# data[].physicalDescription
Folded brochure from NADOC. Text - The Black Australians. Issued by National Aborigines Day Observance Committee Sydney, NSW.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
Extract titled 'The Steam Car - Fact and Fantasy' by E. Pritchard reprinted from the SAE-Australasia, September-October 1971

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Set of five booklets titled 'Sunsets', by Diana Boyer

# data[].physicalDescription
A set of five booklets titled 'Sunsets', one colour photograph and one text panel label.

# data[].significanceStatement
The Diana Boyer collection comprises artworks, annotated sketches and other recordings of life on 'Bobbara Creek', a rural property in the Binalong district of southern NSW, between 1981 and 2007. There are twenty eight items and groups of items in the collection. All are in good condition.

This collection records the imaginative and emotional processes by which Diana Boyer, a migrant from Argentina, settled in an Australian place. The artworks, sketchbooks and other items show Diana's engagement with the ecological particularities of the Binalong district, and with significant issues arising from the social and economic dynamics of colonial history and the present. The items record Diana's exploration of a range of topics related to her life and work on 'Bobbara Creek', including Aboriginal dispossession, the representation of rural women, the value of biological diversity, the broader implications of introducing genetically modified canola to Australia, and the possible consequences of global warming for Australian agriculture.

# data[].hasPart[].title
Photograph documenting the exhibition of the set of five 'Sunset' booklets by Diana Boyer

# data[].hasPart[].title
'The Dance of Life (1898-1902)' by Diana Boyer, part of a set of five titled 'Sunsets'

# data[].hasPart[].title
Text label from the exhibition of the set of five 'Sunset' booklets by Diana Boyer

# data[].hasPart[].title
'Ad Parnnssum (c.1932)' by Diana Boyer, part of a set of five titled 'Sunsets'

# data[].hasPart[].title
'Book of the Dead (c.1320-1200 BC)' by Diana Boyer, part of a set of five titled 'Sunsets'

# data[].hasPart[].title
'Sunset Strip 1966' by Diana Boyer, part of a set of five titled 'Sunsets'

# data[].hasPart[].title
'human in the setting sun (c.1818)' by Diana Boyer, part of a set of five titled 'Sunsets'

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].significanceStatement
This collection of memorabilia from the Finsbury (Pennington) Migrant Centre was obtained when the hostel closed in November 1985.  The collection contains forty-one items of furniture: a kitchen chair, three tables, two divans, four chests of drawers, four single beds, two stretcher beds, one wooden cot, springboard, garden rocker, trolley, two electric radiators, three mattresses, crockery, cutlery, single and double bedspreads and sheets, mattress cover, towel, floor mat, stainless steel dessert, kindergarten table, chair and set of building blocks, white ceramic soup bowl, dinner plate and dessert bowl with the letters 'CACS' logo (for Commonwealth Accommodation and Catering Services) in the centre of each.
  
By late 1944, the Australian Government had begun negotiations with Britain for assisted immigration programs in response to the "Populate or Perish" policy propounded by the Curtin Government before the end of World War II.   Because insufficient Britons took up the opportunity, Australia opened its doors to more migrants from war-devastated Europe. Thousands of these immigrants were housed in migrant hostels, which offered temporary accommodation in which they could stay for up to five years. Finsbury Hostel, located in the Adelaide suburb of Pennington, was originally established in 1942 as an army camp  and converted to migrant accommodation in 1950.  It consisted of a series of dormitories of converted Nissen huts, which were divided into apartments furnished with beds, chairs and wardrobes. Communal dining, laundry and recreational facilities were provided. Many notable Australians passed through Pennington Migrant Centre, among them, Prime Minister Julia Gillard, who spent several weeks there after immigrating with her family to Australia in 1966 at the age of four.

# data[].spatial[].title
Pennington, Adelaide, South Australia, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Book titled "The Ronalds Family of Australia", compiled by A. F. Ronalds, M. C. E., 1985, A flyer from Peter Arnold Pty Ltd for copy of the third edition of "The fly-fisher's entomolgy" by Alfred Ronalds

# data[].physicalDescription
A book titled "The Ronalds Family of Australia", compiled by A. F. Ronalds, M. C. E. , 1985, A flyer from Peter Arnold Pty Ltd for copy of the third edition of "The fly-fisher's entomolgy" by Alfred Ronalds. From Peter Arnolds Auction March 2004.

# data[].significanceStatement
The Alfred Ronalds Collection consists of a copy of the third edition of The Fly-Fisher's Entomology, published in England in 1844. The book contains a detailed description of the art of fly-fishing, plus fifty artificial flies and instructions about how to make them. There are also twenty plates displaying a hundred delicately coloured illustrations of insects and their imitations. This copy of the book was owned by A J Lane, an early fly-fishing enthusiast. Writing in his journal of 1843, Lane describes the fish, the fishing, and the flies of southern England in great detail. A J Lane has embellished this book with thirty-two mounted artificial flies, and added extensive notes. 

Alfred Ronalds first published The Fly-Fisher's Entomology in 1836, the result of his thoughts, observations and experiments undertaken in a purpose-built hut on the banks of the Blythe River in Staffordshire, England. Acclaim for Ronalds and his book, was immediate and long-lasting. It is still regarded as one of the greatest achievements in angling literature, particularly in connecting the practice of fly-fishing with the science of entomology. The scientific basis of the book influenced angling techniques and their consequent development world wide. The fame of Alfred Ronalds and his book preceded his arrival in Australia. He died in 1860, just four years before trout were introduced to Australia by Tasmanian pastoralist James Youl. Ronalds' daughter, Maria Shanklin, continued the tradition of fly-tying during the 1860s and 1870s, and her design, named the Wennel, is still used by Australian fly-fishers. Fly-fishing today is one of the most popular forms of fishing in Australia.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
An unused postcard featuring a black and white photograph of a train station with a central and two side platforms with railway tracks between them. The sign on the central platform reads "SUMMER HILL". The station buildings have encircling verandahs with deep edgings that extend over the platform.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Letter sent from Robert Lionel Faithfull, 15 April 1881

# data[].physicalDescription
A white coloured paper letter handwritten in black ink. The letter reads 'Brewarrina Station / Wagga Wagga / 15th April 1881 / My dear Father...'.

# data[].significanceStatement
The Robert Faithfull Collection comprises objects relating to the Faithfull family of Springfield, near Goulburn. There are five portraits: William Pitt Faithfull's sister Alice Gibson of Tirranna, his wife Mary and her sister Ann Deane, also his sons William Percy and Reginald. The accounts, letter books and detailed paddock book kept by George give a picture of the work, and expenses, of Springfield. There are also six medical degrees from two generations, Commissioning and Demobilisation documents from the First World War as well as programmes from the Tirranna Picnic Races and Mary and William's 1844 marriage certificate.

The portraits add to the visual holdings and bring to life the family that inhabited Springfield, a highly significant wool property.  Alice Gibson also relates to the Tirranna property where the annual Picnic Races were held. Reginald Faithfull, who died of tuberculosis aged 32, illustrates the sadness at the centre of the family and relates to the health scourge of that time that afflicted so many young healthy adults. One of the properties mentioned in the paddock book, Inveralochy, was inherited by Dr Robert Lionel Faithfull, great-grandfather of the donor. Robert Lionel's medical degrees, ledgers and letters from overseas provide some 'missing links' as well as insights into his medical career. His medicine chest is already part of the National Historical Collection. The Army certificates issued to Robert Lionel's son Geoffrey, and the summary of the diary he kept on active service in France is yet another window to this extended family. 

This collection highlights different family members and the detailed record keeping that contributed to the property's success for so many years.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].collection.title
William and Jeanette Derham Family - Bendigo Pottery collection

# data[].physicalDescription
A dark brown glazed ceramic bowl. The lower half of the outside of the bowl is textured with a stippled pattern.

# data[].significanceStatement
The William and Jeanette Derham family collection is the physical manifestation of Mr Derham's commitment to documenting the work of Bendigo Pottery, its wares and institutional history, as well as the association he and his family had with the business between 1968 and 1983. The collection consists of historic Bendigo Pottery ceramics from the 19th and 20th centuries which illustrate the diversity of wares produced between 1858 and 1971, as well as a comprehensive range of items manufactured during the Derham era. This material is supported by a unique collection of stamps and printing blocks used as part of the manufacturing and advertising processes as well as documentary materials, photographs and ephemera which illustrate working life at Bendigo Pottery. 

Since its establishment in 1858, Bendigo Pottery has played a significant role in the history of Australian ceramics, producing wares ranging from the domestic and decorative, to the utilitarian and industrial. The history of the business illustrates the process of technological transfer in the decorative arts, the adaptation of imported ceramic traditions to local markets and the development of distinctively Australian imagery, styles and pottery products. Bendigo Pottery has provided useful products and employment opportunities to the community for 150 years and on an aesthetic level ensured that the skills of the potter, which so easily could have been lost with the advent of mass production techniques, have been preserved for posterity.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Two Cassididae Phalium Glabratum subspecies Augasi shells and two operculum

# data[].description
The Lady Helen Blackburn collection features more than five hundred seashells from Australian beaches, reefs and islands.

Lady Helen Blackburn was born Bryony Helen Dutton in 1918, the third of four children to a pioneering pastoralist family. She grew up on the historic Anlaby Station near Kapunda (the oldest stud sheep station in South Australia) and formed a close relationship with her younger brother Geoffrey Dutton, who would become a celebrated poet, novelist and historian. The Dutton family spent summers at Rocky Point, the beloved family holiday home on the north coast of Kangaroo Island, where Helen's curiosity and love of nature led to a passion for shell collecting that would last a lifetime.

In 1951, Helen married lawyer Richard Blackburn (later Sir Richard). They lived in Adelaide and started a family. Rocky Point remained a focal holiday destination, and Helen's passion for shell collecting continued to thrive. "Shell collecting has been my greatest joy in life", she later wrote. "Just walking on a good beach, hoping to find beach specimens has made me as happy as hunting for live specimens." (Lady Helen Blackburn collection file: National Museum of Australia).
    
In 1966, Richard was appointed resident judge of the Supreme Court of the Northern Territory, where he presided over the first Aboriginal land rights case heard in an Australian court: Milirrpum v Nabalco (1971). During her time in the Northern Territory, Helen pursued her passion for collecting shells. She visited the Gove Peninsula of Arnhem Land (the country of the Yolngu people of Yirrkala) with her husband, and took the opportunity to search for shells.

Such was her skill and reputation for shell collecting, that she did so on behalf of several major institutions, including the Australian, Darwin, Tasmanian and Western Australian Museums, the CSIRO and the University of New South Wales. Helen corresponded regularly with other shell collectors around the world, exchanging information and swapping shells to build up her collection. Her malacological knowledge, moreover, was such that she wrote a book on the, "Marine shells of the Darwin area". One of the shells she presented to the Australian Museum had never before been described, and now carries her name: Cryptomya blackburnae.

# data[].physicalDescription
Two Cassididae Phalium Glabratum subspecies Augasi (Iredale 1927) shells. The specimens have opercula.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
A negative from the negative album 1998.9.312, numbered No.20, showing a Chinese grave.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
Ochres on bark. Long curved snake-like creature with, possibly kangaroo head. Crosshatching in brown and white. Head spotted. Note on reverse reads in part '... a dreamtime creator snake-being with ears and protruding breast bone. He is David's totem. He calls it 'my father'.'

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].collection.title
Professor Henry and Luise Krips collection

# data[].physicalDescription
An asymmetrical wooden boomerang with rounded ends and a surface textured with adze marks.

# data[].significanceStatement
The Professor Henry and Luise Krips collection comprises 260 Aboriginal artefacts including weapons, ornaments and stone implements.

The Professor Henry and Luise Krips collection comprises a wide range of artefacts from all mainland states and the Northern Territory. Henry Krips was a symphony orchestra director and his work often took him and his wife Luise to Europe and Great Britain where they would purchase artefacts for their collection and bring them back to Australia.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Hooked boomerang made by Erlikilyika (Jim Kite) - decorated with flower, leaf and bee motifs

# data[].description
Erlikilyika was a Lower Southern Arrernte man born in c1865 in the area where the Charlotte Waters Telegraph Station was built in central Australia in1872. During his life he became a well-known innovative carver who used both wood, and soft stone (kaolinite), sourced from near Charlotte Waters.

# data[].physicalDescription
Pigmented hooked wooden boomerang with longitudinally incised fluting. One side is decorated with carved flower, leaf and bee motifs.

# data[].spatial[].title
Charlotte Waters, Northern Territory, Australia

# data[].temporal[].description
Date the Commonwealth of Australia purchased the Herbert Basedow collection for the Australian Institute of Anatomy, from Basedow's widow.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Black and white photograph - Percival 'Q.6" with retractable undercarriage.

# data[].physicalDescription
A black and white photograph depicting Percival "Q.6" with retractable undercarriage. Photograph stamped on back copyright to 'Flight' magazine.

# data[].significanceStatement
The Dr Robert C Percival collection consists of hundreds of objects recording the career of Edgar W Percival and his aircraft manufacturing companies, between 1897 and 1984. Items include material from Percival's military service in the AIF and RFC from 1915 to 1918; photographs, flying helmet and gloves from his commercial flying activities in Australia during the 1920s; photographs and documents recording his design and manufacturing work with Percival Aircraft Company in England during the 1930s and 1940s; trophies, certificates and medals awarded to Percival; travel documents, photographs and correspondence related to Percival's aircraft design and manufacturing work during the 1950s and 1960s; and documents and audio recordings made by Edgar Percival and his younger brother Robert Percival documenting the achievements and life story of Percival's aviation career.

Edgar Wikner Percival was born in Albury on 23 February 1897. He was inventive and mechanically minded from an early age, working with his father, William Percival, on their property, Clarendon Park, at Richmond, New South Wales. While Percival studied engineering at Sydney Technical College and was apprentice to a marine engineering firm in Sydney, he was able to watch and fly with William (Bill) Hart, the first qualified pilot in Australia, when he moved his aviation school operations from Penrith to Ham Common, now Richmond Aerodrome, a short distance from Clarendon Park. In 1915, Percival joined the AIF, lying about his age to pursue a commission with the Royal Flying Corps which he achieved in 1917. After the war, Percival returned to Australia and undertook a variety of commercial flying activies, including aerial photography, map-making, geological surveying, joyflights and advertising. In 1929, Percival travelled to England hoping to sell one of his aircraft designs to an English manufacturer, but without success. Instead, Percival founded his own company, Percival Aircraft Company, to design and manufacture Great Britain’s first low-wing cantilevered monoplane, the Gull. Percival won many competitions and awards flying his own aircraft, and the Gulls quickly established a reputation for high performance, attracting the era's most daring pilots.

# data[].isPartOf[].title
Photographs associated with the Percival aircraft.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Reproduction photograph of the Phillip Island car race.

# data[].physicalDescription
Reproduction photograph of the Phillip Island car race.

# data[].significanceStatement
The Joan Richmond collection consists of items related to the motor racing career of Joan Richmond. These include a racing suit, goggles, a trophy, number plates, a personal journal, letters, photographs and newspaper clippings.

Joan Richmond (1905-1999) was a successful racing car driver at a time when women racing drivers were not only a rarity, but competed in the same events as men. Richmond's first major event was the 1931 Australian Grand Prix at Phillip Island in which she drove a Riley and placed a creditable fifth. Shortly after, Richmond and four friends embarked on an overland journey from Australia to Europe in order to compete in the Monte Carlo rally. This journey is credited as the first international overland tour to have originated from Australia. Following the group's successful completion of the rally, Victor Riley offerd to sponsor Richmond and in 1932, she supported the English racing car driver, Elsie Wisdom, to win the 1000 Mile Race at Brooklands. Throughout the 1930s, Richmond stayed in England and competed in more motor racing events, including several Monte Carlo rallies and the Le Mans 24 Hour race. She returned to Australia in the 1940s but was unable to continue her motor racing career due to a lack of money and sponsorship. Joan Richmond died in Melbourne in 1999.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Sterling silver Hunter pocket watch, hallmarked Birmingham 1884

# data[].physicalDescription
Sterling silver Hunter pocket watch, hallmarked Birmingham 1884. The case has a polished finish with an engraved belt and shield cartouche.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
Wooden rolling pin hand carved from dense heavy timber.One end only shaped to make smaller circle for hand grip with incised groove to take string for hanging rolling pin. Carved from a single piece of wood.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
Painting on a rectangle of bark, in yellow, white, brown and black. Two squarish sections both contain longitudinal bands in various combinations of diagonal cross-hatching, or dots, on a black or yellow background. The dotted bands are along the long edges of the painting. There are three thin parallel lines between the sections and across both ends of the painting. "699/2" is written on the back in black.

# data[].significanceStatement
The Calaby Collection comprises three bark painitings collected by Dr John Calaby while working in Darwin in the 1960s.  'Hollow trees for possums and other animals' is attributed to Mick Magani (c1920-1984, active 1960-1984) from the community of Ramingining at Maningrida in the Northern territory.  The two Groote Eylandt cremonial barks: 'Spriti Islands' and Ceremony of circumcision' (late 1950s) were given to Dr Calaby by Dr Fred Rose who acquired them from Fred Gray, the founder of the umbakumba Aboriginal settlement located on Little Lagoon, Port Langdon on the north-eastern coast of Groote Eylandt.

The two important ceremonial barks are visual maps as well as ancestral storylines and can be used to tell several stories about the Groote Eylandt Indigenous people including the story of Fred Gray, the Flying boat base and the Groote Eylandt's involvement in the war effort.  Mick Magani is considered to be one of the most significant elders and artists from the Naningrida region.

# data[].spatial[].title
Melville Island, Tiwi Islands, Northern Territory, Australia

# data[].spatial[].title
Bathurst Island, Tiwi Islands, Northern Territory, Australia

# data[].spatial[].description
See note by F Cubillo questioning this attribution, in Notes field

# data[].spatial[].title
Groote Eylandt, Northern Territory, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
Milk jug cover in a star shape with the borders crocheted in pink silk thread and three red beads at each point of the star.

# data[].spatial[].title
Saint Kilda, Melbourne, Victoria, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Columbia 78rpm record 'IN A PERSIAN MARKET - PART 1 / ALBERT W. KETELBEY'S CONCERT / ORCHESTRA' and 'PART 2'

# data[].physicalDescription
Shellac disc with track grooves, played at 78 rpm. Label at centre with gold text on dark blue background, 'Columbia'. Tracks 'IN A PERSIAN MARKET - PART 1 / ALBERT W. KETELBEY'S CONCERT / ORCHESTRA' and 'PART 2'. Blue edged adhesive label stamped '4QG'. Blue paper sleeve with text 'Colombia' manufacturer's information. Paper slip divided vertically at centre with notes in ink at top 'In A COUNTRY / LANE" ' and 'Joyous You / PT1 PT2' and stamp '20 FEB 1935'. Inscribed "8631 / AX3295 / 8630 / AX3296".

# data[].significanceStatement
The Rev. J.W. Schomberg Collection consists of a home-made gramophone, four boxes of gramophone needles and thirty-five records, all dating from the early 1930s. The gramophone's cabinet was constructed by Junius Schomberg, from silky oak wood, in imitation of those available through retailers in the early 1930s. What is most unusual about this gramophone is that Schomberg has used a giant whelk shell as an amplifier, hidden within the cabinet. 

Between August 1921 and his sudden death on 5 February 1936 at the age of forty-five, Junius was superintendent of the Mission for Pacific Islands and based at the Torres Strait mission of St Paul's on Moa Island. The collection's significance lies in its close association with the Schomberg family's time on Moa. The collection demonstrates Junius's resourcefulness and adaptability and the broader cultural life of a missionary at this time.

# data[].spatial[].title
Moa Island, Torres Strait, Queensland, Australia

# data[].hasPart[].title
Blue paper sleeve with circular window at centre

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Wet specimen - Echidna - uro genital system

# data[].physicalDescription
A wet specimen with a label which reads "GENITO-URINARY SYSTEM / M. ECHIDNA".

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
Pigmented cylindrical bark container. The bottom and side are lashed with split cane and resined, and a fibre string forms a looped handle which is threaded through holes at the top.

# data[].spatial[].title
Walcott Inlet, Western Australia, Australia

# data[].spatial[].title
Port George IV, Western Australia, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
A window mount for a botanical engraving that features text reading "S. Parkinson del. 1769 / J. Miller pinx. / Plate 530 / D. MacKenzie sculps. / CHENOPODIUM ALLANII... / Motu aro Island, New Zealand / 29 November & 2 December 1769".

# data[].significanceStatement
The Banks' Florilegium was published by Alecto Historical Editions (London) in association with the British Museum (Natural History) between 1980 and 1990. Each of the 100 sets that comprise the edition consists of seven hundred and forty three botanical line engravings, after the watercolours drawn from nature by Sydney Parkinson recording the plants collected by Joseph Banks and Dr Daniel Carl Solander during their voyage round the world on HMB 'Endeavour' with Lieutenant James Cook, 1768-1771. Each set is divided into 35 parts and housed in Solander Boxes. Each print or sheet within the set is identified by a blind embossed stamp on the recto, recording the publisher's and printer's chops (ie: their signatures), the copyright symbol and date. The initials of the individual printer, the plate number and the edition number are recorded in pencil. The plate-marks are virtually uniform in size: 18 x 12 inches (457 x 305 mm), and the paper is Somerset mould-made 300gsm, each sheet watermarked 'AHE' and produced specially for this edition by the Inveresk Paper Company. The sheet of paper on which the image is printed measures 28 ½ x 21  inches (724 x 556 mm), and each of the engravings is protected within a double-fold sheet of the same acid free paper which has been cut to form a window mount. Every print includes watercolour embellishments added by artists working directly from Banks' own notes. The condition of the Museum's set, No 5/100, is excellent.

The Banks' Florilegium records and celebrates the botanical discoveries made during the first voyage of scientific discovery undertaken by Britain's Royal Navy. In addition to the vast collections of botanical and zoological specimens created, astronomical observations made and accurate maps compiled during HMB Endeavour's voyage to the Pacific, the east coast of Australia was mapped and claimed for the British Crown, leading 18 years later to the establishment of a colony in New South Wales. Joseph Banks, who financed and led the natural history contingent onboard the Endeavour, planned to publish the botanical results of the voyage in a 14 volume folio work. He hired artists to complete Sydney Parkinson's drawings and engaged a team of 18 engravers to create the copperplates. The project took 12 years and was then put aside by Banks who was by now President of the Royal Society and closely involved with the Royal Horticultural Society, Kew Gardens, the British Museum and was a friend of and unofficial advisor to the King. Sir Joseph, as he became in 1781, would go on to serve as a member of the Board of Longitude, the Coin Committe and the Privy Council's Committee for Trade, and Plantations, and his wealth, social position and extraordinary range of contacts within the political, scientific, manufacturing and diplomatic spheres made him one of the most influential figures of his day. Although the Florilegium was not published during his lifetime, he took steps for its preservation and made the drawings, notes and specimens upon which it is based available to interested visitors to the Herbarium he maintained at his home.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
Elliptical wooden shield, pigmented and carved in one piece with handle and free-standing from the posterior and with incised linear patterns on both sides.

# data[].spatial[].title
North Western Australia, Western Australia, Australia

# data[].temporal[].description
Date received at Australian Institute of Anatomy

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Carved walking stick with fist-shaped handle and snake carved around shaft

# data[].description
According to the vendor this object was made in c1920.  He acquired it in an antique shop in Yandina QLD in 1998.

# data[].physicalDescription
A cylindrical, medium brown-coloured walking stick carved with geometric and figurative designs. The shaft is unadorned except for a snake, carved in relief, which is depicted wrapped around its upper section. A protruding vertical band of triple shuttle design, which appears to be carved over the top of the tail and head sections of the snake, features near the top of the walking stick. The top end of the stick is carved into a clenched fist and a vertical band of weave design features underneath. The shaft is tapered towards the bottom end, which features a pointed metal cleat.

# data[].significanceStatement
This collection consists of eighty one decorated objects including boomerangs, clubs, scrimshaw, stock whip handles, shields and walking sticks. The majority of the objects are associated with Aboriginal missions during the late nineteenth to mid twentieth centuries, in particular the Barambah/ Cherbourg mission (QLD), La Perouse (NSW), Palm Island (QLD), and Lake Tyers (VIC). Various locations in South Australia are also included.

From the late nineteenth century Aboriginal people in Eastern Australia created a range of artefacts decorated with incised, carved, painted and pokerworked motifs, which documented their experiences of interaction with European settlers. 'Non-traditional' designs emerged which were specific to individual missions - such as the cross hatching and playing card iconography characteristic of Cherbourg and the incised flora and fauna motifs characteristic of La Perouse. Many of the objects in this collection reflect  these new designs, and depict the changing circumstances brought about by European settlement as well as continuing links to land and traditional cultural practices. When used as trade items, these objects quickly became sought after, and as production increased they found a market as tourist souvenirs. This collection brings together a range of such objects from several key sites, including two of the most important east coast mission stations, Cherbourg and La Perouse. It also includes a number of hybrid objects, such as a tin yandi and a nail club, which combine tradition forms and functions with non-traditional materials. This collection is significant for including types of objects not well represented in existing museum collections, and for representing the range of objects being made by Indigenous people in Eastern Australia during this period, particular those living on missions.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Garma Circumcision Rite and Dancing at the Narra  Ceremony

# data[].physicalDescription
Ochres on bark. Bark divided into two panels by spotted band. On one side, two white figures with red lines on body watch three yellow male figures, flanked by a crosshatched clapsticks player and three dancing figures. On the other side, eight large figures and one small, with one large figure holding a yellow stick, all dance. Background of white spots.

# data[].spatial[].title
Milingimbi, Central Arnhem Land, Northern Territory, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
St George Leagues Club members badge, 1965

# data[].physicalDescription
A metal medallion featuring St. George on horse back slaying a dragon in silver on red background, with text 'ST. GEORGE LEAGUE'S CLUB LTD. / 1965'. Text on the reverse reads 'MEMBER / NOT TRANSFERABLE / 20962'.

# data[].significanceStatement
The John 'Johnny' Warren Collection includes an extensive range of materials detailing his days playing for junior teams in the Botany area of South Sydney in the 1950s, through his senior club years in the 1960s and 1970s, and national representative career as a Socceroo from 1965 to 1974. The collection also details Warren's later work as a soccer coach and administrator, journalist and television commentator, and incorporates files and publications related to his work as a government advisor and advocate for the sport.

Warren was Australia's most famous soccer player who tirelessly championed a sport regarded as a minor footballing code in this country. An attacking midfielder of great speed and skill, he played in the NSW State League and was chosen to represent Australia in 1965. His national representative career stretched over a decade, culminating in his participation in the 1974 World Cup in West Germany. After retiring as a player, Warren worked as a coach, administrator, journalist and television commentator promoting the sport he loved. He became the face of Australian soccer, championing the sport for many years through a long and cherished partnership with his colleague and friend Les Murray on SBS Television.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
An oval wooden bowl, smooth inside and out, with a flat rim decorated with a band of alternating lime-filled triangles that define a zigzag pattern in relief.  The bowl is marked 2 in white.

# data[].spatial[].title
Milne Bay Province, Papua New Guinea, Oceania

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Bottom grinding stone/anvil [stone implement]

# data[].physicalDescription
A bottom grinding stone/anvil that is labelled 'WOOLBROOK/GEELONG/VIC. 1924'.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
yellow paper enclosure for slide (2001.0015.0010.001)
handwritten text in black ink - "3 - NED KELLYS GREY MARE IN COLOUR TETHERED BESIDE KELLY'S HOUSE 28-6-80  - 7"

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
Unused postcard from a painting that depicts 'PERTH / WEST AUSTRALIA' by A.H. Fullwood, Ralph Tuck and Sons' 'Wide-Wide-World' series of Oilettes, No. 7477 'PERTH W. AUSTRALIA'.

# data[].spatial[].title
Swan River, Perth, Western Australia, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
Multi coloured drawing of a landscape.  The drawing contains a blue house with a green roof; several black 'stick' figures'; several multicoloured flowers outlined with white; a blue water feature; and white and yellow area - this could be sky or smoke from the house chimney.

# data[].significanceStatement
The collection comprises a broad range of objects including batiks, pokerwork carvings, paintings and pastel drawings on paper and other art and craft items, bibles and school readers in Pitjantjatjara, drawings by school children, photograph albums, videos and a small number of stone implements.

The collection is significant for the depth and range of material associated with a single Aboriginal settlement at Ernabella, now known as Pukatja, its art centre and with Deaconness Winifred Hilliard who was the Arts Advisor to Ernabella between 1954 and 1986. The collection largely dates to this period. Along with other material previously donated by Hilliard, this collection documents the history of Ernabella and the women's art movement there between, but not limited to, 1954 and 1986.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].spatial[].title
Strangways Homestead, South Australia, Australia

# data[].acknowledgement
Donated in memory of Enid Joyce Bowden by members of her family.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Tania Verstak's Miss International 1963 trophy

# data[].physicalDescription
Metal and wood 'Miss International 1963' trophy. The top section is in the shape of an upside-down teardrop of wood, faced with metal featuring a stylised design in relief of a female figure holding up the universe. This top section is supported by a tiered, vertical wooden block; in front of this is a smaller wooden block topped with a metal model of a crown and cushion on  pedestal. The blocks sit on an angled wooden base, with a metal plaque affixed to the front which is inscribed: "MISS INTERNATIONAL 1963 /  WON BY / TANIA VERSTAK / INTERNATIONAL BEAUTY CONGRESS / AUGUST 9-19, 1962 / LONG BEACH, CALIFORNIA, U.S.A.". A small metal plaque attached to the rear base of the trophy reads "DODGE inc TROPHIES / LOS ANGELES, CALIF.". Includes loose nut, washer, and piece of metal in ziplock bag.

# data[].significanceStatement
The Tania Verstak collection documents Tania's experience as a participant and eventual winner both of the 1961 Miss Australia Quest and the 1962 Miss International contest. Trophies are a particular strength of this collection, representing the then unprecedented level of success achieved by Tania Verstak as the first naturalised Australian to win the Miss Australia Quest, and as an Australian winner of a high profile overseas beauty contest. Also in this collection are two evening gowns worn by Tania during competition for the Miss Australia Quest, and a dress worn for 'national costume' judging at the 1962 International Beauty Congress held in Long Beach, California.  This collection is supported by file copies of photographs, newspaper clippings and ephemera, sourced from Tania Verstak's personal archive, that document her progression through the state and national stages of the Miss Australia Quest, her participation at the International Beauty Congress, and her world tour as Miss Australia 1961.

The Miss Australia Quest (from 1992 known as the Miss Australia Awards) ran continuously from 1953 to 2000 and was arguably the longest running, most popular and most successful charitable enterprise in Australia's history. The first documented nationwide contest to identify Australia's ideal woman was held in 1907, however the first official use of the title 'Miss Australia' is more generally thought to have been used in relation to 'Miss Australia 1926' - Beryl Mills from Western Australia. Further contests were held in 1927, 1937, and from 1945 until 1950. It was in 1953 when Bernard Dowd (manufacturer of Hickory Lingerie in Australia) and his company Dowd Associates took over running of the competition that the Quest became a registered business enterprise, and the 'search for Miss Australia' gained momentum. From 1954 until 2000 the Quest ran primarily as a fundraising event for the Australian Cerebral Palsy Association (ACPA), and is estimated to have raised $90 million for people with cerebral palsy. Over its lifetime, the Quest reflected many of the changes that took place in Australian society and culture: the changing role and perceptions of women; changing perceptions of people with disabilities; the influence of migrants and 'New Australians'; and the presentation of Australia and Australians overseas.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
A poster with pink and green text that reads "CONSIDER ALL THE OPTIONS: WOMEN IN MANAGEMENT".

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].collection.title
Springfield - Faithfull Family collection

# data[].physicalDescription
Shoebox with two red innersoles inside. Shoebox with printed label on the side reading "Farmer and Company Limited / VICTORIA HOUSE, SYDNEY / High-Grade Footwear", with handwriting detailing shoe size, style etc. Printed on the short side of the lid are the words "Farmer's Own Model".

# data[].significanceStatement
The Springfield Collection comprises about 1550 artefacts from Springfield station, south of Goulburn. It includes colonial era costume, a bushranger medal, surveying instruments, a late-19th century landau, firearms and edged weapons, wool samples and Joseph Foveaux's pocket watch and bible. The objects are complemented by over 400 photographs. This diverse collection reflects the growth and economic success of the property, responses to changes in the wool market and the daily lives of the people who have lived on Springfield. 

Springfield has grown from a 518-hectare land grant given to William Pitt Faithfull in 1828 to the current 3183 hectares with ownership remaining in the one family. William Pitt Faithfull established the Springfield Merino Stud in 1838 with ten rams selected from the Macarthur Camden Park stud. The stud evolved slowly over the years until the early 1950s when, under the management of Jim Maple-Brown, a scientific approach to wool-growing was adopted and the stud's name was changed to Fonthill to reflect this.

# data[].acknowledgement
Donated through the Australian Government's Cultural Gifts Program by James and Pamela Maple-Brown and Diana Boyd.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].significanceStatement
This collection consists of approximately 180 objects of Australiana, predominantly featuring the kangaroo.  It encompasses a wide range of styles produced in Australia and overseas over a period of 150 years. The collection is diverse and includes decorative art objects, such as a Doulton umbrella stand, as well as an assortment of ephemera from several postcards to a matchbox.

This collection has been amassed by Terence Lane, a former Senior Curator of Australian Art at the National Gallery of Victoria over a period of 20 years. During this period, many of the items collected were not in high demand.  However, they have since become eagerly sought and the result is a collection which has increased in cultural value.  It is considered the best collection of kangaroo theme items in Australia.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
Unused postcard featuring a black and white sketch by A. Joyce Bowden, titled "Canberra / Parliament House.". There is a black and white sketch of a koala on the back.

# data[].spatial[].title
Old Parliament House, Parkes, Canberra, Australian Capital Territory, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

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Carved blackbean longcase clock by Robert Prenzel, 1922

# data[].physicalDescription
A wooden long case clock with carved kookaburras, a pendulum and two winding keys. The tapered body of the clock sits on a rectangular base and features a hinged door with a metal handle behind which is a shelf. The exterior is carved with gum nuts, leaves and blossoms on the body, and gum nuts and leaves on the base. Inlaid at the top of the hinged door is the year '1922'. On top of the body is the housing for the clock movement which is rectangular and carved with gum nuts and leaves along the top and cut tree trunks along the bottom. In the centre is a circular hole in line with the inset clock face. The numbers on the face are carved out of wood and are black in colour. The front of the housing is hinged and can be opened to access the clock movement and the pendulum. There are splits in the wood around the clock face. The clock is accompanied by a removable crown comprised of a rectangular piece of wood with two carved kookaburras sitting on the top. Connected to both corners are short side pieces carved with a wooden plank texture. Engraved on the bottom right hand side is 'R. PRENZEL'. There are five pegs inserted into the wood along the bottom, and a hole in the back of one of the kookaburras. Engraved into the back of the piece is 'Robt Prenzel / 1922'. The clock's pendulum is wooden with a metal disk embossed onto the back of which is the number '1839'. At the top of the pendulum is a metal u-shaped hook. The disk is discoloured, and the back is black. The first winding key is metal with a cylindrical shaft and a rounded top. The top is flanked by two loops, and there is a hole in the bottom of the shaft. There is green discolouration at the top of the shaft. The key is engraved with 'ANSONIA CLOCK CO.'. The second winding key is metal with a cylindrical shaft and two tear drop shaped loops at the top. There are grooves carved into the shaft, and a hole in the bottom.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Pulley attachment of a Cummins 8DM anchor winch

# data[].collection.title
Bureau of Mineral Resources collection no. 1

# data[].physicalDescription
A grey metal pulley attachment on a base plate for a Cummins 8DM anchor winch, consisting of a pulley wheel with multiple grooves on an metal axel that is attached to an angled metal base plate. The axel has a curved metal box over one section of it.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
A natural stone that is labelled 'PORTARLINGTON'.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
A negative from the negative album 1998.9.313, numbered No.29, showing camels loaded with packs walking along a track, mostly in single file, with mountains in the background.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
Unused black and white photographic postcard of "THE OUTLET TOWER, EILDON, VIC.". The postcard is from "The Rose Series".

# data[].spatial[].title
Eildon Reservoir, Eildon, Victoria, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

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Black and white photograph - Mew Gull G-AFAA aircraft

# data[].physicalDescription
A black and white photograph of "Mew Gull G-AFAA."

# data[].significanceStatement
The Dr Robert C Percival collection consists of hundreds of objects recording the career of Edgar W Percival and his aircraft manufacturing companies, between 1897 and 1984. Items include material from Percival's military service in the AIF and RFC from 1915 to 1918; photographs, flying helmet and gloves from his commercial flying activities in Australia during the 1920s; photographs and documents recording his design and manufacturing work with Percival Aircraft Company in England during the 1930s and 1940s; trophies, certificates and medals awarded to Percival; travel documents, photographs and correspondence related to Percival's aircraft design and manufacturing work during the 1950s and 1960s; and documents and audio recordings made by Edgar Percival and his younger brother Robert Percival documenting the achievements and life story of Percival's aviation career.

Edgar Wikner Percival was born in Albury on 23 February 1897. He was inventive and mechanically minded from an early age, working with his father, William Percival, on their property, Clarendon Park, at Richmond, New South Wales. While Percival studied engineering at Sydney Technical College and was apprentice to a marine engineering firm in Sydney, he was able to watch and fly with William (Bill) Hart, the first qualified pilot in Australia, when he moved his aviation school operations from Penrith to Ham Common, now Richmond Aerodrome, a short distance from Clarendon Park. In 1915, Percival joined the AIF, lying about his age to pursue a commission with the Royal Flying Corps which he achieved in 1917. After the war, Percival returned to Australia and undertook a variety of commercial flying activies, including aerial photography, map-making, geological surveying, joyflights and advertising. In 1929, Percival travelled to England hoping to sell one of his aircraft designs to an English manufacturer, but without success. Instead, Percival founded his own company, Percival Aircraft Company, to design and manufacture Great Britain’s first low-wing cantilevered monoplane, the Gull. Percival won many competitions and awards flying his own aircraft, and the Gulls quickly established a reputation for high performance, attracting the era's most daring pilots.

# data[].isPartOf[].title
Photographs associated with the Percival aircraft.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
A window mount for a botanical engraving that features text reading "S. Parkinson del.1770 / J.F. Miller pinx. 1773 / Plate 213 / D.MacKenzie sculps. / MITRASACME POLYMORPHA… / Botany Bay, Australia / 28 April-6 May 1770".

# data[].significanceStatement
The Banks' Florilegium was published by Alecto Historical Editions (London) in association with the British Museum (Natural History) between 1980 and 1990. Each of the 100 sets that comprise the edition consists of seven hundred and forty three botanical line engravings, after the watercolours drawn from nature by Sydney Parkinson recording the plants collected by Joseph Banks and Dr Daniel Carl Solander during their voyage round the world on HMB 'Endeavour' with Lieutenant James Cook, 1768-1771. Each set is divided into 35 parts and housed in Solander Boxes. Each print or sheet within the set is identified by a blind embossed stamp on the recto, recording the publisher's and printer's chops (ie: their signatures), the copyright symbol and date. The initials of the individual printer, the plate number and the edition number are recorded in pencil. The plate-marks are virtually uniform in size: 18 x 12 inches (457 x 305 mm), and the paper is Somerset mould-made 300gsm, each sheet watermarked 'AHE' and produced specially for this edition by the Inveresk Paper Company. The sheet of paper on which the image is printed measures 28 ½ x 21  inches (724 x 556 mm), and each of the engravings is protected within a double-fold sheet of the same acid free paper which has been cut to form a window mount. Every print includes watercolour embellishments added by artists working directly from Banks' own notes. The condition of the Museum's set, No 5/100, is excellent.

The Banks' Florilegium records and celebrates the botanical discoveries made during the first voyage of scientific discovery undertaken by Britain's Royal Navy. In addition to the vast collections of botanical and zoological specimens created, astronomical observations made and accurate maps compiled during HMB Endeavour's voyage to the Pacific, the east coast of Australia was mapped and claimed for the British Crown, leading 18 years later to the establishment of a colony in New South Wales. Joseph Banks, who financed and led the natural history contingent onboard the Endeavour, planned to publish the botanical results of the voyage in a 14 volume folio work. He hired artists to complete Sydney Parkinson's drawings and engaged a team of 18 engravers to create the copperplates. The project took 12 years and was then put aside by Banks who was by now President of the Royal Society and closely involved with the Royal Horticultural Society, Kew Gardens, the British Museum and was a friend of and unofficial advisor to the King. Sir Joseph, as he became in 1781, would go on to serve as a member of the Board of Longitude, the Coin Committe and the Privy Council's Committee for Trade, and Plantations, and his wealth, social position and extraordinary range of contacts within the political, scientific, manufacturing and diplomatic spheres made him one of the most influential figures of his day. Although the Florilegium was not published during his lifetime, he took steps for its preservation and made the drawings, notes and specimens upon which it is based available to interested visitors to the Herbarium he maintained at his home.

# data[].spatial[].title
Botany Bay, Sydney, New South Wales, Australia

# data[].spatial[].description
Place where illustrated botanical specimen was collected

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
A pair of "spherical convex" round clear glass optometrist's lenses. The lenses have white metal rims and there is a small metal handle, stamped "1.25", attached to each rim.

# data[].significanceStatement
The Gweneth Meyers collection consists of material from the radio communications interests of the donor's husband Morris Henry Meyers OBE, and optometrist equipment and a telescope used by Gweneth Meyers' grandfather, Llewellyn Preston Williams, a pharmacist who migrated to Australia from England in 1890. The collection includes a wireless transmitter and receiver used by Meyers in his ham radio work, QSL cards from his radio communications, and photographs of Meyers with the equipment.

Interested in electronics and communications from an early age, Morris 'Morrie' Meyers was licenced as an amateur radio operator from the early 1930s. Meyers' skill and interests lead to his election to the Fine Operators Club and the AI Operators Club, and membership with the Institution of Radio and Electronics Engineers Australia and the Wireless Institute of Australia, in which he also served as president and executive member. He served with the RAAF Wireless Reserve, and was sent to Borneo, New Guinea and other sites in the Pacific region, being commissioned in 1941 and after rising to the rank of Wing Commander was awarded the Order of the British Empire. After the war, Meyers began a career with Qantas as Communications and Electronics Manager.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
ART SERIES 13 HOUSEHOLD EDUCATIONAL SERIES JOHN L STODDARD'S PORTFOLIO OF PHOTOGRAPHS OF FAMOUS CITIES, SCENES AND PAINTINGS

# data[].collection.title
Springfield - Faithfull Family collection

# data[].physicalDescription
Journal; tan coloured portfolio of photographs; Information on cover: "ART SERIES 13 / HOUSEHOLD EDUCATIONAL SERIES / JOHN L. STODDARD'S PORTFOLIO OF PHOTOGRAPHS / OF / FAMOUS CITIES, / SCENES AND PAINTINGS / PUBLISHED WEEKLY BY / THE WERNER COMPANY / OF CHICAGO".  Art Series 13 1893.  John L. Stoddard

# data[].significanceStatement
The Springfield Collection comprises about 1550 artefacts from Springfield station, south of Goulburn. It includes colonial era costume, a bushranger medal, surveying instruments, a late-19th century landau, firearms and edged weapons, wool samples and Joseph Foveaux's pocket watch and bible. The objects are complemented by over 400 photographs. This diverse collection reflects the growth and economic success of the property, responses to changes in the wool market and the daily lives of the people who have lived on Springfield. 

Springfield has grown from a 518-hectare land grant given to William Pitt Faithfull in 1828 to the current 3183 hectares with ownership remaining in the one family. William Pitt Faithfull established the Springfield Merino Stud in 1838 with ten rams selected from the Macarthur Camden Park stud. The stud evolved slowly over the years until the early 1950s when, under the management of Jim Maple-Brown, a scientific approach to wool-growing was adopted and the stud's name was changed to Fonthill to reflect this.

# data[].acknowledgement
Donated through the Australian Government's Cultural Gifts Program by James and Pamela Maple-Brown and Diana Boyd.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC