# data[].collection.title
Aboriginal and Torres Strait Islander Affairs Art (ATSIAA) collection no. 1

# data[].physicalDescription
A wooden boomerang painted black and decorated with a painting of a snake in white, grey, red and yellow. There are sections of cross hatching in white around the edges of the boomerang. The reverse of the boomerang is not painted and it has a red sticker with the number "98" written on it.

# data[].significanceStatement
The Aboriginal and Torres Strait Islander Affairs Art collection comprises 2050 artworks and other objects.  The artworks - which numerically dominate the collection - were produced by Aboriginal and Torres Strait Islander communities throughout Australia. The accumulation of these artworks into a single collection has resulted from the choices and selections made during a 38 year period by a variety of staff working for the Council for Aboriginal Affairs (CAA), the Department of Aboriginal Affairs (DAA), the Aboriginal Development Commission (ADC) and the Aboriginal and Torres Strait Islander Commission (ATSIC) at the national, regional and local levels.

The collection spans the years following the 1967 referendum, when dramatic changes in the governance of Aboriginal people took place, up to 2005 when the Aboriginal and Torres Strait Islander Commission was dissolved. It provides a snapshot of the diversity and changes in Indigenous art and its representation which occurred during the period of its formation. The small number of 'non-art' objects in the collection is also significant in providing insights into the working of the various Commonwealth bodies involved in Indigenous affairs. As well as the significance of many of the individual pieces, the collection is also significant as a whole, as a complex artefact stemming from Australia's history of governance of Australian Indigenous peoples.

# data[].isAggregatedBy[].title
Show all objects included in the ATSIAA  collection

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

# data[].physicalDescription
An 'Oruncha man' costume comprising a white long sleeved leotard and a white headress. The headress features wool, feathers and two red and white 'horns' while the leotard has red and white tassels around neck and a red and white pubic cover.

# data[].significanceStatement
The Beth Dean-Carrell archive and collections 1, 2 and 3 comprise a vast array of costumes, photographs, tapes, videos, documents and letters relating to the development, choreography and staging of a number of ballets dealing with Aboriginal myths and legends, including Corroboree, Kurdaitcha and The First Boomerang. As well, the collections contain a large number of Aboriginal and Torres Strait Islander, Pacific Islander (e.g. Cook Islands and New Zealand) and Papua New Guinean cultural objects.

An early concern for, and appreciation of Aboriginal culture, led dancer, choreographer and writer, Beth Dean, and her husband singer, writer and film maker, Victor Carell, to spend several months researching dance in Aboriginal societies in the Northern Territory in 1953, and later, in the Pacific Islands and Papua New Guinea. Their research was assisted by anthropologists such as A. P. Elkin, T.G.H. Strehlow and C. P. Mountford and by traditional elders. Although based on cultural values and customary costume, Dean's ballet performances were interpretations, rather than literal representations, of Aboriginal ceremonial dances.  Dean's was the second stage version of Corroboree in 1954, which was set to composer John Antill's musical score, Corroboree, which he completed in 1946.  Antill was inspired to incorporate Aboriginal rhythm and melody into symphonic music following meetings with Aboriginal communities at La Perouse in Sydney.  Both Dean's and Antill's productions reflected a post- World War II national trend by Australian composers and choreographers towards an intentional Australian cultural identity or national style which incorporated either actual or impressionistic interpretations of Aboriginal music, dance and culture.  It is ironic, nonetheless, that Aboriginal people at that time were not considered to be Australian citizens, lacked many basic human rights, and were largely absent, not only from the lives of most urban white Australians, but from the concert performances through which only selective versions of their culture were portrayed.   However, while these performances would be considered unacceptable today, Beth Dean's intention was not to further marginalize Aboriginal people but to sensitively and considerately convey to Australian audiences "the ethics, wisdom…discipline [and] harmony of Aboriginal customs and culture.

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

# data[].physicalDescription
The lid for the 1866 Melbourne Cup. It features an angel standing on top of a golden orb. The angel is holding a wreath in one hand and a feather in the other. She has a star on the top of her head and she is wearing flowing dress. The lid is also outlined with rows of small silver balls around the edge of the lid and the orb.

# data[].significanceStatement
This collection consists of the 1866 Melbourne Cup, made in London in 1865 by Daniel and Charles Houle, and imported to Australia by Walsh Brothers Jewellers, who ordered it on behalf of the Victorian Racing Club. It was presented to 'Honest' John Tait, the owner and trainer of the winning horse, The Barb.

The Melbourne Cup, Australia's best-known horse race, was first run in 1861, but for the first four years of its history no trophies were awarded. In 1865, a trophy was awarded but later sold by its original owner to the Flemington Hunt Club, which presented it to the winner of the 1873 Flemington Hunt Club Cup. The 1866 trophy is therefore the earliest Melbourne Cup that remains a Melbourne Cup. Both John Tait and The Barb are significant figures in Australian racing history; Tait earning the title 'Father of the Australian Turf', and The Barb widely recognised as the first great Australian race horse. Both have been inducted into the Australian Racing Hall of Fame.

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

# data[].title
Poster - 'Patu, a film about the New Zealanders who mobilised to stop the 1981 Springboks Tour'

# data[].physicalDescription
Printed poster advertising the film "PATU" in large stenciled letters filled in with black and white photographic images of people, and red text describing the film as "A FILM ABOUT THE NEW ZEALANDERS WHO MOBILISED TO STOP THE 1981 SPRINGBOKS TOUR".

# data[].significanceStatement
This collection comprises protest material relating to the South African Liberation centre, a site of anti-apartheid protest in Canberra, from late1985 to the early 1990s. The collection includes photographs, banners, placards and posters and is significant in terms of Australia's place in the anti-apartheid movement. Although Australia has never broken diplomatic relations with South Africa it is clear that many Australians found South African apartheid unacceptable and were prepared to go to great lengths to articulate their objection to its continued existence.

The nature of protest in Australia has changed in the 1980s and 1990s. The anti-apartheid campaigns demonstrate the Australian Federal F's changing interpretation of police powers in relation to the acts governing unlawful assembly, summary offences, disorderly conduct, public nuisance and similar legislation invoked when dealing with public protest.

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

# data[].title
Apron made of yellow muslin edged in cotton binding

# data[].physicalDescription
An apron made of yellow muslin with raised white spots edged in cotton binding, with a loop around the neck and ties at waist. The garment features four rows of white stitching below the waistband and a pocket on the right hand side. The bib is in two pieces joined in the centre by edging.

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

# data[].physicalDescription
Greyhound colour board. Long thin wooden board divided into ten segments, each painted a different colour. Yellow and black metal numbers attached to top eight segments, consecutively numbered one through to eight. Wooden painted block with two bolts and wing nuts is attached to back.

# data[].significanceStatement
The Jim McMahon Collection consists of a horseracing bookmaker's betting board, a greyhound racing bookmaker's betting board, bookmaker's betting tickets, ticket holders, personalised bookmaker's bag marked 'Jim McMahon Canberra', betting board stands and four carrying cases. These items were used by Jim McMahon in Canberra and the Southern Districts region from 1983 until 1994.

Horseracing has played an integral role in Australian sporting, social and economic history. Bookmakers were once a vital and colourful presence on the racetrack and betting on the horses, through a bookie, was the first legal form of gambling in Australia. Developments in computerised betting technology and an increase in the available choices of other gambling attractions has seen the number of bookmakers steadily decline. The bookmaker's profession is fast becoming redundant and their equipment obsolete.

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

# data[].physicalDescription
An A4 size form that consists of a sheet of white paper with divided sections throughout the page that are created by yellow border outlines as well as black printed text. The form also has a green and two yellow carbon copy sheets of paper attached to it. An Australian Coat of Arms is in the top left corner of the page with 'Australian Government / Australian Sports / Anti-Doping Authority' printed beneath it. Text also printed across the top reads 'Laboratory Advice / … /'.

# data[].significanceStatement
The Australian Sports Anti-Doping Authority (ASADA) collection comprises urine and blood testing kits, public education posters and documents related to the administration of testing programs. These objects speak to ASADA's work in drug testing Australian athletes who compete at state and national levels, as well as international athletes if they are competing in events held in Australia. The posters also illustrate the agency's role to inform the sporting community of drugs and related safety issues.

Athletes since ancient times have used a myriad of substances to enhance their physical and mental performance during sporting endeavours. The development of rules, procedures and penalties related to the use of certain substances did not begin in earnest until the 1960s, when the Council of Europe tabled a resolution against the use of doping. Blood and urine testing became more common into the 1970s. The first anti-doping initiative in Australia was a survey into drug use in sport in 1979 by the Australian Sports Medicine Federation. Following a Senate inquiry into drug use in sport in 1989-90, the Federal Government established the Australian Sports Drug Agency (ASDA). On 14 March 2006, Australian Sports Anti-Doping Authority (ASADA) replaced the ASDA.

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

# data[].title
May Day '71 End the War, Halt Inflation badge

# data[].description
There are two badges exactly the same, this is badge marked B and is in worse condition than A

# data[].physicalDescription
A white metal circular badge with a plastic coating over a red printed design. The centre of the badge depicts a large 'M' with an image of a globe in the centre with Australia on the front, and a flag at the top. The text reads 'MAY DAY / '71 / END THE WAR / HALT INFLATION', above and below the centre 'M'. A metal pin and clasp is attached to the verso.

# data[].significanceStatement
The Deborah Turner collection is comprised of 103 badges - 69 of which reference the Communist Party of Australia's (CPA) involvement in a range of emancipatory projects: such as anti-war appeals, Australian Federal Politics, indigenous equality and woman's rights. The other 33 badges reference May Day, a celebration of the labour movement and the fight for an eight hour day. 

The badges in the Deborah Turner collection cover an extensive period in the history of the CPA and the South Coast District Committee (SCDC). The 69 disparate badges in the collection account for a number of the Communist Party interests in Australia over a fifty year period. The other 33 badges in the Deborah Turner collection relate to May Day. This collection speaks to the connection between protest paraphernalia and a political message, and will form a significant collection of political campaign badges from the mid 20th Century.

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

# data[].physicalDescription
A glass bifacially flaked spearhead blade. Pointed at the distal end and truncated at the proximal end.

# 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
Paint, felt pen on paper. Five colourful rectangular shapes with lettering in black beneath them. Artist: Unknown. Location: Fingal Primary School, Tweed Heads, NSW. Title: One day I went to the city.

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

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

# data[].physicalDescription
A unifacially flaked pebble implement that is labelled 'TARWIN' and '403'.

# 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 cigarette card titled "No. 6 Dodge Custom Royal". It is from a series of cigarette cards produced by Ampol titled "Cars of Today".

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

# data[].physicalDescription
Instruction leaflet. Laminated paper. Yellow. Titled "Restricted / First Edition 16 Sep 99 / INTERFET - Individual guidance on the use of force". Printed on both sides.

# data[].significanceStatement
This collection consists of a variety of material collected by the Australian Army History Unit in East Timor between October 1999 and February 2000. It includes several hand-made weapons, INTERFET and UNTAET merchandise, and information leaflets and posters.

The Australian-led International Force East Timor was the largest Australian military deployment since troops were sent to Vietnam in 1966. As such, the collection represents the role Australia has to play both within the Asia-Pacific region and as a member of the United Nations. This collection, particularly the hand-made weapons and the posters and leaflets, is also significant in relation to the Museum's Peace collections. While the existing collections illustrate the peace movement and protests against war, the Army History Unit Collection relates to the role of the Defence Forces in peace-keeping activities.

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

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

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

# data[].physicalDescription
35mm Kodachrome transparency in a cardboard mount. The image depicts a house with corrugated iron roof.

# data[].significanceStatement
The Ken Welton Collection consists of a framed and mounted watercolour by renowned Aboriginal artist, Albert Namatjira.  The painting depicts a Central Australian landscape with two ghost gums in the left foreground. Mounted in a cream coloured frame, the painting has a small, engraved metal plaque which states: “Presented to DR. B.E.WELTON/ BY ALBERT NAMATJIRA / IN APPRECIATION OF HIS SERVICES / TO THE ABORIGINAL PEOPLE OF THE CENTRE". This collection also includes several photographic slides recording the presentation, as well as of family and local Aboriginal people taken by Dr Welton during his period of service in Alice Springs.

The watercolour works of Albert Namatjira (1902-1959), Australia’s first nationally and internationally recognized Aboriginal artist, were among the first to break away from the traditional art of his people.  Painted in European style, Namatjira’s exceptional watercolours of his ancestral landscapes generated both fame and controversy.  Namatjira’s remarkable artistic ability was equalled by his ability to teach and to pass on his skills to family members and others of his Western Aranda tribal group. According to a report by the Alice Springs Town Council in 2010, Doctor Bertram (Bert) Welton served as superintendent of Alice Springs Hospital from 1948-1955.  A former Captain in the Royal Army Medical Corps during WWII, Dr Welton took part in the historic D-Day landing in Normandy and was present when British forces entered Belsen concentration camp.  Sister Ellen Kettle MBE, in “Gone Bush”, wrote that Dr Welton’s dedication to health service delivery to Aboriginal people in Central Australia was “legendary”. The report states that Dr Welton later became Chief Medical Officer at Australia House, London, and, on retirement, was Deputy Director General of the Commonwealth Health Service.  The painting was presented by to Dr Welton by Albert Namatjira on 17 January 1956, in appreciation of his services to the Aboriginal people of Central Australia.

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

# data[].description
Handwritten address on reverse reads 'Mrs Hales / 17 Hillside Road / Stamford Hill / London . N . England'

# data[].physicalDescription
White vignette postcard featuring a N.S.W. crest and a black and white photograph of "Sydney, New South Wales." There is an address on the undivided back.

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

# data[].title
LONDON LABOUR AND THE LONDON POOR BY HENRY MAYHEW No. 1 Vol II, 14 June 1851

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

# data[].physicalDescription
Journal; cream-coloured paper with black printing and decoration. Title information on cover: "No. 1 Vol II Saturday June 14 1851/ LONDON/LABOUR/AND THE/LONDON POOR/BY HENRY MAYHEW".

# 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[].relation[].title
LONDON LABOUR AND THE LONDON POOR BY HENRY MAYHEW No. 54, 20 December 1851

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

# data[].physicalDescription
Sepia photographic postcard of the "MORIALTA FALLS, NEAR ADELAIDE, S.A.". The Rose Series. There is a message on the back of the postcard.

# data[].spatial[].title
Morialta Falls, Morialta Conservation Park, Mount Lofty Ranges, South Australia, Australia

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

# data[].physicalDescription
Wooden case with a handle, hinged lid, and two fasteners. Hand-written inside case base : "JIM McMAHON / 13 BRENNAN ST / HACKETT." Hand-written inside bottom right on base and top right on lid: "3". A bookmaker's betting board (Melbourne) and card printed: "WIN / ONLY / BOARD / NOT SET". accompany the case.

# data[].significanceStatement
The Jim McMahon Collection consists of a horseracing bookmaker's betting board, a greyhound racing bookmaker's betting board, bookmaker's betting tickets, ticket holders, personalised bookmaker's bag marked 'Jim McMahon Canberra', betting board stands and four carrying cases. These items were used by Jim McMahon in Canberra and the Southern Districts region from 1983 until 1994.

Horseracing has played an integral role in Australian sporting, social and economic history. Bookmakers were once a vital and colourful presence on the racetrack and betting on the horses, through a bookie, was the first legal form of gambling in Australia. Developments in computerised betting technology and an increase in the available choices of other gambling attractions has seen the number of bookmakers steadily decline. The bookmaker's profession is fast becoming redundant and their equipment obsolete.

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

# data[].title
Untitled landscape painting featuring bush and orange sky, by Greg Kelly

# data[].collection.title
Aboriginal and Torres Strait Islander Affairs Art (ATSIAA) collection no. 1

# data[].description
The work of Greg Kelly has its origins in the school of art known as the Carrolup drawings. This body of work was produced by young Aboriginal artists at the Carrolup Native Institution during a brief period in the late 1940s, and was influenced by Noel White, the teacher at Carrolup. White provided the students with pastels and encouraged them to draw what they saw. Their drawings were predominantly landscapes with echoes and memories of their past lives.

This work is one of Kelly's later works.

# data[].physicalDescription
A colour landscape painting on board featuring a sky of yellow, pinks and blues reflecting in a valley with trees in the foreground and a mountain range in the background. There is a signature "GREG.KELLY" in the bottom left corner. On the reverse is a sticker from "Fabiola Art Gallery". The painting is under glass with a brown wooden frame.

# data[].significanceStatement
The Aboriginal and Torres Strait Islander Affairs Art collection comprises 2050 artworks and other objects.  The artworks - which numerically dominate the collection - were produced by Aboriginal and Torres Strait Islander communities throughout Australia. The accumulation of these artworks into a single collection has resulted from the choices and selections made during a 38 year period by a variety of staff working for the Council for Aboriginal Affairs (CAA), the Department of Aboriginal Affairs (DAA), the Aboriginal Development Commission (ADC) and the Aboriginal and Torres Strait Islander Commission (ATSIC) at the national, regional and local levels.

The collection spans the years following the 1967 referendum, when dramatic changes in the governance of Aboriginal people took place, up to 2005 when the Aboriginal and Torres Strait Islander Commission was dissolved. It provides a snapshot of the diversity and changes in Indigenous art and its representation which occurred during the period of its formation. The small number of 'non-art' objects in the collection is also significant in providing insights into the working of the various Commonwealth bodies involved in Indigenous affairs. As well as the significance of many of the individual pieces, the collection is also significant as a whole, as a complex artefact stemming from Australia's history of governance of Australian Indigenous peoples.

# data[].isAggregatedBy[].title
Show all objects included in the ATSIAA  collection

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

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

# data[].title
Kelvin & Hughes detector signal test unit

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

# data[].physicalDescription
A detector signal test unit enclosed in a grey metal box. The face of the unit features two gauges, one labelled 'AC / MILLIVOLTS' and several switches and knobs. The unit has two handles on the face, a handle on either side and air vents on the side and back.

# 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 pinx. 1768 / Plate 358 / G. Smith sculps. / CATTLEYA FORBESII… / Rio de Janeiro & Isle of Raza, Brazil / 13 November-7 December 1768".

# 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
Letter from Sydney Lambert to Andrew Campbell Gibson, 12 April 1937

# data[].physicalDescription
A letter from Tirranna Picnic Race Club, addressed to A.C.Gibson Esq. from Sydney Lambert. The letter is typed in black ink on a piece of white paper and reads '... / Goulburn 12th April 1937. / TIRRANNA PICNIC RACE CLUB / The assets of the Club having been disposed / of, notice is hereby given that a meeting of the... / SYDNEY O. LAMBERT / Hon Secretary' .

# data[].significanceStatement
The Tirranna Race Club collection comprises a complete series of minute books and other official records, documents and photographs associated with the Tirranna Race Club, which operated in the Goulburn district of southern NSW from 1855 until the early 1930s. After the Club disbanded, the collection was cared for by the Gibson family, on whose property the Tirranna picnic races were held each January. Most collection items are in fair condition. 

As one of the earliest country race clubs established, the Tirranna Race Club helped found the Australian picnic races tradition. Picnic races allowed prosperous rural families to display their wealth and maintain social connections.The rules of the Tirranna Race Club held that only club members could enter horses or ride in races. Within a pastoral setting of summer hills, attendees at the Tirranna picnic races donned the latest, expensive fashions and together created a visual spectacle.

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

# data[].physicalDescription
A false beard that forms part of a dance costume. The beard is made from brown human hair sewn onto brown nylon fabric that has been gathered to fit the face. There is a loop of black elastic sewn onto either side of the beard to hold it in place  when worn.

# data[].significanceStatement
The Beth Dean-Carrell archive and collections 1, 2 and 3 comprise a vast array of costumes, photographs, tapes, videos, documents and letters relating to the development, choreography and staging of a number of ballets dealing with Aboriginal myths and legends, including Corroboree, Kurdaitcha and The First Boomerang. As well, the collections contain a large number of Aboriginal and Torres Strait Islander, Pacific Islander (e.g. Cook Islands and New Zealand) and Papua New Guinean cultural objects.

An early concern for, and appreciation of Aboriginal culture, led dancer, choreographer and writer, Beth Dean, and her husband singer, writer and film maker, Victor Carell, to spend several months researching dance in Aboriginal societies in the Northern Territory in 1953, and later, in the Pacific Islands and Papua New Guinea. Their research was assisted by anthropologists such as A. P. Elkin, T.G.H. Strehlow and C. P. Mountford and by traditional elders. Although based on cultural values and customary costume, Dean's ballet performances were interpretations, rather than literal representations, of Aboriginal ceremonial dances.  Dean's was the second stage version of Corroboree in 1954, which was set to composer John Antill's musical score, Corroboree, which he completed in 1946.  Antill was inspired to incorporate Aboriginal rhythm and melody into symphonic music following meetings with Aboriginal communities at La Perouse in Sydney.  Both Dean's and Antill's productions reflected a post- World War II national trend by Australian composers and choreographers towards an intentional Australian cultural identity or national style which incorporated either actual or impressionistic interpretations of Aboriginal music, dance and culture.  It is ironic, nonetheless, that Aboriginal people at that time were not considered to be Australian citizens, lacked many basic human rights, and were largely absent, not only from the lives of most urban white Australians, but from the concert performances through which only selective versions of their culture were portrayed.   However, while these performances would be considered unacceptable today, Beth Dean's intention was not to further marginalize Aboriginal people but to sensitively and considerately convey to Australian audiences "the ethics, wisdom…discipline [and] harmony of Aboriginal customs and culture.

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

# data[].title
Price list from Hermannsburg Mission, 1961

# data[].physicalDescription
A typed price list dated August 1961 from the Hermannsburg Mission in the Northern Territory.

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

# data[].physicalDescription
A postcard featuring a coloured black and white photograph of a street scene with a man on a sidewalk and a man in a horse and cart in the foreground. Printed text on the front of the postcard describes the photograph as 'Macquarie Street, Sydney'. The postcard is unused.

# 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
The Big Iron Store, Andrew Phillips Importers & General Merchant

# data[].description
Addressed to: Miss Connie Hill / Gano St / Ararat
Message reads: Shall do my very best to get woen next week. Where shall I see you and when / R.V.L.T.

# data[].physicalDescription
Postcard featuring a black and white photograph of "THE / BIG IRON STORE / ANDREW PHILLIPS. / IMPORTER. / & GENERAL MERCHANT.", and a message on the reverse.

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

# data[].title
Black and white photograph of a John Curtin painting

# data[].physicalDescription
Black and white photograph of a John Curtin painting. "W471/2" is written on the back. "Dept. OF THE INTERIOR NEWS AND INFO. BUREAU. Australian Offical Photography" is stamped on the back of the photograph.

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

# data[].physicalDescription
Two rows of alternate yellow and black spear or club heads with shafts on a backround of dotted patterns.

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

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

# data[].physicalDescription
A negative from the negative album 1998.9.313, numbered No.31, showing a man riding a horse that is standing near steps to a verandah, with a stone fence and buildings in the background.

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

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

# data[].physicalDescription
A upper grinding stone/anvil with defined lines or pitting on both faces. It is labelled '20 lies east of/Lawn Hill Stn Qld'.

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

# data[].physicalDescription
A colour, cardboard figure of a man wearing red pants, a yellow shirt, a green jacket and holding a yellow hat with a red feather in one hand and a yellow pocket watch in the other.  Printed on the front of the figure is "Copp" and handwritten on the back is "P3 / Copp".

# 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
Play booklet, scenery for 4 scenes and figures for 'Charles the II'

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

# data[].physicalDescription
A typed letter addressed to H. Napthali, Esq, Manager, Parliamentary Dining Rooms, Parliament House, Canberra, ACT. From Mr [---?] Hope, Under secretary, Premiers Department Brisbane. The letter is dated 31st August 1944. The paper is yellowing, it has the Premiers Dept crest in the top left corner in purple. The letter thanks Mr Napthali for the many courtesies which the Queensland officers received from Mr Napthali and his staff during the conference they attended. He had not had time to thank Mr Napthali in person as they had to run to catch the afternoon train.

# data[].significanceStatement
The Betty Hall Collection represents a unique collection of material relating to the history of the Parliamentary Dining Rooms in the Provisional Parliament House.

This collection was put together by Mr H L Napthali who worked as the Chief Steward in the Parliamentary Refreshment Rooms from 1939 - 1945. He moved to Canberra in 1939 after having worked in the NSW Parliamentary Refreshment Rooms. While at Provisional Parliament House Mr Napthali supervised a staff of fifty people and was responsible for purchasing as well as servicing the various bars and dining rooms within the House. He was also responsible for organising special dinners for commemorative occasions and for overseas visitors. Mr Napthali accumulated material relating to the history of the Federal Parliament both when worked in the NSW Parliament and in the Federal Parliament.

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

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

# data[].title
Ground edge hatchet head [stone implement]

# data[].physicalDescription
The object is labelled - NUIMBURRA/PORT HACKING/221218.

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

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

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

# data[].physicalDescription
Copper and brass gunpowder flask containing gunpowder residue. Flask has decorative panels and brass graduated charger.

# 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
Large format photograph, mounted on brown card, of the "Tiffin party at the Repulse Bay Hotel", showing three rows of people", given "in honour of Mr Mei Lam Fong by British-American Tobacco Company. Hong Kong 28, Oct. 1922". The names of the people in the photograph are listed underneath.

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

# data[].physicalDescription
Blue heart shaped Wedgwood jasperware dish with removable lid. It has raised white profiles of Charles and Diana facing each other in the centre of the lid above a shield titled 'Royal Birth 1982'. There is a chain of raised white flowers including thistles around the side of the base.

# data[].significanceStatement
The collection consists of 196 items. For the most part the collection consists of souvenir ware and other Royal memorabilia. Most of the material relates to the reign of Queen Elizabeth II with a large component devoted to Prince Charles and Lady Diana and the Queen Mother. The collection is significant from a number of perspectives. It provides material evidence of the enduring attraction of the British Royal family. It also provides an insight into the marketing of souvenir items associated with the Royals. The collection is a wonderful example of  a "magnificent obsession" on the part of the collector. The collection will be of enduring significance given the ongoing debate as to whether Australia should become a republic.

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

# data[].physicalDescription
A utilised core that is labelled '615 / Cranbourne'.

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

# data[].title
'Subject No.1 - Aborigines' bicentennial commemorative milk carton

# data[].physicalDescription
The first in a series of bicentennial milk cartons.  The carton is white waxed card with printed text in a flat construction ready to be folded into shape.

# data[].isPartOf[].title
'Subject No.1 - Aborigines' bicentennial commemorative milk cartons

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

# data[].title
Commemorative cup and saucer featuring King Edward VIII, Melba Bone China

# data[].physicalDescription
A round white ceramic cup and saucer set. The cup features a portrait of a man with ornate foliage around it and a crown on top, flanked by flags, on one side of the cup. Above the image are the words 'CORONATION MAY 12TH 1937' and there is a yellow banner at the bottom reading 'H.M. KING EDWARD VIII'. In the border of the portrait are the words 'HONI SOIT [QUI] MAL Y PENSE'. On the opposite side of the cup is an image of a blue crest with an ornate gold 'E' inside it, a crown on top, foliage on each side and the words 'LONG MAY HE REIGN' in black text beneath it. The rims of the cup and saucer are both lightly scalloped and lined with gold, and there is a gold line down the handle. Stamped in green on the bottom of both the cup and saucer is an image of a crown above the words 'MELBA BONE CHINA / GUARANTEED / MADE IN ENGLAND / FINE GRADE'.

# data[].significanceStatement
This collection comprises 102 pieces of commemorative-ware and 38 digital assets relating to the public life of Edward, Prince of Wales, later King Edward VIII (1894-1972). Produced both in Britain and to a lesser extent locally, the objects made their way to Australia as gifts or were exported for retail in advance of the Prince's 1920 royal tour and the planned 1937 Coronation. They were later acquired by collector Mr. Gary Whipp between the 1980s and 2000s. The ceramic, glass, paper and metal objects are mostly in excellent condition.   

These modest domestic objects underpin the construction of cohesive Australian support of the monarchy during the interwar period. Each demonstrates how contemporary technological innovations in manufacturing industries connected the Dominions with royal milestones that bolstered the monarchy’s reinvention as a popular and democratic force. The collection records the development of iconography influencing Australian attitudes towards the progressive and modern heir to the throne, and marks his 1936 abdication as an extraordinary moment in Australia's relationship with the British monarchy.

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

# data[].title
Drawing depicting the new influence of the Church

# data[].physicalDescription
B/W illustration depicting the new influence of the Church. Men throw away their armour & don the habits of monks. On matters of sex, the Church is depicted as extremely censorious, the words 'Thou shalt more or less not' appear in Gothic script above a bed in which two people are having sex.

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

# data[].description
Original labelling on 1985.0059.0226 reads: "24. Murrumbid... ...  King ...". The original paper label is damaged and some writing has been lost. It is likely this wording was 'Murrumbidgee'.

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[].physicalDescription
Cylindrical wooden spear, in a single piece. The spear tapers to a rounded point at the proximal end. There are a single row of barbs, made from solid (wood?), pointing shaftwards and parallel to the head of the spear. The label reads "304". The surface is slightly burnished.

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

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

# data[].title
Wooden drawer with a wood veneer panel and a circular wooden handle attached to the front

# data[].collection.title
Billy Hughes Office Furniture collection

# data[].physicalDescription
A wooden drawer with a circular wooden handle and a wood veneer panel attached to the front and a metal fixture screwed onto the back.  Dovetail joins are used to attach the side panels of the drawer. "1" is handwritten in pencil on the back panel of the drawer. This drawer fits into the top left hand side compartment of the bottom section of the desk.

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

# data[].isPartOf[].title
Wooden roll top desk used by Billy Hughes

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

# data[].physicalDescription
A cigarette card with satin facing and paper backing featuring a flag of Italy. Text on the back of the card reads "ITALY / THESE BEAUTIFUL INSERTS, / NOW BEING PRESENTED / TO SMOKERS OF THESE CIGAR- / ETTES, WILL BE FOUND MOST / DECORATIVE FOR CUSHION / COVERS AND OTHER FANCY / ARTICLES FOR HOME DECOR- / ATION... / W.D. & H.O. WILLS, / MANUFACTURERS OF THE / CELEBRATED BRANDS / "THREE CASTLES" / AND/ "VICE REGAL" / CIGARETTES."

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

# data[].title
Minox slide projector, type 3001 (unknown gauge - for slides)

# data[].physicalDescription
Minox slide projector, type 3001 (unknown gauge - for slides). Metal, green crackle finish, with black and silver fittings. Black plastic cable and 3 pin black rubber plug. Domed lamphouse on base. Retractable height.

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