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National Museum of Australia

Collection Explorer

4

Collections

  • Springfield - Faithfull Family collection(3501)

    Cat sitting in the archway of the portico of the Big House at Springfield
    Woman's hat made of dark green velvet and surrounded by ostrich feathers
    Two men wearing suits, with a large display of vegetables on wooden shelves, Goulburn Show, Grifffiths + Blake gardeners 1919

    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.

  • Josef Lebovic Gallery collection no. 1(7553)

    Playing to the score
    Six men in hats. Trans-Australian Railway
    Pearl Bay, Middle Harbour, Sydney, N.S.W.
    Men standing around small huts in the bush, with a railway line in the foreground
  • Timothy Millett collection(314)

    Convict love token from 1830
    Convict love token from C. Allen., 1844
    Convict love token from T. Lucas, 1834
    Convict love token from Deney Briant, 1831

    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.

  • Gallaway-Gore collection(62)

    Receipt from Bank of Australasia
    Confirmation card for Jessie Ann Gore
    Photographic portrait of a man holding baby
    Hand written letter from Ch. Campbell dated 14 January 1835

    The Gallaway-Gore collection consists of a number of objects, including a sword and scabbard, a family bible and prayer book, several framed portraits, and a number of family papers including letters, deeds, wills, birth and marriage certificates pertaining to the Gore-Gallaway family.

    There is a long history of achievement among the generations of the Gore-Gallaway family, including three generations of maritime service, from Captain John Gore senior, who sailed with Captain James Cook on the Endeavour, his son Rear Admiral John Gore junior, who migrated to Australia and settled the property 'Gilmour' near Lake Bathurst, to his grandson Graham Gore, who was lost on the Franklin expedition. This history, as well as the family's subsequent experiences on 'Gilmour', are documented within the collection.

  • Neil Jensen collection(72)

    Gypsy Engine Warranty from deHavilland Aircraft Co. Ltd. made out to Percival Aircraft Co.
    Scrap of paper with hand-written aircraft weight calculations
    Advice Note from Hants & Sussex Aviation Ltd
    Logbook certificate from Light Plane Services listing inspection and repairs, 6 May 1981

    The Neil Jensen collection consists of a Percival Gull Six aircraft, G-AERD, and associated archive. Made by the Percival Aircraft Company at Gravesend in Kent, England, in 1936, this aircraft was first purchased by Ariane Dufaux of Switzerland and registered as HB-OFU. After passing through several owners in Switzerland, the aircraft was sold to a collector and restored by Cliff Lovell in England where it was featured on the air show circuit and registered as G-AERD. Neil Jensen purchased G-AERD in 1983, and while it was based in Redhill, Surrey it was awarded the Percival Trophy by the Cotswold Aircraft Restoration Group.

    Born in Albury, New South Wales, in 1897, Edgar Wikner Percival served in Europe and Egypt with the Royal Flying Corps during the First World War. Returning to Australia after the war, Percival operated a commercial aviation business while pursuing opportunities to design and manufacture new types of aircraft. In 1929, he travelled to England to work as a test pilot for the Bristol Aircraft Company, and in 1930 designed and manufactured the first low-wing cantilever monoplanes in the British Commonwealth. Percival formed the Percival Aircraft Company in 1932 and named the new aircraft series 'Gull'. Characterised by their graceful lines, the Gulls had light wooden frames covered with doped (lacquered) fabric and powerful four or six cylinder engines. PercivalÂ?s Gulls quickly established a reputation for high performance, with Percival designing racing versions named 'Mew Gulls', which won acclaim in the Kings Cup Air Race.

  • Mary Willsallen collection(77)

    Mary Willsallen at Government House, Sydney on being awarded her Order of Australia
    Mary Willsallen and sulky in a show ring
    Mary Knight-Gregson and her mother driving in a sulky
    Mary Willsallen driving a sulky
  • Nanette Ward collection(226)

    Photograph of the Australian Cricket team
    Grand stand at East Melbourne Cricket Ground
    Dinner menu from R.M.S. Otway that has been signed by the Australian cricket team of 1912
    Norwood Cricket Club A grade Premiers, 1913-14 team
  • Solomon and Josephine Ahmat collection(18)

    British Fighter Aeroplane Headdress
    British Mitchell Carrier Aeroplane Headdress
    Waisted tubular drum with hollow wooden body, carved handle, snake skin drumhead
    American Fighter Aeroplane Headdress

    Solomon and Josephine Ahmat are two Torres Strait Islander dancers from the Badu Islands in the Torres Straits. They are members of the Goigai Pudhai Badu Island dance group. Their collection, the Solomon and Josephine Ahmat collection of dance costumes and objects, consists of three model Aeroplane mounted headdresses and an aeroplane dance outfit comprising a singlet, a pair of pants, a wrap skirt, two ankle and wrist bands and a grass skirt. The collection also includes Josephine's dress, headband, leg bands and two white hand flags - a costume associated with the Flag dance. A snake skin drum and a seed rattle are also included in this collection.

    This collection of dance outfits and associated objects was used at the Australian War Memorial to celebrate the opening of the 'Australia Under Attack 1942 - 1943' exhibition on 14 December 2004. This was the first time the Aeroplane and Flag dance had been performed outside of the Torres Strait Islands. The dances reflect the memories of World War II in the Islands by the original composers James Eseli and a unnamed female Elder. The Aeroplane dance represents the flight of Allied American and British planes over the Torres Straits with the dancers moving in slow controlled movements in a V formations as the planes would have flown during the war. The headdresses use detailed model replicas of a British Mitchell Carrier plane, an American Fighter plane and a British Fighter plane. This dance is only performed by the men. The Flag dance, which is only performed by women, was conceived after a female Elder saw images of the Navy Semaphore flag signalling system in an old Scout book. The dancers use the flags to signal out words relating to the War and the Torres Straits. Both dances are unique to the Torres Straits and show the creativity and ingenuity of the Islanders when telling a story through performance. The headdresses are significant as they are rarely made and are symbolic of the transfer of knowledge from an elder to the young people in the community. The headdresses and costumes are also significant for their association with the way in which Torres Strait Islander performers recollect a non-Indigenous event or interaction. As such they are an example of the Torres Strait Island tradition of using dance as a narrative form in the representation of their history.

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