# data[].collection.title
Australian Survey Office collection no. 2

# data[].physicalDescription
A CA 1000Tellurometer in a white fibreglass over wooden case with an inner cardboard case painted red on the inside with a brown leather strip edge and metal corner caps. The base has a fitted red fabric covered lidded box. The Tellurometer has a yellow rectangular cover with sloping sides and a black panel at the front with a gauge, socket and knobs. The base has a cream circular wheel atttacments and sockets. The Tellurometer is accompanied by a four sided white metal cone in a brown leather look fitted pouch with another white cone in a brown leather look pouch nested inside it. The pouches have a press stud closure. A grey spiral cord with black, white and red plastic covered wires attached at one end and fittings at the other end also accompanies the Tellurometer. There is also a grey plastic head set with a cord and a stapled set of typed and photocopied information about the instrument. There is a rectangular cream metal piece with angled ends in the case. There are two foam pieces in the box, one with text in black marker. The case has travel stickers on it and the code  'NTN - 080' written in black marker.

# data[].significanceStatement
This collection of thirty-four items of land surveying equipment includes a  number of tellurometers, measuring wires, a chronometer, theodolite, pantograph and a slide rule. This equipment was 'booked out' to different surveyors as they completed their land surveying jobs across Australia and Papua New Guinea between the 1940s and 1980s. It complements the Australian Survey Office collection no. 1. The documentation associated with this collection is held in the NMA Archive collection. 

The Australian Survey Office, and its predecessors, was responsible for all Australian Government surveying work. The powers of land administration were not ceded to the Commonwealth in 1901 but the gradual acquisition of territories obliged the Commonwealth to not only administer land laws but to provide maps and/or charts for a wide-variety of uses. Commonwealth surveying work included topographic mapping, geodetic surveying , surveying associated with major Commonwealth construction projects and work associated with the administration of all Commonwealth land holdings.

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

# data[].physicalDescription
A postcard featuring a colour illustration of a child in patched clothes and bright red gloves, and a message on the back. The text on the front reads "CHEERIO! - STILL GOT LOTS / TO BE THANKFUL FOR!" The message on the back starts "Dearest Donald Saw Auntie Polly / & Joan last night,..." The text on the back reads "'This is the time for everyone / to stand together and hold firm!' / -The Prime Minister".

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

# data[].description
This artwork is one of a series of some 3383 drawings and paintings on paper made between 1975-1977 by Aboriginal children from 70 schools across Australia. 

These artworks were collected by the Aboriginal Arts Board for potential use in 'The Aboriginal Children's History of Australia: Written and Illustrated by Australia's Aboriginal Children'. The book was published by Rigby, Adelaide in 1977. 

According to Robert Edwards, then Director of the Aboriginal Arts Board, the idea for collecting these Aboriginal Children's drawings evolved during a 1975 flight to Canberra. Serendipitously, Edwards sat next to Edward J. McGrath Jr, Director of the Hawaiian publishing firm, Island Heritage Limited. 

McGrath asked Edwards 'What do you do?' On hearing about the Aboriginal Arts Board's work with Australian Aboriginal communities, McGrath explained that he was publishing a series of Children's histories from different nations throughout the world. He produced from his briefcase a copy of 'A Child's History of Hawaii' and an exchange of ideas for a history book by Aboriginal children ensued. 

Edwards recalls that the flight was fortuitous, as he had been thinking about how to link Indigenous children into the Aboriginal Arts Board's art programs. Children's art seemed an obvious way of involving children, especially if the project could be organised through the school system.

A project to produce Children's artworks for a history book authored by Aboriginal children was subsequently proposed to the Aboriginal Arts Board, who approved and implemented the project in 1976.

Michael Gray was responsible for researching and coordinating the project, which incorporated 70 participating Aboriginal schools from all parts of Australia except Victoria and the Torres Strait.

The Aboriginal Arts Board transferred the collection of artworks to the National Museum of Australia in 1991.

# data[].physicalDescription
S shapes inside. Artist: Stephen. Location: Mansfield Park, Adelaide, SA. Title: This is God. He is making the land. The builders are making the houses.

# data[].spatial[].title
Mansfield Park, Adelaide, South Australia, Australia

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

# data[].physicalDescription
An openwork wooden board of two differently sized curvilinear bird-like forms, painted red, white, and black, and marked 162 in blue.

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

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

# data[].title
Two newspaper clippings: "Play Boys"; "Star Players".

# data[].collection.title
Vienna Mozart Boys Choir collection no. 1

# data[].physicalDescription
Newspaper clippings on sheet of paper: "Play Boys"; "Star Players".

# data[].significanceStatement
The Vienna Mozart Boys Choir collection no. 1 contains souvenirs, toys, costumes, vinyl records, school books and other items that belonged to the 20 boys aged from 9 to 14 who toured the world from December 1938 to September 1939 as the Vienna Mozart Boys Choir.  

Having toured throughout the United States, the Pacific and Australia they became stranded in Perth when the ship on which they were to return to Austria was requisitioned.  Germany had just invaded Poland and Australia had entered the Second World War.  Dr Daniel Mannix, then the archbishop of Melbourne, offered that his parishioners would provide foster care in return for the boys forming a choir at St Patrick's Cathedral, Melbourne. The boys soon started school and attempted to learn English as they learnt their lessons.  Remaining in Australia, however, likely saved their lives, as they came of age during the war and would have been conscripted into the German army. Only one returned to live in Vienna after the war.

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

# data[].title
Carved wooden figure of the male god 'Tangaroa'

# data[].physicalDescription
Carved wooden figure of the male god 'Tangaroa'. The carving has a large crack at its base.

# 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 rectangular grey metal stamp with two holes drilled into the plate, featuring raised image of a flower decorated teacup.

# 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[].physicalDescription
Black on green badge 'Arms are for linking' depicting five dancing figures.

# data[].relation[].title
Paul Robeson - calls on the American People to fight for Freedom and Peace

# data[].relation[].title
Portrait of William Morrow painted by W E Pidgeon, 1958

# data[].relation[].title
Parker fountain pen presented to Bill Morrow by Wharfies and Seaman in Hobart, 1955

# data[].relation[].title
Gold plated pocket watch presented to William Morrow by the Australian Railways Union in 1926

# data[].relation[].title
International Lenin Peace Prize medal awarded to Australian Bill Morrow in 1960

# data[].relation[].title
Tributes to the Memory of Former Senator William Morrow

# data[].relation[].title
Joliot-Curie Silver Peace Medal awarded to Australian Bill Morrow in 1959

# data[].relation[].title
Parker ballpoint pen inscribed Life Member ACS Bill Morrow

# data[].relation[].title
Invitation from the New South Wales Peace Committee for International Co-operation and Disarmament to Meet the Robesons, 1960

# data[].relation[].title
Collection of seven Paul Robeson postcards contained in an envelope

# data[].relation[].title
Invitation to meet Paul and Eslanda Robeson, Paddington Town Hall, 10 November 1960

# data[].relation[].title
Envelope containing National Service Registration cards for William Morrow, 1969

# data[].relation[].title
Certificate for the International Lenin Prize awarded to William Morrow in 1961

# data[].relation[].title
Invitation to attend the Conseil Mondial de la Paix session de Budapest, 1953, to Bill Morrow

# data[].relation[].title
Portrait of William Morrow drawn by S Gilelkot

# data[].relation[].title
Maroon coloured document case containing certificate and note

# data[].relation[].title
Gold plated pocket watch and fob presented to William Morrow by the Australian Railways Union in 1920 and 1926

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

# data[].title
Photograph of Annie and Charlie Bates, 1942

# data[].physicalDescription
A sepia toned black and white photograph of Annie and Charlie Bates. The photograph shows a man and a woman standing in front of a house. The man is wearing a light coloured shirt and dark pants, and the woman is wearing a light coloured dress. A white adhesive label adhered to the back features handwriting in black ink that reads 'ANNIE & CHARLIE / BATES / 1942. / MARRIED APPROX / 35 YRS.'.

# data[].significanceStatement
This collection comprises three commercially-manufactured dolls and handmade toys belonging to Diana Mary Bates (1930-2019) during her 1930s and 1940s childhood spent in Christmas Hills, Victoria. The dolls were given to Diana after her family home was destroyed in the Black Friday bushfire of 13 January 1939. The toys handmade by Diana include paper dolls, painted coins, keepsake boxes and doilies used to support a range of imaginative games. The collection is supported by photographs and archival material relating to the Bates family. The collection is largely in fair to good condition.

This collection offers insight into a child's introspective play and the characteristics of 'make-do' enterprise using found or available materials. Play is integral to the ways that children in all times and cultures have explored and understood their environment. This is a rare example of a series of objects assembled by a child for her own entertainment, comfort and education within the social deprivations of the Great Depression and the Second World War. It also demonstrates how Diana's childhood interests and artistic talent foreshadowed her lifelong interest in storytelling and the creative arts.

Donated by Andrea Beaumont

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

# data[].title
Black and white photograph - Mrs Hansen with children..

# data[].physicalDescription
Black and white photograph. Caption reads "Mrs Hansen and her children Luise and Artur and the boy king of the station Namantanai New Island".

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

# data[].title
Toy theatre scenery for 'The Blind Boy', Scene 4

# data[].physicalDescription
A set of toy theatre scenery for the play "The Blind Boy".  The scenery is for scene 4 in the play and consists of a backdrop, two cut-out feature pieces, four wing pieces, and a top and a two base feature pieces.  The scene shows a stone castle set against a background of a stromy sea and sky, with a foreground and wings of rocks and a small red boat.

# data[].significanceStatement
The Everitt and George Family collection consists of over 800 objects including a Toy Theatre with a 'Redington' proscenium and a second back stage, play booklets and associated scenery, photographs of the Toy Theatre, and documents and working notes related to the collection. The collection is in good condition.  

The Toy Theatre was invented in England around 1811, reflecting the popularity of pantomimes and plays performed in the leading theatres around London in the same period. They soon became a favourite pastime for teenage boys and adult collectors alike, with a long list of publishers producing a wealth of material. B Pollock was one of the most famous of these publishers and the earliest pieces in this collection have been attributed to Pollock. Though this was largely an English tradition the collection reflects the first owner Edward Everitt's heritage, who migrated to Australia in the 19th century bringing parts of the Toy Theatre with him.

# data[].isPartOf[].title
Toy theatre play booklet, scenery and figures for The Blind Boy

# data[].hasPart[].title
Toy theatre scenery for 'The Blind Boy', Scene 4 - feature piece

# data[].hasPart[].title
Toy theatre scenery for 'The Blind Boy', Scene 4 - top drop

# data[].hasPart[].title
Toy theatre scenery for 'The Blind Boy', Scene 4 - wing

# data[].hasPart[].title
Toy theatre scenery for 'The Blind Boy', Scene 4 - base feature

# data[].hasPart[].title
Toy theatre scenery for 'The Blind Boy', Scene 4 - base feature

# data[].hasPart[].title
Toy theatre scenery for 'The Blind Boy', Scene 4 - backdrop

# data[].hasPart[].title
Toy theatre scenery for 'The Blind Boy', Scene 4 - wing

# data[].hasPart[].title
Toy theatre scenery for 'The Blind Boy', Scene 4 - feature piece

# data[].hasPart[].title
Toy theatre scenery for 'The Blind Boy', Scene 4 - wing

# data[].hasPart[].title
Toy theatre scenery for 'The Blind Boy', Scene 4 - wing

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

# data[].title
Mould used to create an earthenware character jug depicting Prime Minister Joseph Lyons

# data[].description
Designed by Gordon Cumming, made by Campbell's Pottery Works, Tasmania.

# data[].physicalDescription
A plaster cast mould for a character jug depicting Prime Minister Joseph Lyons.

# data[].significanceStatement
This collection consists of a character jug, with associated mould, featuring a portrait of Australian Prime Minister Joseph Lyons and three personal objects - a brooch, a powder compact and a coin purse - associated with his politician wife, Dame Enid Lyons. The silver glomesh coin purse (1940s) and oval-shaped Opal and silver brooch were part of Dame Enid's personal collection, while the engraved sterling silver compact was presented during her visit by the City of Edinburgh on 9 August 1935. The gold-coloured earthenware jug was designed by Gordon Cumming and made by Campbell's Pottery Works, however it is unclear whether it is part of the original 1931 or the re-issued 1950s edition.  

Joseph Aloysius Lyons (1879-1939) became premier of Tasmania in 1923 and served several portfolios in Federal Government before becoming Prime Minister from 1932 until his death in 1939. He was the first Prime Minister to win three successive elections, the only Tasmanian to have become Prime Minister and only one of two Prime Ministers to have been premiers. Lyons formed the United Australia Party, the precursor of today's Liberal Party, and is regarded as a key political figure of twentieth century Australia. Dame Enid Lyons (1897-1981), wife of Joseph Lyons, was involved in politics throughout her life and made history when she became the first woman elected to the Australian House of Representatives and to the federal Cabinet.

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

# data[].title
Unifacially flaked pebble tool [stone implement]

# data[].description
Original labelling on 1985.0059.1100 reads: "South/Coast/NSW/8".

Edmund Milne (1861-1917) was born in England and emigrated to Queensland with his parents 19 months later. He had had personal contact with Aboriginal people throughout his life, from when he was a small boy in Queensland and, from the late 1860s, in New South Wales. This contact may have led him to recording the names of Aboriginal people associated with particular objects in his collection, at a time when this was rarely done. Milne seems to have begun actively collecting Indigenous artefacts in the early 1880s and was still acquiring objects a few months before his death in 1917. His work with the NSW Railways (1876-1917) enabled him to meet a broad range of people who facilitated his collecting and associated activities like visiting Aboriginal sites. From at least the time he lived at Orange NSW (1906-1915), and later at Ryde (1915-1917), near to Sydney city, he displayed his collection at his home. In addition to a large collection of Aboriginal artefacts, Milne's collection included artefacts from the South Pacific and prehistoric implements from Egypt, France and England. In his will dated 12 December 1916, Milne bequeathed his “Anthropological collection” to the “first Federal Museum opened in the Federal Capital”. The collection remained at Ryde until early 1931 when it was acquired by the Australian Institute of Anatomy in Canberra. It remained there until the Institute's collections were transferred to the National Museum of Australia in 1985.

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

# data[].title
Rugby league trading card of Anthony Mundine of the St George Dragons

# data[].physicalDescription
Rugby League, sports trading card of "Anthony Mundine" card is entitled, 'Rated Rookies' ; '188 of 220' by 'Dynamic Marketing Sydney Australia (c) 1995'. 'Official licensed product of the ARL' (same as .83) (back pictured).

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

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

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

# data[].title
Victorian greeting card a painted centrepiece of a crying cupid

# data[].physicalDescription
Victorian greeting card that consists of white lace paper with a painted centrepiece of a crying cupid sitting on a stool with a broken bow and arrow beside him. A verse around this image reads "It suits thee well to weep, To think of what thou'st done, The fond heart's sought and slighted, Thy laughing Falsehood won." Part of the manufacturer's mark is evident in a watermark in the centrepiece, it reads "W Good 1849".

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

# data[].title
'Footprints on the Rabbit Proof Fence' by Judith Samson (Anya)

# data[].physicalDescription
An acrylic painting featuring 15 orange and red coloured concentric circular shapes at the top half of the painting. There are four blue circles on the left hand side of the top of the painting. Below the circles is a row of foot prints with a white cross hatch design that looks like a fence below them and then more foot prints below that. The background is painted white and there is a white outline around each feature. The reverse of the painting has words in black marker that read: '"Footprints at the rabbit proof fence " the girl + the baby walking along next to the Rabbit Proof Fence. Next to the fence are lots of sandhills but blue circles are the water holes. This country is Puntawarri, thats our country.'

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

# data[].physicalDescription
A pale grey coloured lower grinding stone with grooves incised in rows across the concave side. The stone has been written on the black ink that reads 'A-D5A1 46 / 1985.107.31'.

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

# data[].title
Orange optical glass disc in chrome plated, metal rim

# data[].physicalDescription
Unidentified filter in Asahi container. Orange optical glass disc in chrome plated, metal rim.

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

# data[].title
Sketches of Tommy's life - At the Base - No 7

# data[].physicalDescription
A postcard featuring a colour sketch of a man in military uniform cutting lawn with a pair of pruning shears. Printed text reads in part "Sketches / of Tommy's life / At the Base - No 7" and "The first bit of work I did in France was cutting grass..." The image is signed by F. Mackain. Printed text on the back of the postcard reads "Imp. G. SAVIGNY, Paris. - P.G.

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

# data[].title
Child's drawing Child's drawing Dharnbaliya (island) outstation by Djanuk

# data[].description
This artwork is one of a series of some 3383 drawings and paintings on paper made between 1975-1977 by Aboriginal children from 70 schools across Australia. 

These artworks were collected by the Aboriginal Arts Board for potential use in 'The Aboriginal Children's History of Australia: Written and Illustrated by Australia's Aboriginal Children'. The book was published by Rigby, Adelaide in 1977. 

According to Robert Edwards, then Director of the Aboriginal Arts Board, the idea for collecting these Aboriginal Children's drawings evolved during a 1975 flight to Canberra. Serendipitously, Edwards sat next to Edward J. McGrath Jr, Director of the Hawaiian publishing firm, Island Heritage Limited. 

McGrath asked Edwards 'What do you do?' On hearing about the Aboriginal Arts Board's work with Australian Aboriginal communities, McGrath explained that he was publishing a series of Children's histories from different nations throughout the world. He produced from his briefcase a copy of 'A Child's History of Hawaii' and an exchange of ideas for a history book by Aboriginal children ensued. 

Edwards recalls that the flight was fortuitous, as he had been thinking about how to link Indigenous children into the Aboriginal Arts Board's art programs. Children's art seemed an obvious way of involving children, especially if the project could be organised through the school system.

A project to produce Children's artworks for a history book authored by Aboriginal children was subsequently proposed to the Aboriginal Arts Board, who approved and implemented the project in 1976.

Michael Gray was responsible for researching and coordinating the project, which incorporated 70 participating Aboriginal schools from all parts of Australia except Victoria and the Torres Strait.

The Aboriginal Arts Board transferred the collection of artworks to the National Museum of Australia in 1991.

# data[].physicalDescription
Paint on paper. Shows boat on blue area, turtle left-hand top corner. Includes story sheet. Artist: Djanuk. Location: Yirrkala, NT. Title: Dhambaliya (island) outstation.

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

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

# data[].title
Black and white photograph - Shepherd with flock

# data[].physicalDescription
A black and white photograph of a Shepherd with a flock. Taken in Palestine, likely a commercial souvenir photograph, c 1940s, relates to Thomas Dalton's war service.

# data[].isPartOf[].title
Black and white photographs - Thomas Dalton collection

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

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

# data[].description
Grace Reid, a Jirrbal artist working at the Girringun Aboriginal Arts Centre, made this sculptural figure. It was inspired by the bagu, a part of the fire-making equipment traditionally used by Aboriginal people living in the rainforest region.  A bagu was crucial for both transporting fire sticks and for making fire in the wet and humid climate. Its shaped base had two hollows in it, into which a stick from the jiman tree was rotated in contact with some dry grass, until a spark was produced.

# data[].physicalDescription
A clay sculpture painted with white, yellow, nut brown and grey pigments. The upper part depicts a human face with carved and painted eyes, nose and mouth. The lower part is painted in geometric shapes of various colours and is covered by coloured plastic twine.

# data[].significanceStatement
This collection comprises 17 bagu sculptures made by Aboriginal artists working at the Girringun Aboriginal Arts Centre in Cardwell, North Queensland. They made them in 2010 - 2012 as part of a ceramics project inspired by the traditional shape of the bagu, a traditional firemaking tool formed in the shape of a rainforest ancestral fire spirit.

The sculptures in this collection demonstrate the diversity of materials that Girringun Art Centre artists use in the production of their works, and the diversity of contemporary Aboriginal culture of the Cardwell region, north Queensland. The Girringun Arts Centre involves people from nine Traditional Owner groups - the Nywaigi, Gugu Badhun, Warrgamay, Warungun, Bandjin, Girramay, Gulgnah, Jirrbal and Djiru peoples - in the Cardwell region of north Queensland. The sculptures in this collection reflect contemporary interpretations of the traditional bagu. This collection also reveals the role art centres have had on the society and economy of Indigenous communities, since the latter half of the twentieth century.

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

# data[].title
'Same rules for everyone' marriage equality poster

# data[].collection.title
'Vote Yes' Marriage Equality 2017 collection no.1

# data[].physicalDescription
An A3 sized poster featuring a man in a blue singlet and running shorts. He is holding a white envelope and has a large smile on his face. Text on the poster reads '"Marriage / Equality. / Same rules / for everyone." / LET'S GET IT DONE. VOTE YES'.

# data[].significanceStatement
The ‘Vote Yes’ Marriage Equality collection consists of new and unused campaign material, such as banners, posters, signage, t-shirts, tote bags, stickers, badges and paper ephemera. It represents the official, colourful ‘Yes’ campaign in favour of marriage equality in Australia. 

The ‘Vote Yes’ campaign for marriage equality in Australia was jointly run by Australian Marriage Equality (AME) and Australians for Equality (A4E). The movement gained momentum throughout 2016 but was particularly visible for the duration of the 2017 Australian Marriage Law Postal Survey, while voters were encouraged to respond to the question of whether to change the law in favour of same-sex marriage. 79% of Australian adults responded and the majority (62%) voted Yes. This was one of the most successful movements in Australian political history supporting a ‘Yes’ vote. 

The National Historical Collection currently has very few objects related to Lesbian, Gay, Bisexual, Transgender, Queer and Intersex people, communities, experiences and life in Australia. Indeed, this should be identified as a major gap. Currently, the only exceptions are the Ron Muncaster Mardi Gras costumes.

# data[].acknowledgement
Donated by Dr Shirleene Robinson, on behalf of The Equality Campaign

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

# data[].spatial[].title
Postmasberg, Northern Cape, South Africa

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

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

# data[].description
Hanging rock (Tid 2), square x, level 5, 20-25 cm deep, east corner

# data[].physicalDescription
This object is labelled Tid II/x/5/20-25 cm

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

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

# data[].collection.title
Professor Peter Spearritt collection no. 2

# data[].physicalDescription
George VI coronation medallion, dated May 12th 1937. On the obverse, are portraits of King George VI and Queen Elizabeth and the text: KING GEROGE VI & QUEEN ELIZABETH. On the reverse is a coat-of-arms with a shield in the centre bearing the Southern Cross constellation, flanked on either side by two women, one holding a sheath of grain and the other with a swan by her side. Above the shield is a Kangaroo holding a crown. Below the coat-of-arms are the words: PEACE & PROSPERITY, and above is the word; VICTORIA. Circling the edge of the medal are the words: TO COMMEMORATE THEIR MAJESTIES CORRONATION MAY 12TH 1937.

# data[].significanceStatement
The Professor Peter Spearritt collection No. 2 is divided into four categories; British Royal Family memorabilia, Australian Republic Movement material, T-shirts with Indigenous motifs and anti-logging material. The British Royal Family memorabilia category predominantly relates to Queen Elizabeth II's 1954 tour of Australia.  The items were specifically collected by the vendor for the 1993 exhibition entitled Australians and the Monarchy.  The Australian Republic Movement material was also featured in this exhibition.  The Indigenous motifs T-shirts and the anti-logging material were collected for the 1992 exhibition Lie of the Land.  Both exhibitions were jointly created by the Powerhouse Museum, Sydney and the National Centre for Australian Studies at Monash University.  Professor Spearritt was the head curator of both exhibitions.

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

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

# data[].title
'Galurra', bark painting, native plant species

# data[].description
Gälurra (Yolngu name)
Mallotus nesophilus (Latin name)
'mallotus' (common name)
This plant belongs to the Dhuwa moiety

Cultural information about this plant:
The fruit of this plant is yellow/brown and furry, and it's sweet. Its leaf-like shape and the taste of the fruit mean that it is like murrnyi'/murrtjumun, which we use to drain boils. You can bite into it and eat the seeds, or else you can spit them out. All Dhuwa clans have songs of spirits which belong to that estate, whether it is Dhanbul or Winyila, for example. The songs of Rirratjingu, Dhudi-Djapu and the Djapu of Balaypalay go like this: 'Garirr'ura bowaythuwan monumbalngura waaay … yoooo'. It's a song of joyful discovery as the spirits are ecstatic to find the fresh fruit ripe and in season. They have been searching with enthusiasm and excitement. And now these little spirits sing with happiness as they feed themselves in the forest. These songs list the fruits that they are searching for and finding in the midawarr season, including gälurra.
(Merrkiyawuy Ganambarr-Stubbs, 2017)

Botanical information about this plant:
- a semi-deciduous tree to 8 metres in height; new shoots and leaves have short dense whitish or rusty coloured hairs
- alternate, ovate or orbicular leaves 2-11 centimetres in length
- small yellowish flowers
- fruit, orange/yellow but turning brown, to 15 millimetres in width
- common in monsoon vine forests and thickets; also in sandstone gorges; occurs across northern Australia, mainly in coastal areas and also inland at Mataranka.

# data[].physicalDescription
A botanical painting in natural pigments and ochres on eucalyptus stringy bark, depicting the native plant species Galurra [not 'Gallura' as on back]. The painting features a single plant form in brown and outlined in white. The trunk of the plant is accented with horizontal lines. The outstretched branches are covered in leaves with white lines and fruit with white dots. The background is crosshatched in white, black, brown and yellow-ochre. On the reverse of the bark, the number '4314N' is handwritten in black ink, and there is a 'BUKU-LARRNGAY MULKA' adhesive label attached, including the artist's name and other details.

# data[].significanceStatement
The collection consists of nine larrakitj, or painted hollow logs, and 113 bark paintings painted between 2011 and 2014 by Mrs Wirrpanda, a senior female Yolngu artist at Yirrkala in north east Arnhem Land. These works are a product of Wirrpanda's interest in documenting the ecology of her country following her participation in a joint project with non-Indigeous artists, printmakers and academics, charting the country and yam supply at Blue Mud Bay. 

The works in this collection provide a unique visual record of Yolngu knowledge of plants and food-bearing and medicinal species. Wirrpanda depicts aspects of the plants' life cycle across numerous works, including the gestational period through to fruiting and the interconnections between the food source and the extensive freshwater flood plains and rivers, beaches, sandhills, salt flats and estuaries in her Yolngu country.

Donated through the Australian Government’s Cultural Gifts Program by Wayne and Vicki McGeoch

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[].acknowledgement
Donated through the Australian Government’s Cultural Gifts Program by Wayne and Vicki McGeoch

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

# data[].title
Black and white photograph - Buildings decorated for the Royal Visit

# data[].physicalDescription
Black and white photograph of buildings decorated for the Royal Visit

# data[].isPartOf[].title
Photographs - Family holidays, trips and the royal visit.

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

# data[].physicalDescription
A convict love token made up of a coin engraved on both sides with stippled text and designs. One side features the text 'C. Allen / Norwitch' above a vase of flowers and the year '1844'. The other side features the text 'Caroline / hudson / live love / and be happy' above a design of a winged angel.

# data[].significanceStatement
The Timothy Millett collection comprises 307 convict love tokens dating from 1762 to 1856, and seven contemporary documents relating to the criminal justice system including: recommendations to commute the death sentences of Hester Sampson and Thomas Hayes to life transportation; a calendar of prisoners awaiting trial in the goals of Durham, Newcastle and Northumberland; a request to the Middlesex assizes for rewards to be paid; a printed copy of George Skene's last speech prior to execution; a printed broadside listing prisoners in Dorchester jail awaiting transportation; and a 60 page handwritten account of the life of Thomas Jones, who was transported twice and finally hanged at Winchester Prison in 1856. 

Convict love tokens, typically made from smoothed-down coins and engraved or stippled with a message, derive from traditional sailors' farewells. The production of these 'leaden hearts' rose as criminal indictments increased in Britain, with the majority produced during the 1820s and 1830s.  As mementos made by or for convicts facing transportation (or death) to leave behind for their loved ones, the tokens provide a poignant, personal insight into the transportation system.

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

# data[].title
Horse and Pick-up, 6 Cattle and 2 Calves 1997

# data[].physicalDescription
Bush toy consisting of a steer made from painted coiled wire and cloth scraps.

# data[].significanceStatement
This collection contains sixty-eight bush toys commissioned for the Bush Toys exhibition and created from 1997 to 1999.  The works were made by eleven emerging and established artists from three Eastern Arrente communities from Central  Australia: Tristan Young, Calvin Smith, Christopher Wallace and Douglas Wallace, Ltyentye Apurte (Santa Teresa Mission); David Wallace and Johnny Young from Titjikala (Maryvale Station); Lindsay James, Clifford Tilmouth, Davey Tilmouth, Maxi Wehr and Michael Wehr from Engawala (Alcoota Station).  Prior to their acquisition by the Museum, these works were exhibited as Bush Toys at a number of venues in rural and remote Australia.   

The objects are made from found and salvaged materials and are based on the toys that they either used or made as children and still make for their children or in Tristan Young's case still make and play with.  Aboriginal communities have always produced toys for their children as teaching tools to prepare them for adulthood.  Historically these were miniature versions of implements and utensils that were essential for daily survival such as toy spears, toy shields and toy boomerangs.  Since the introduction of new materials like metal, plastic and glass, these toys have evolved to reflect the environment and lifestyle of the makers.  Since the 1970s when many of the adults became involved in working on cattle stations, some of the toys modelled a horse and rider, some incorporated scenes of stockmen, stockyards and rodeos.  Over time toys reflected changing technology in use on cattle stations.  Trucks, motorbikes, helicopters and fixed-wing aircraft were made.

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

# data[].title
'Your old Aunts are very anxious about you' by May Gibbs

# data[].physicalDescription
An unused postcard featuring a drawing depicting two kookaburras by May Gibbs captioned 'Your old Aunts are / very anxious about you'.

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

# data[].title
Certificate of appointment as Minister of State for Defence

# data[].physicalDescription
Certificate from QEII appointing Lance Bernard Minister of State for Defence, signed G. Whitlam and Paul Hasluck Gr.G.

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

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

# data[].physicalDescription
A colour printed poster featuring a black and white photograph of the colliseum in Rome with a colour illustration at the centre of a soccer pitch and flags. Text above reads 'ITALIA 90'.

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

# data[].physicalDescription
A postcard featuring a horse-shoe shape which has round photographs of people's faces around it. Printed text reads "La / Mascotte / at / Her Majesty's."

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

# data[].title
Competitors medal awarded to Dunc Gray at Los Angeles Olympic Games, 1932

# data[].physicalDescription
A round bronze coloured medal. One side features two women each holding a shield with the words 'LOS ANGELES CALIFORNIA' above. The other side features a person holding a flag bearing the words 'XTH / OLYMPIAD / 1932'.

# data[].significanceStatement
This large collection was acquired by champion Australian cyclist Edgar Lawrence 'Dunc' Gray (1906-1996) over the course of his 1920s and 1930s career. Key objects include uniforms, bicycles and medals, and the collection is supported by related photographs and archival material. It reflects Gray's rise through state and national championships to his participation in major international sporting events including three Olympic Games in 1928, 1932 and 1936, and two British Empire Games in 1934 and 1938. The collection is largely in good condition. 

Alongside Hubert Opperman, Dunc Gray was perhaps Australia's most famous and admired cyclist of the interwar era. This unsurpassed and wide-ranging collection attests to the development of amateur competitive cycling in Australia and the world. It also provides rich insight into the public and private experience of Australian athletes competing overseas and intersects with major global trends as played out through the medium of sport.

# data[].spatial[].title
Los Angeles, California, United States of America

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

# data[].physicalDescription
Triangular white Japara sail sewn together with broad double seams. Metal grommets inserted in corners which are reinforced and along short sides. "CANOE AYA MINYA / M.J.DUNPHY, OWNER" text is shown along bottom edge of sail.

# data[].significanceStatement
Included in the Milo Dunphy collection no. 1 are two Japara walker's tents made for Harold Buckland, (original member of the Mountain Trails Club) a Japara gunny sack, dog's coat, billy cans, cooking implements, boots and clothing, fly safe mosquito net, cameras and photographic equipment, .22 revolver, double action six shot .22 revolver, brown leather holster, handmade leather dog shoes, folding wicker pram (known as 'Kanangra Express') and canvas baby's pram panniers.

Pioneering Australian architect, bushwalker and conservationist, Myles Dunphy OBE (1891-1985), was a passionate advocate and campaigner for the establishment of National Parks. The Mountain Trails Club, which Myles Dunphy established in 1914, with Roy Rudder and Bert Gallop, lead to the development of a bushwalking movement from which a voluntary conservation movement emerged.   His son, Milo Dunphy AM (1928-1996), also an architect, inherited his father's passion and vision and followed in his footsteps as a bushwalker, explorer and conservationist.  Milo Dunphy led successful campaigns to establish national parks within the Blue Mountains, stood as a candidate in two federal elections, was active in several conservation organizations and was appointed a Member of the Order of Australia (AM) in 1986. The Dunphys' work continues through the Dunphy Wilderness Fund, which spends one million dollars a year (since September 1996) to purchase leasehold and privately held areas of natural significance.

# data[].creator[].description
(Dunphy? Langsham James? in catalogue worksheet)

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

# data[].title
Clipping with advertisement entitled "Whitman's Patent / Combination Halter Bridle Bit"

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

# data[].physicalDescription
Newspaper clipping of an advertisement entitled "Whitman's Patent / Combination Halter Bridle Bit". Handwritten in ink by A. Lucian Faithfull "Return this for future / reference"; inserted in pages 216-217 with an article on "Scientific Agriculture".

# 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[].physicalDescription
A window mount for a botanical engraving that features text reading "S. Parkinson del. 1769 / J.F. Miller pinx. 1774 / Plate 458 / G. Smith sculps. / DAUCUS GLOCHIDATUS... / Tegadu Bay, New Zealand / 20 October-22 October 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[].title
Ground edge hatchet head [stone implement]

# data[].physicalDescription
A ground edge hatchet head that is labelled 'Byrnes Farm/Woodend North' and 'Aiston's VIC 1'.

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

# data[].physicalDescription
A wooden, long, slightly broadened shaft. Distal end has wooden peg attached at angle to shaft with sinew and adhesive. Knob of adhesive proximal end. Broad band of chevron design with linear infill anterior surface.

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

# data[].physicalDescription
One aluminium container with a screw on lid. The container has a few parts of an old adhesive yellow and orange sticker left on the side and "HM" written in pink felt pen. The lid has a logo pressed in on it which reads "MB" with a star and Taurus symbol.

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

# data[].physicalDescription
A metal, toy theatre, figure holder/slide.  The holder/slide consists of a rectangular metal plate with two raised lips on the top face and a handle of long, thin wire.

# data[].significanceStatement
The Everitt and George Family collection consists of over 800 objects including a Toy Theatre with a 'Redington' proscenium and a second back stage, play booklets and associated scenery, photographs of the Toy Theatre, and documents and working notes related to the collection. The collection is in good condition.  

The Toy Theatre was invented in England around 1811, reflecting the popularity of pantomimes and plays performed in the leading theatres around London in the same period. They soon became a favourite pastime for teenage boys and adult collectors alike, with a long list of publishers producing a wealth of material. B Pollock was one of the most famous of these publishers and the earliest pieces in this collection have been attributed to Pollock. Though this was largely an English tradition the collection reflects the first owner Edward Everitt's heritage, who migrated to Australia in the 19th century bringing parts of the Toy Theatre with him.

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

# data[].physicalDescription
Cylindrical wooden shaft with flattened distal end, and the proximal end tapering to a narrow truncated edge, pigmented overall.

# data[].spatial[].title
Daly River, Northern Territory, Australia

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

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

# data[].title
Child's drawing - Our trip to Green Island by Alison Wukutjpa

# data[].description
This artwork is one of a series of some 3383 drawings and paintings on paper made between 1975-1977 by Aboriginal children from 70 schools across Australia. 

These artworks were collected by the Aboriginal Arts Board for potential use in 'The Aboriginal Children's History of Australia: Written and Illustrated by Australia's Aboriginal Children'. The book was published by Rigby, Adelaide in 1977. 

According to Robert Edwards, then Director of the Aboriginal Arts Board, the idea for collecting these Aboriginal Children's drawings evolved during a 1975 flight to Canberra. Serendipitously, Edwards sat next to Edward J. McGrath Jr, Director of the Hawaiian publishing firm, Island Heritage Limited. 

McGrath asked Edwards 'What do you do?' On hearing about the Aboriginal Arts Board's work with Australian Aboriginal communities, McGrath explained that he was publishing a series of Children's histories from different nations throughout the world. He produced from his briefcase a copy of 'A Child's History of Hawaii' and an exchange of ideas for a history book by Aboriginal children ensued. 

Edwards recalls that the flight was fortuitous, as he had been thinking about how to link Indigenous children into the Aboriginal Arts Board's art programs. Children's art seemed an obvious way of involving children, especially if the project could be organised through the school system.

A project to produce Children's artworks for a history book authored by Aboriginal children was subsequently proposed to the Aboriginal Arts Board, who approved and implemented the project in 1976.

Michael Gray was responsible for researching and coordinating the project, which incorporated 70 participating Aboriginal schools from all parts of Australia except Victoria and the Torres Strait.

The Aboriginal Arts Board transferred the collection of artworks to the National Museum of Australia in 1991.

# data[].physicalDescription
Felt pen on paper. Shows island with figures on jetty. Artist: Alison Wukutjpa, Dhupuma College, Nhulunbuy

# data[].spatial[].title
Dhupuma College, Nhulunbuy, Northern Territory, Australia

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Green Island, Northern Territory, Australia

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

# data[].title
Black and white photograph depicting three men, two in uniform with one aiming a gun skyward

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

# data[].physicalDescription
Black and white photograph depicting three men, two in uniform with one aiming a gun skyward. Handwritten on back "Mr Palmer"; printed on back "SUN NEWS - PICTORIAL / COPYRIGHT".

# 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[].isPartOf[].title
Album containing 36 black and white photographs, most of which depict Hazel and Bobbie's trip to Java in 1919

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