page loading
Menu toggle

National Museum of Australia

Collection Explorer



  • Josef Lebovic Gallery collection no. 1(7553)

    Circular Quay, Sydney
    Stockman's Hut
    Australian Native - Seaside amusements
    Christmas Bell Babies Grow in Australia ...
  • George W Barber collection(47)

    Discussion poster No.20 - Fuel and Power plans - October 18, 1948'
    Discussion Poster No.21 - Where Your Taxes Go - November 1, 1948
    Discussion poster No.61 - Can we develop our empty north? - May 15, 1950
    Discussion Poster No.26 - What's wrong with this room? -  January 10, 1949

    This collection consists of forty-six colour paper wall posters and one A5 paperback booklet, 'This Changing World: An Atlas of Current Events - No. 1: The Pacific', issued by the Commonwealth Office of Education between 1948 and 1950. The heavily-illustrated posters present simplified viewpoints about world and national events and were designed for group discussion in schools, adult education organisations, community organisations and private enterprise. The booklet is a ready reference to post-war social, political, economic and geographic data on nations in the Asia-Pacific region and Antarctica. The objects were salvaged from the Maryborough Technical School, Victoria, which provided classes for ex-service personnel under the Commonwealth Reconstruction Training Scheme (1944-1950) as well as general vocational training.

    The Commonwealth Office of Education was created in 1945 under the Chifley Government as an agency of the Department of Post-War Reconstruction. The posters and booklet provide insight into a society undergoing profound change and embody official efforts to explain Australians' socio-economic and political position. Imaging an increasingly independent Australia forging a new role in the global and regional community, the collection documents the nation's industrial expansion and social restructuring at a time of full employment, a booming population and an increasingly sophisticated urban society. It also represents the Chifley Government's drive to stimulate post-war intellectual life and to reassert the concepts of democracy, egalitarianism and social justice. The posters additionally demonstrate contemporary ideas and techniques in pedagogy and graphic design.

  • Rosa Cappelluti collection(14)

    Department of Immigration card verifying Mr Capelluti's change of address in 1958
    Travel document issued to Mr Capelluti to enable him to travel to his place of work 18 September 1945
    Song of Australia card issued to Mr Capelluti after his naturalisation from the Good Neighbour Council, 1962

    Tray with wooden, scalloped edges

  • J Davidson collection no. 3(319)

    Bark painting 'Flying Fox' by George Milpurrurru, Milingimbi, 1966
    Painting depicts a writhing snake
    Bark painting depicting a male human figure with outstretched hands by David Malangi, Milingimbi, 1965
    Wooden sculpture, representing a freshwater turtle
  • Timothy Millett collection(314)

    Convict love token from George Rain, 1831
    Convict love token from J. Stoneham, 1823
    Convict love token from William Weir
    Convict love token from William Holmes, 1844

    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.

  • Mary Willsallen collection(77)

    Framed photograph of pony, Lowlynn Silver King
    Mary Willsallen driving a sulky
    Stud requested in 1944
    Pedigree records
  • Warakurna History Paintings collection no.2(9)

    Land Management, Burning Country by Dianne Ungukalpi Golding
    Wangurnu by Eunice Yunurupa Porter, 2011
    Whitefellas Spinning Around by Jean Inyalanka Burke, 2011
    Warakurna to Warnan Health Walk by Eunice Yunurupa Porter
  • Canning Stock Route collection(124)

    Fibre basket by Janice Nixon, 2008
    'Nyilangkurr' by Donald Moko, 2007
    'Kumpupirntily Cannibal Story' by Billy Atkins, 2008
    'Kinyu' by Eubena Nampitjin and Jane Gimme, 2007

    The Canning Stock Route collection is comprised of 125 works and includes paintings, drawings, baskets, boomerangs, coolamons, headdresses, carved figures and shields.

    The Canning Stock Route is a no-longer-used cattle droving route that traverses the Great Sandy and Gibson Deserts of central Western Australia. Comprised of 48 wells along an 1800 kilometres stretch of track, the route links Wiluna in the south with Sturt Creek in the north and traverses the traditional lands of nine Aboriginal language groups. The route was founded in 1905 when Alfred Canning was commissioned to investigate a route suitable for the droving of 500 head of cattle, with water sources spaced at intervals of no more than one day's walk apart. Although Canning's map records observations of the land and water resources, it makes no mention of Indigenous places and their associated meanings which the route traversed. This collection, composed of 'painting stories', sculptural works and oral histories, re-dresses Canning's omission and records the impact of the stock route on Indigenous lives and country. A six week journey with traditional owners held in July and August of 2007 inspired the artworks, many of which were produced during the journey, and provided an opportunity for more than 70 senior and emerging artists to reconnect with traditional lands..