthemums. After 75 minutes in Bendigo they journeyed back to Melbourne for a State reception. While the couple were in Melbourne, the Duke often played lawn tennis at the Government House courts with three times Grand Slam champion Norman Brookes, who declared that while he considered the Duke a second class player whose serve lacked sting, he had a fine backhand and with time and practice he could become a first class player. The federal Parliament had previously been situated in Melbourne, but Canberra was chosen as the location for Australia’s capital as a compromise between fierce rival states, Victoria and NSW. It is written in the Constitution that the federal capital would be in “the State of NSW... distant not less than one hundred miles from Sydney.” The word Canberra is thought to derive from the local Ngunnawal word “Kanbarra” meaning “meeting place”. The Provisional Parliament House was a large, white, three storey building facetiously dubbed “The Wedding Cake”, plonked down in a bare, former sheep paddock. It was decorated for the event with Union Jacks and Australian red ensign flags. On 9 May, the day of the opening, the expectant crowd assembled in front of the building. Only two of the spectators were Aboriginal. One was Jimmy Clements (1847-1927, aka Nangar or Yangar, but popularly known as “King Billy”), accompanied by his three dogs. (The title “King” or “Queen” was often given by white settlers to Aborigines who were seen as allies and could maintain good relations between First Nations groups and the colonists. Some were given inscribed brass breastplates or gorgets to wear.) Jimmy was an excellent horse breaker and expert tracker for the police. He was also the nephew of “Queen” Nellie Hamilton (1842-1897) of the Canberra-Queanbeyan region, home of the Ngambri and Ngunnawal people. Nellie was the oldest surviving full-blooded Aboriginal woman in the district. The other was George John Noble (1840s-1928, aka Ooloogan, also “Marvellous” due to his regular use of the word). Both were initiated Wiradjuri walamira elders: “clever men” believed to have the ability to heal physical and spiritual ailments. They were also travelling showmen, skilled at boomerang and spear throwing and often performed at country agricultural shows and football matches. They had walked barefoot for three days from the Brungle Mission, near Gundagai. 11 May 1927, The Argus reported that “King Billy... claims sovereign rights to the Federal Territory” which the National Archives of Australia describes as “possibly the first recorded instance of Aboriginal protest at Parliament House in Canberra.” 10 May 1927, The Argus reported on Jimmy Clements: “During the wait great interest was taken in the appearance near the east stand of an aborigine, a member of the Gundagai tribe, and a well known character in the district. He was very old and grey and ruggedly picturesque. He was determined to go his own way in spite of the arguments of two inspectors and one sergeant of police. Immediately and instinctively the crowd in the stands rallied to his side. There were choruses of advice and encouragement for him to do as he pleased. A well-known clergyman stood up and called out that the aborigine had a better right than any man present to a place on the steps of the House of Parliament and in the Senate during the ceremony. The old man’s persistence and the sympathy of the crowd won him an excellent position and also a shower of small change that must have amounted to 30/ or 40/ [shillings].” At 10.30 am, Australia’s eighth Prime Minister, Mr Stanley Bruce (1923-1929) welcomed the Royal couple onto the crimson carpeted portico. Unfortunately, Dame Nellie Melba’s rendition of “God Save the King” and the greater part of the Duke’s reply was drowned out by the roar of squadrons of aeroplanes circling overhead. A brief religious service followed, conducted by leaders of the Methodist, Presbyterian and Anglican churches. Interestingly, there was no Roman Catholic representation at the ceremony even though around one quarter of Australians were Catholic at the time. The Duke unlocked the front doors with a golden key, then unveiled a statue of his father King George V by sculptor Sir Bertram Mackennal in the King’s Hall. Then the official party, Senators, members of the House of Representatives and invited guests entered the Senate chamber where the Duke read a message from the King, establishing Canberra as the seat of the Federal Government, watched on by Australia’s elite. The conclusion of the ceremony was announced by a gay fanfare of trumpets from the entrance of Parliament House and a 21 gun salute and answered by cheers from the crowd. The dignitaries then feasted on a luncheon of turtle soup, poached schnapper, fillets of beef, roast chicken and ham, straw potatoes, green peas, Canberra Pudding (a pudding made with dripping, dried fruit and jam), fruit, ices, coffee and cheese. They toasted the King with non-alcoholic fruit punch as the Federal Capital Territory (later ACT) was a “dry” area and no speeches were made. The diary entry that day of Ethel Baird, Lady Stonehaven, the wife of the Governor-General, is brief and to the point: “To P.H. & waited for Yorks. Ceremony went off without a hitch. Ghastly Banquet Lunch.” Later that day, the Duke mounted a coal black mare, police horse Number 303 which had been hastily re-named “Black Bess” for the occasion, to receive the final salute from the assembled troops and returned soldiers dressed in mufti. The RAAF squadron were flying overhead in “V” formations when suddenly, one of the planes, piloted by Flying Officer Francis Charles Ewen, left the formation, nose-diving 900 metres from Parliament House and landing behind the Y.W.C.A. refreshment marquee. Francis, aged only 28, tragically died of his wounds later that day. The Federal Capital Commission contracted Sargent’s Pies of Sydney to supply 5000 meals for the event. They supplied pies, sausage rolls, scones and sandwiches with the agreed price of 3 shillings a head. Only 1200 meals were served and the uneaten remainder dumped, with the Commission bearing the cost of the unsold food. An estimated crowd of 20,000 attended the opening, far fewer than the expected 100,000. Many visitors travelled long distances, bringing their own hampers of food and camping in tents as there was very limited accommodation available. Thousands of people around Australia listened to the ceremony broadcast on the wireless, with receiving sets installed in schools, public halls and workplaces and it was also filmed for posterity. The next morning, the Royal couple, along with Prime Minister Bruce and Mrs Bruce held an informal public reception on the steps of Parliament House where early settlers, residents and visitors to Canberra filed past them. The Press widely reported Jimmy Clements’ encounter with the Duke and Duchess. The Sun-Pictorial reported 11 May 1927: "MET THE DUKE. ABORIGINE KING HE APPROVED Sugarbag: Sports Suit. John Clements, otherwise King Billy, a full blooded aborigine king, aged 86, was among the 2000 who filed past the Duke and the Duchess at the public reception at Canberra to day. “How you likem Duke and Duchess Billy?” he was asked afterwards. “I think they are both very nice.” he replied in good English. King Billy was a very bedraggled figure, with tangled locks and a beard which almost hid his wrinkled and black face. He wore an old sports suit and carried a sugarbag. Passing the Duke and Duchess he turned full towards them. The crowd cheered, and the Duke and Duchess smiled. The Duke was particularly amused.” The Canberra Times reported 13 May 1927: "A REAL AUSTRALIAN. A quaint but pathetic figure stood in broad relief in the queue of ranks at the reception. Where his dusky forbears have gathered in native ceremonial for centuries past, a lone representative of a fast vanishing race saluted visiting Royalty. Despite the grotesque garb and untamed mane the aborigine comported himself not without dignity. With his three faithful dogs, he made an immediate target for a battery of cameras.” "The Argus reported 11 May 1927: "...an ancient aborigine who calls himself King Billy and who claims sovereign rights to the federal Territory walked slowly forward alone and saluted the Duke and Duchess. They cheerily acknowledged his greeting. The old aborigine, with his long, matted beard and nondescript clothing, is a popular identity of Canberra, and must be one of the most extraordinary figures who has received a Royal salute.” The Sun (Sydney) reported 10 May 1927: “Suddenly, in the midst of the forest of green and white colored hats of women, appeared a head with a shaggy leonine mane and a patriarchal beard. Jacky, the aboriginal, an identity of the district, who is also known as the King of Canberra, had arrived to testify to his loyalty. He saluted the Duke with an excellent dash, and shambled past with his faithful sheep dog aide-de-camp at his heels. The Duke and Duchess were highly amused at this quaint figure moving along with a sort of bodyguard of shrieking young boys and girls.” The Sydney Morning Herald 11 May 1927 mistook Jimmy for his friend “Marvellous”: “...the appearance of an aged aboriginal widely known in the district as “Marvellous, the uncrowned king of Queanbeyan." His beaming black countenance was almost hidden beneath a shock of hair and beard. Bare-footed and carrying a sugar bag in one hand and a tiny Australian flag in the other, he at first mistook a policeman at the foot of the steps for the Duke. To his great embarrassment and to the vast amusement of the onlookers, the policeman became the object of a hearty salutation. However, "Marvellous" was quickly shepherded back to a position in the procession and as he passed along brought his hand up to an approved military salute for the benefit of their Royal Highnesses. The Duke returned it with a special wave.” The Labor Daily 11 May 1927 irreverently reported on the scene: "People March Past. Some 400 people, old identities of Canberra marched past. They were mostly aged ladies with memories faithfully preserving the traditions of other days and curtsied reverently. The younger generations, who speedily joined the procession, behaved differently however. Surely it was the most motley collection that ever passed before Royalty. Men without collars jostled others well dressed. Fat women, young women, children of all heights and ages were there. The oldest inhabitants, in the persons of the abo, "Marbly", and his companion were present. The poor old fellows evidently were keen to get closer to the Duke than the procession dared go, but they were overawed by the stern glances of military men.” The Canberra Times reported 13 May 1927: "...and towards the end of the procession, a full-blooded aboriginal, bareheaded and barefooted, and carrying an old swag on his back, made a picturesque figure as he several times saluted the Royal couple, his old eyes beaming inexpressible delight.” The Register reported 11 May 1927: "PUBLIC MARCH PAST. Old “Jacky”, an aboriginal identity of the district, who has been following the proceedings of the various ceremonies with apparently great interest, appeared in the march past. He halted in front of the steps and raised his hand to his shaggy grey locks in an attempt at a salute. Smiling, the Duke returned the salute, and the Duchess bestowed a charming smile on the figure of mingled pathos and comedy.” Tweed Daily reported 12 May 1927: “King Billy” WAS THERE. Appropriately enough, the inevitable “King Billy” with his refreshing impression of possum and gum-leaves, was present at the dedication of the Federal capital at Canberra. Bare-footed, in a dingy old suit and battered felt hat, he wandered on to the empty stand after the illustrious assemblage had passed into Parliament House. A desolate figure in all that he stood for, he proved, an amiable representative of the dispossessed race. He cheerfully waved a Union Jack for the camera man, and grinned into the very eye of a movie man’s camera without flinching.” Footage of Jimmy filmed that day features in the film “The Birth Of White Australia” produced in 1928 and shows him enthusiastically waving a small Union Jack flag in front of Parliament House with his three dogs at his feet. The caption reads " "King Billy" calls for cheers for the son of the great white King across the seas. “Mine tinkit that pfellers father budgeree King liket me” supposedly says Jimmy." Jimmy told the Daily Telegraph, 13 May 1927 “I have opened your Parliament House on my own ground, now you can go and look at it." Jimmy died on 28 August 1927, aged 80. The Herald newspaper on 30 August 1927, published an illustration depicting Jimmy’s dog standing on his grave, his customary chimney pot hat leaning on his headstone. The caption reads: “The Dead King — His Only Mourner. Drawn by Will Dyson (King Billy, last of the Canberra aborigines, lived just long enough to see the Duke of York open Australia’s capital on the site where his tribe once roamed. He died in the Queanbeyan Hospital yesterday morning.)” A letter published in the Sydney Morning Herald, 19 September 1927 reported: "Old King Billy... Sir, ...I would like to mention... the passing away of one, if not the last remaining aboriginal chieftains. He may be called “Old King Billy,” and his death occurred here in Queanbeyan a few weeks ago. The removal of this well-known black has left another big gap in all that remains distinctively Australian in character. He was one of the last remaining tribe of the Monaro district, and one of the most predominant personalities throughout the Commonwealth. ...he had lived through 80 years all told. He was on many occasions sought by artists for his splendid physique and personality as a model, and many a journey he has had to make to Sydney on that account. A more striking and pronounced type could not be found. ...A very fine cast in lifelike form is to be seen in the Australian Museum, Sydney ...his last important appearance in public was at the Commonwealth celebrations at Canberra, to which territory he partly belonged. ...we have no aborigine statue chiselled to the memory of their race, a more fitting and lasting memorial could not be undertaken than to have one modelled from this fine figure and erected to the memory of his race at Canberra... It would be a fitting adornment if planted with the Australian gumtrees for any avenue or garden. [King Billy] ...a very intelligent fellow, responding readily to kindness and common sense. Hoping yet to see a befitting testimonial and a lasting memorial to a race that is rapidly and I may say, unfortunately, disappearing, I am etc., SYDNEY R.OAKLEY, Queanbeyan." The “lifelike form” referred to by the correspondent was a sculpture that Jimmy Clements had posed for: “The Wunderlich Aboriginal Group” for The Australian Museum in Sydney. In 1925, Mr Ernest Wunderlich, director of Wunderlich Limited, manufacturer of building materials and President of the Board of Trustees at The Australian Museum, commissioned renowned sculptor George Rayner Hoff (sculptor of the Anzac Memorial in Hyde Park, Sydney, National War Memorial in Adelaide, and “Lion” the original Holden Motor Company car emblem) to sculpt a life sized Aboriginal family group diorama as a gift to the Museum. There was much concern at this time that the Aboriginal population and especially the “full blooded” were fading into oblivion so fast that they may soon become extinct. Three “full blooded” Aborigines were chosen for models. An article in The Australian Museum magazine, July/September 1926 about The Wunderlich Aboriginal Group explained “...it will not be many years before the aborigine, in New South Wales and Victoria at least, will be an entity of the past. Every year sees a shrinkage in their number, and the coastal tribes that once roamed the Sydney district are, unfortunately, no longer with us. ...the man, who is hurling a boomerang, is Yangar, or “Jimmy Clements,” son of Gayan-Bleuet-Galoom, the late “King of Orange,” western New South Wales. “Jimmy” is an old man, but well preserved. He has a very retentive memory and recollects the various tribal customs and initiation ceremonies, but regarding these he is extremely reticent and will not communicate his “honoured secrets.” The female figure is “Nellie Walker,” a daughter of Geri-Bungel, and a native of Bombala, Monaro district, southern New South Wales. The boy is Harold Marsh, aged nine years, who was born at Kinchela, Macleay River, northern New South Wales. He is now living at the Brewarrina settlement... In the selection of aborigines great care had to be taken to ensure that the individuals were pure bloods, and to the Aborigines’ Protection Board and the Police Department of this State thanks are due for the valuable assistance rendered by them.” Ngarigo woman, Nellie Bungil Walker (1867-1932) had five children, two died as babies and her remaining children were taken from her. She worked as a domestic and was living at La Perouse Aboriginal Community, Sydney at the time of her sculpture’s creation. In the years after the sculpture was made, Nellie and Rayner remained friends. Yaegl boy Harold “Harry” Marsh was from the Kinchela Aboriginal Training Home for boys near Kempsey, (1924-1970), an agricultural training institution under the jurisdiction of the Aboriginal Protection Board to house Aboriginal boys forcibly removed from their families “in the interest of the moral or physical welfare” of the boys. The boys at Kinchela were aged 5-15 years old and referred to as numbers, not names and any connection to Aboriginal culture or language was forbidden. Brutal and cruel physical punishment and sexual assaults were rampant. Survivors recall being flogged and chained naked to a huge Morton Bay fig tree overnight or “sent down the line” where every boy was ordered to punch the “wrong doer” as hard as possible for fear that they would be next. The Kinchela children are acknowledged as part of the Stolen Generation. In 1925, Rayner Hoff created a terracotta bust “Harry Marsh” which is in the collection of the Art Gallery of New South Wales. The figures of the trio were modelled in clay before being cast in plaster and hand-coloured by Museum artist Miss Ethel A. King. The finished figures were completed with wigs and fur pelts and with Jimmy hurling a boomerang and Nellie holding a dilly-bag. They were placed in a glass cabinet in the Australian Ethnology Gallery. The subjects were not named. The Sydney Morning Herald 1 July 1926 critiqued the sculptures. "A GROUP OF STATUARY. MUSEUM’S ACQUISITION. Artistically the group is very fine, for the sculptor has caught his subjects in attitudes that reveal all the stalwart athletic lines of their bodies... The man, who is depicted as about 60 years of age, is bearded, immense, and savagely primitive-is throwing a boomerang, and beside him a boy, aged about 11 years is following beneath a shading hand, the flight of birds at which the hunter aims. Behind them, patient, obedient, stand(s) the woman waiting with her dilly bag to gather the spoils.” In 1996, Nellie’s daughter, Victoria Kempsey née Walker, happened to visit The Australian Museum and saw the sculpture of her mother, displayed semi-naked in a glass cabinet, alongside glass cabinets of taxidermied animals. She had last seen her mother 62 years previously when Nellie was dying from tuberculosis. Greatly distressed, Victoria wrote to the Museum requesting that they remove the sculpture, which they did. In 2023, a documentary was produced called “Her Name Is Nanny Nellie” which follows the journey of Nellie Walker’s great-granddaughter Auntie Irene Ridgeway discovering Nellie’s story, honouring her life and restoring her sculpture. Irene told Refinery29 Australia that “It was about reclaiming her life, reclaiming her history and who she really was as a real person. She was not a naked and unnamed lady standing in a museum. It's giving them back their families, they weren't just there to be looked at as flora and fauna or as 'natives'." The documentary was written and directed by Irene’s son Daniel King and premiered at the 2023 Adelaide Film Festival and broadcast on NITV. The restored sculpture of Nellie, dressed in 1920s style clothing was displayed at The Australian Museum, Sydney in The Bayala Nura Gallery in 2023. Irene wanted Nellie to be depicted in the way she actually was when she posed for the sculpture in 1925. The other two sculptures were not displayed due to ongoing conversations with family members and the fragility of the sculptures. It is anticipated that they may be displayed in the future. Melbourne born William Beckwith (Bill) McInnes (1889-1939) studied drawing at National Gallery School in Melbourne from the age of 14 under the tuition of artist Frederick McCubbin before succeeding his former teacher as Master of Drawing at the School from 1916-1934. He was acting Director of the NGV and Head of the National Gallery School from 1934. In 1927, Bill and official war artist H. Septimus Power were commissioned to paint the opening of the new federal Parliament House in Canberra. Septimus painted the general scene of the arrival of the Royal entourage in front of Parliament House, while Bill depicted the ceremony inside the Senate chamber. Bill was widely acclaimed for his landscapes and lauded as the heir to great Australian landscape artist Arthur Streeton. He won the Archibald Prize seven times (including the inaugural, a portrait of architect Desbrowe Annear) which made him a highly sought after portrait painter and he earned kudos for his commission to paint the Duke of York. During the breaks in painting the portrait, the pair chatted and Bill was surprised by the Duke’s wide knowledge of Australian affairs. The Duke was particularly interested to hear how the rabbit crisis was being handled. Bill’s work is held in major Australian galleries including the NGV, which has 12 of his paintings in their collection. Bill was married to fellow artist Violet McInnes and they lived at “The Poplars” in Alphington with their six children. Violet painted still life of flowers and portraits. In 1941, she entered her portrait of fellow artist Sybil Craig into the Archibald Prize and in 1945 Violet was appointed an official war artist. Defending his traditional style Bill said “...we in Australia have not been bitten by Cubism or Futurism or other of the “isms”...and I am glad of it”. References: THE DUCHESS OF YORK. (1931, December 7). The Argus (Melbourne, Vic. : 1848 - 1957), p. 8. Retrieved April 3, 2025, from http://nla.gov.au/nla.news-article4427568 WAR NURSE (1930, March 11). The Sun (Sydney, NSW : 1910 - 1954), p. 1. Retrieved April 3, 2025, from http://nla.gov.au/nla.news-article223714728 The Royal Visit. (1927, April 29). The Age (Melbourne, Vic. : 1854 - 1954), p. 9. Retrieved April 4, 2025, from http://nla.gov.au/nla.news-article205813465 Canberra. (1927, April 30). Advocate (Burnie, Tas. : 1890 - 1954), p. 5. Retrieved January 10, 2025, from http://nla.gov.au/nla.news-article68233606 Australian Dictionary of Biography, Nangar, https://adb.anu.edu.au/biography/nangar-33736 Australian Dictionary of Biography, Jimmy Clements, https://en.wikipedia.org/wiki/Jimmy_Clements Wikipedia, George John Noble, https://en.wikipedia.org/wiki/George_John_Noble PARLIAMENT AT CANBERRA. (1927, May 14). The Australasian (Melbourne, Vic. : 1864 - 1946), p. 37 (METROPOLITAN EDITION). Retrieved December 25, 2024, from http://nla.gov.au/nla.news-article140733921 CANBERRA CEREMONY (1927, May 10). The Argus (Melbourne, Vic. : 1848 - 1957), p. 19. Retrieved November 3, 2024, from http://nla.gov.au/nla.news-article3853643 CANBERRA. (1927, May 11). The Argus (Melbourne, Vic. : 1848 - 1957), p. 20. Retrieved November 24, 2024, from http://nla.gov.au/nla.news-article3853897 THE FINAL SCENES (1927, May 11). The Labor Daily (Sydney, NSW : 1924 - 1938), p. 5. Retrieved January 10, 2025, from http://nla.gov.au/nla.news-article236614453 TWIN SONS (1927, May 10). The Sun (Sydney, NSW : 1910 - 1954), p. 11. Retrieved April 4, 2025, from http://nla.gov.au/nla.news-article223616143 National Archives of Australia, Aboriginal [Jimmy Clements, a Wiradjuri elder] on steps of Parliament House (King Billy), https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/ViewImage.aspx?B=3050026 Sydney Morning Herald, The chant of Jimmy Clements: I’ll do the honours on my ground, thanks, https://www.smh.com.au/national/the-chant-of-jimmy-clements-i-ll-do-the-honours-on-my-ground-thanks-20241023-p5kkt5.html MET THE DUKE (1927, May 11). The Sun News-Pictorial (Melbourne, Vic. : 1922 - 1954; 1956), p. 14. Retrieved November 3, 2024, from http://nla.gov.au/nla.news-article275177101 PUBLIC MARCH PAST. (1927, May 11). The Register (Adelaide, SA : 1901 - 1929), p. 11. Retrieved April 2, 2025, from http://nla.gov.au/nla.news-article54271512 A REAL AUSTRALIAN (1927, May 13). The Canberra Times (ACT : 1926 - 1995), p. 12. Retrieved December 18, 2024, from http://nla.gov.au/nla.news-article1213124 THE PEOPLE'S DAY (1927, May 13). The Canberra Times (ACT : 1926 - 1995), p. 3. Retrieved April 3, 2025, from http://nla.gov.au/nla.news-article1213105 KING BILLY" WAS THERE. (1927, May 12). Tweed Daily (Murwillumbah, NSW : 1914 - 1949), p. 2. Retrieved November 27, 2024, from http://nla.gov.au/nla.news-article190193273 A BUSY DAY. (1927, May 11). The Sydney Morning Herald (NSW : 1842 - 1954), p. 15. Retrieved November 3, 2024, from http://nla.gov.au/nla.news-article16374845 Nothing Wrong With Canberra Opening, Says "King Billy" (1927, May 13). The Daily Telegraph (Sydney, NSW : 1883 - 1930), p. 2. Retrieved November 3, 2024, from http://nla.gov.au/nla.news-article245750627 THIS IS MARVELLOUS! (1927, May 11). The Sun News-Pictorial (Melbourne, Vic. : 1922 - 1954; 1956), p. 16. Retrieved December 9, 2024, from http://nla.gov.au/nla.news-article275177155 Mildenhall's Canberra, Royal Visit, May 1927. Canberra citizens passing the Royal Party on the front steps of Parliament House at the Civic Reception 1927 [photograph], https://mildenhall.moadoph.gov.au/rephoto/62 Australian Dictionary of Biography, 1927 - Jimmy Clements, John Noble, and the Opening of Parliament House, https://adb.anu.edu.au/the-quest-for-indigenous-recognition/jimmy-clements YouTube, The Birth of White Australia (1928), amateurish racism on the big screen [Jimmy Clements at 11.12 minutes in], https://www.youtube.com/watch?v=OByX4iPsTgo YouTube, We Were Just Little Boys, https://m.youtube.com/watch?v=u4Hw9d91k2E WASTE AT CANBERRA. (1927, May 20). The South Eastern Times (Millicent, SA : 1906 - 1954), p. 1. Retrieved April 4, 2025, from http://nla.gov.au/nla.news-article200058308 YouTube, Museum of Australian Democracy at Old Parliament House, Whispers in the Corridors-An Aboriginal Presence, https://www.youtube.com/watch?v=fwifXP61M5Y History Snoop, Air Fatality in Canberra Scars an Historic Day in Australia, https://www.historysnoop.com/air-fatality-in-canberra/ YouTube, NFSA Films, The Opening Of Canberra, Australia's Capital City, https://www.youtube.com/watch?v=pOA8llA0iE0 Pauline Conolly, Pudding & Pies at Parliament House, https://paulineconolly.com/2022/pudding-and-pies-at-parliament-house/ THE MENU (1927, May 5). The Sun (Sydney, NSW : 1910 - 1954), p. 13 (FINAL EXTRA). Retrieved April 2, 2025, from http://nla.gov.au/nla.news-article223623278 PROMISING (1927, May 7). The Sun (Sydney, NSW : 1910 - 1954), p. 2. Retrieved December 15, 2024, from http://nla.gov.au/nla.news-article223616208 The Dead King -- His Only Mourner (1927, August 30). The Herald (Melbourne, Vic. : 1861 - 1954), p. 6. Retrieved November 3, 2024, from http://nla.gov.au/nla.news-article244196114 The VOICE of the CITY (1927, August 31). The Daily Telegraph (Sydney, NSW : 1883 - 1930), p. 4. Retrieved December 26, 2024, from http://nla.gov.au/nla.news-article246406061 THE LAST OF HIS TRIBE. (1927, September 2). Bairnsdale Advertiser and Tambo and Omeo Chronicle (Vic. : 1882 - 1946), p. 6. Retrieved December 24, 2024, from http://nla.gov.au/nla.news-article269318935 GONE WEST. (1927, September 17). The Irwin Index (Mingenew, WA : 1926 - 1956), p. 1. Retrieved December 23, 2024, from http://nla.gov.au/nla.news-article251554113 King Billy Dead. (1927, September 10). The Port Macquarie News and Hastings River Advocate (NSW : 1882 - 1950), p. 5. Retrieved December 1, 2024, from http://nla.gov.au/nla.news-article112534982 DEATH OF KING BILLY OF CANBERRA. (1927, September 16). Huon Times (Franklin, Tas. : 1910 - 1933), p. 5. Retrieved December 23, 2024, from http://nla.gov.au/nla.news-article136428435 OLD KING BILLY. (1927, September 19). The Sydney Morning Herald (NSW : 1842 - 1954), p. 5. Retrieved November 19, 2024, from http://nla.gov.au/nla.news-article16404722 "Marvellous" is Dead. (1928, March 30). The Gundagai Times and Tumut, Adelong and Murrumbidgee District Advertiser (NSW : 1868 - 1931), p. 2. Retrieved December 8, 2024, from http://nla.gov.au/nla.news-article122748136 LAST OF LACHLAN RIVER TRIBE (1926, May 3). Evening News (Sydney, NSW : 1869 - 1931), p. 7. Retrieved December 18, 2024, from http://nla.gov.au/nla.news-article117289515 Coal Strike Effects (1926, June 11). The Daily Telegraph (Sydney, NSW : 1883 - 1930), p. 14. Retrieved November 30, 2024, from http://nla.gov.au/nla.news-article245759732 SBS On Demand, Her name is Nanny Nellie, https://www.sbs.com.au/ondemand/movie/her-name-is-nanny-nellie/2300137539512 The Australian Museum Magazine, Vol. 2, No. 11, July-Sept 1926, The Wunderlich Aboriginal Group, https://shorturl.at/uViTe ABC News, King Billy and Marvellous were not invited to the 1927 opening of Parliament House — but that didn't stop their fight for sovereignty, https://shorturl.at/HGpjC Museum of Australian Democracy at Old Parliament House, The thieving diva: behind the scenes of the opening ceremony at Parliament House, https://www.moadoph.gov.au/explore/stories/heritage/the-thieving-diva-behind-the-scenes-of-the-opening-ceremony-at-parliament Refinery29, Beyond a museum glass case: one First Nations woman's quest to reclaim her ancestors' story, https://www.refinery29.com/en-au/my-name-is-nelly-documentary-irene-ridgeway-interview Sydney Morning Herald, Why it took 100 years to restore the dignity of Nanny Nellie, https://www.smh.com.au/national/why-it-took-100-years-to-restore-the-dignity-of-nanny-nellie-20230719-p5dpjo.html Australian Museum, Meeting Nanny Nellie, https://australian.museum/publications/explore_summer2024/nanny-nellie/ ABORIGINES. (1926, July 1). The Sydney Morning Herald (NSW : 1842 - 1954), p. 14. Retrieved November 29, 2024, from http://nla.gov.au/nla.news-article16302447 Wikipedia, Kinchela Aboriginal Boys Training Home, https://en.wikipedia.org/wiki/Kinchela_Aboriginal_Boys%27_Training_Home Art Gallery NSW, Harry Marsh by Rayner Hoff, https://www.artgallery.nsw.gov.au/collection/works/59.2000/ Art Gallery of South Australia, Lion (produced for the Holden Motor Company) by Rayner Hoff, https://www.agsa.sa.gov.au/collection-publications/collection/works/lion-produced-for-the-holden-motor-company/27253/ Wikipedia, William Beckwith McInnes, https://en.wikipedia.org/wiki/William_Beckwith_McInnes DUKE OF YORK PORTRAIT UNIVEILED IN CASTLEMAINE GALLERY (1933, December 4). The Sun News-Pictorial (Melbourne, Vic. : 1922 - 1954; 1956), p. 18. Retrieved April 4, 2025, from http://nla.gov.au/nla.news-article276125581 Castlemaine Art Museum, Portrait of His Royal Majesty the Duke of York, https://collection.castlemaineartmuseum.org.au/objects/181/portrait-of-his-royal-majesty-the-duke-of-yorkPhotographer notations on slide: "Portrait of Duke of York by W.B. McInnes 1933 B4".1930-1939, aboriginal culture, royal visits, openings (events), sculpture, land rights, museums, museum displays

The subject of this photograph, David Charteris McArthur, was the founding manager of the Bank of Australasia in Port Phillip (Melbourne). McArthur was born in 1808 in Gloucester, England, and educated in Scotland. He worked for an insurance firm in Edinburgh, where in 1835 he married Caroline, nee Wright. McArthur and his family party sailed from the U.K. to arrive in Sydney in October 1835, where he joined the Bank of Australasia when it opened in Sydney in December. McArthur sailed to Melbourne in August 1838 with 3000 pounds in coins, protected by armed guards and two bulldogs, to open the Melbourne branch of the Bank of Australasia. The branch grew quickly, servicing both private and government customers. He opened many branches in the goldfields during the 1850s. In 1862, he was appointed as general inspector of branches. He spent time with the bank in New Zealand. On his return to Melbourne, at age 57, he was put in charge of the entire bank. McArthur lived in the hills of Heidelberg, Melbourne. He was the first chairman of Associated Banks and was an advisor to politicians and merchants. He was retired in October 1876 by the London directors and given a free trip to London, an annuity and a seat on the bank’s Advisory Board. McArthur was active in the community, being a member of the Mechanics’ Institute, on the committee that advised Governor Hotham on the Colony’s finances, chairman of the Heidelberg Road Board, one of the original trustees of the Library of Victoria in 1853 and president of the trustees of the Public Library, Museums and National Gallery of Victoria in 1880-83. He was also on many other community organisations. He died in his home “Charterisville” in East Ivanhoe in 1887. He and Caroline had no children. The Melbourne branch of Australia and New Zealand Bank has a portrait of McArthur in its boardroom. St John's Church, Heidelberg, commemorates him with a stained-glass window entitled 'King David'. The McArthur Gallery in the National Gallery of Victoria is also named after him. (David's brother, Donald, moved from Sydney to Melbourne in 1836 with the first government survey team.) ABOUT THE BANK OF AUSTRALASIA In 1836 the Bank of Australasia was established in London by Royal Charter. In 1951 the bank merged with the Union Bank of Australia, to form ANZ Bank Limited. In 1970 it merged with the English, Scottish and Australian Bank to become Australia and New Zealand Banking Group Limited. Since that time the ANZ has acquired other banks and introduced Internet banking and mobile banking. BANK OF AUSTRALASIA IN WARRNAMBOOL The Bank of Australasia first opened in Warrnambool in July 1854 in a building on Merri Street. The manager was Mr Samuel Hannaford. The bank then purchased and moved to a stone building on the corner of Timor and Gibson Streets, previously owned by Cramond and Dickson and almost opposite the Examiner’s office. In January 1957 Mr W.H. Palmer became the new manager and was there until November 1869. The bank then built its own building on the corner of Timor and Kepler Streets in 1859. Mr Basil Spence, the teller, was appointed acting manager in 1869 and Mr H.B. Chomley was the next appointed manager, in April 1873 and was still manager in 1886. The municipality of Warrnambool first banked with the Bank of Australasia from 1856 to April 1857. David Charteris McArthur served as the founding manager of the Bank of Australasia. His leadership marked a significant chapter in Warrnambool's early commercial development. The municipality of Warrnambool relied on the Bank of Australasia as its official bank from 1856 until April 1857. This period is symbolised by a photograph of McArthur, which represents the origins of Warrnambool's commercial history and its early financial infrastructure.Photograph; portrait of David Charteris McArthur. Heavily retouched black and white print in plain brown varnished frame, behind glass, with plaque on lower edge and inscription lower left corner.Lower left corner "A-H 1-9". Engraved on plaque "DAVID CHARTERS MCARTHUR \ SUPERINTENDENT \ BANK OF AUSTRALASIA \ 1867-1876"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bank of australasia, david charteris mcarthur, superintendent bank of australasia, colonial commerce, manager bank of australasia melbourne, colonial bank, warrnambool bank of australasia, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, boa, union bank, australia & new zealand bank, anz bank, david charters mcarthur, d c mcarthur

The Ballarat School of Mines was established in 1870 after a resolution from the Ballarat Mining Board. It is the first School of Mines in Australia. The first three trustees were Redmond Barry, Rivett Henry Bland, and Somerville Learmonth, with Redmond Barry being the first President. .1) Yellow soft covered booklet of 4 pages. The contents include an outline and rules of the proposed Ballarat School of Mines, Resolutions of the Mining Board at Ballarat, and a draft constitution. .2) Ballarat School of Mines Constitution handwritten rough notes .3) Ballarat School of Mines Constitution handwritten rough notes .4) Ballarat School of Mines handwritten draft Constitutionballarat school of mines, smb, redmond barry, ballarat mining board, ballarat school of mines establishment, legal, constitution, rivett henry bland, somerville learmonth, john alexander mcpherson, james mcculloch, mccoy, harrie wood

Sir Redmond Barry was a Trustee and first President of the Ballarat School of Mines, Australia's first school of mines. Minutes of the Ballarat School of Mines Council (10 nov. 1870) state that a letter be sent to Sir Redmond barry acknowledging with thanks the copy of his address and stating that the COuncil had determined upon ordering 100 copies at at present buyt that the Coucnil had postponed the printing of a larger number till the constitution and some other matters are prepared so as to be printed with that. It was moved by Downes and seconded by Henry Richards Caselli.Cream, soft covered booklet with the 23 page printed address on the opening of the Ballarat School of Mines as delivered by Sir Redmond Barry.Inside front covered written in ink by Barry: "To Edmund [Illegible] with Sir Redmond Barry's kind regards. January 2 1871. Handwritten corrections throughoutballarat school of mines, redmond barry, s m b, establishment, barry, legal, mason. firth & mccutcheon, robert stephenson, electricty, tangil mines

The Ballarat Mining Board moved a motion to start Australia's first school of Mines at Ballarat. This document shows the resolutions of the Mining Board, and make reference to the Ballarat School of Mines Trustees, Redmond Barry, Rivett Henry Bland and Somerville Livingston Learmonth. The constution was adopted on 25 January 1870.The Ballarat School of Mines is Australia's first School of Mines. This handwritten documents sets down the initital constitution of the school, including corrections and additions. Seven large blue pieces of paper with handwriting relating to the setting up of the Ballarat School of Mines. Appendix A is an outline of the constitution of the proposed school. Proposed subjects are also included.ballarat school of mines, redmond barry, rivett henry bland, harrie wood, somerville livingston learmonth, judge-rogers, john alexander mcpherson, james mcculloch, professor mccoy, legal

'King Billy' of Ballarat is also known as Frank Wilson, after the surname of an owner of Ercildoun Estate. He was buried in a Wesleyan burial plot at the Ballaarat Old Cemetery on 26 September 1896. The Anglican burial ceremony was organised by the community who thought 'King Billy' to be the last of his tribe. The Ballarat Star of 25 September 1896 stated: that Billy and his subjects 'once virtually owned all the land comprised of the City of Ballarat and its immediate surroundings 'so 'it can be considered only fair that six feet of ground should not be denied for his burial' The Australian Natives Association and the Australian Historical Records Society (later Ballarat Historical Society) took a major role in the burial of Frank Wilson. "As public interest and compassion grew, noteworthy citizens of Ballarat and two key Christian denominations appeared to jostle for pre-eminence in the ritual to follow. Whilst the 'venerable Archdeacon Mercer' from the Anglican Church took the funeral service, the cemetery trustees arranged that the body was placed in 'a central site in the Wesleyan section of the cemetery'. Frank was recorded as a Roman Catholic. The coffin was carried to the grave by several Methodists, including Justice of the Peace, Glenny, and Member of the Legislative Assembly, Kirton, as well as Old Colonists' and noted citizens. (https://www.academia.edu/3246304/2001_Remembering_King_Billy_Journal_of_Australian_Colonial_History_vol_3_2_61-80) Three Images relating to King Billy of Ballarat as illustrated in the Evening Echo Historical Edition 1904. * Image of a group of Aboriginal people. They are most most probably Wathaurung (Wadawurrung) . The picture includes ten standing males, two holding a boomerangs. Six females sit on the ground in front, three hold hats. A seated child wears a hat. * The burial of King Billy in the Ballaarat New Cemetery, 26 September 1896. * King Billy's Grave in the Ballaarat New Cemetery. wathaurung, wada wurrung, wathaurong, king billy, aborigines, aboriginal, frank wilson, mercer, ballaarat new cemetery, glenny, burial, mullawullah

This book was a donation to Federation University Australia's Professor David Battersby from Vice-Chancellor Professor Scott Bowman of Central Queensland University.Soft cover. Front cover with some red. 80 pages. Back cover Plan of Ballarat Map. Photographic plates. Brief history of Ballarat and the topics photographed. . Ballarat City Municipal Chambers . The Ballarat Banking Company Limited . Art Gallery Ballarat . The Ballarat Trustees, Executors & Agency Company Limited . John MacLeod & Coy Pty Ltd . The Ballaarat Gas Coy . Ballarat's Homes . J. J. Goller & Co. . Ballarat East Views . Star Office . The Ballarat Courier . Morshead's . M. B. John Ballarat - The largest Inland Brass Foundry in Australia . Rowlands Koomah Spa . Huttons the Jewellers . Botanical Gardens Ballarat . Millers the Clothiers . Jas Smith Agricultural Machinery . Views of Lakes Learmonth & Burrumbeet . Coles & Pullum Stock & Station Agents . Harry Davies & Co. . Views about the City . Benoit's Sun Foundry . Ballarat College (for Boys) . Wm Paterson's . Lydiard Street Views . Eureka Terra-cotta & Tile Co. of Australia Limited . Churches of Ballarat . The Ballarat Woollen & Worsted Co. Ltd Sunnyside Mills . Red Shop Tea Rooms . Tyler's - Bridge Street, Ballarat . Allchin Bros Ballarat . Loreto Abbey Mary's Mount Ballarat . Brinds - Dunnstown . Ballarat Brewing Co. . Turnbridge's Arcade . Zoological Gardens Ballarat . A. Cant Plumber & Gasfitter . Interiors of some Ballarat Churches . Hugh Jones & B . W. F. Coltman . Views in Eureka Reserve . Loveland & Haslem, Moter Engineers . Public Institutions Ballarat . G. Warner & Co. Prop. Ltd . The Electric Supply Company of Victoria Limited . Ballarat East Views . Longhurst's Specialities . P. C. Thornton Proprietor Sturt St Ballarat . Cowley's Eureka Ironworks Pty Ltd . W. Owen Sports Depot & Tobacconist . Clarendon Ladies' College . Crocker's . Evening Echo Office . London Bank Chambers . Proprietors of Business . Broadbent Bros & Co. Gifted by Vice-Chancellor Professor Scott Bowman Central Queensland University, 2014.ballarat, school of mines, evening echo, john scullin

Brown soft covered book with diagrams maps and photographs compiling information supplied or made available to the editors of the "Spectator", "Reporter" and "Woman's World" by Ministers and Officers of the churches at Richmond, Hawthorn and Auburn, Mr. R.A. Sutton, Mrs. A. Edgoose and Mr. J.R. Ellingworth and others who have helped with their memories of the past.Wholly set up and printeed in Australia by Reporter Print, Box Hill, 1937. CONTENTS. The Beginning - Trustees and Church Debts and Buildings The Depression and Church Union - The Curch Leads the Way Temperance The Sunday School The Ministers Local Preachers Organ and Choir Cheer-Up Brigade Progress and Change Foreign Missions Hospital Sunday Pew Rents Making Records Class Meeting and Endeavour Sport The Ladies Conclusion Tables Index Maps

No dust jacketnon-fictionsea voyage, allan villiers (1903-1982), keith oliver, donation, windjammers

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 white-browed babbler is a a very active bird and is often found in noisy social groups. It lays two nests: one to lay its eggs in, and a separate nest to roost in. The Babbler is located in dry sclerophyll woodlands throughout mainland Australia. The diet of this species is varied: including insects, spiders and other invertebrates, small amphibians, crustaceans and reptiles. These birds will also eat fruits and seeds. 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-browed Babbler is a small bird with dark brown/grey plumage. It has a white throat, a white tipped tail and a long, pointed curved bill. This species have a distinct white brow and dark eye stripe which inspired its name. The specimen stands upon a wooden mount and has an identification tag tied around its leg.Label: 68a. / White-[illegible] Pomatostomus superciliosus /See Catalogue, page 20 /taxidermy mount, cancel, taxidermy, burke museum, beechworth, australian museum, bird, white browed babbler

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

Eastern Meadowlarks live throughout the grasslands and farms in eastern North America. On the ground, their brown-and-black dappled upperparts camouflage the birds among dirt clods and dry grasses. When in flight or perching, they reveal bright-yellow breasts and bellies, and a striking black chevron across the chest. The Eastern Meadowlark has a diet which consists of mainly insects and seeds. These birds forage by walking on the ground and taking insects and seeds from the ground and from low plants. In winter, these birds may choose to forage in flocks. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. This Eastern Meadowlark has a yellow breast and throat with black plumage in the shape of a 'V' on it's throat. This particular specimen has a long pointed bill which is in the shape of a spear. The crown of the bird is a dark brown and it also has lighter brown/yellow stripes on the brow. The back, wings, and tail are light brown with dark brown mottling. This specimen stands upon a wooden platform and has an identification tag tied around its leg. The legs are long and the specimen has been styalised in an upright position.Label: [illegible] Ant-Eating Thrush / Catalogue, Page 66. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, american birds, eastern meadowlark, meadowlark

The Eastern Spinebill is found along the eastern coast of Australia, from Queensland to South Australia. It lives in wooded areas. It is an insectivore and also eats nectar, which is why its beak is a long slender shape. Females and males have slight aesthetic differences; the males have more distinct markings on the head. The female birds build nests and incubate eggs, but both parent birds will feed the young. The Eastern Spinebill has a bright rust coloured belly and throat, with black wings, crown and tail. Its back is light brown. There is a white stripe on its chest which stretches up underneath its eyes. The eyes are red. This taxidermy specimen is not a good representation of the live bird because it is considerably faded and their feathers are very ruffled. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.There are two birds on a wooden stand. One has its beak in the air and the catalogue tag attached to its foot (main bird). It has some minor pest damage around its eye. The opposite bird looks straight ahead. The birds are placed next to each other, facing opposite directions. They are faded and have some ruffled feathers. 60a/ Spine Bill / See catalogue, page 18taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, eastern spinebill

The 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