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National Museum of Australia

Collection Explorer



  • Y Pettinato collection(42)

    Bark painting 'Waterhole Life' by David Malangi, Milingimbi
    Bark painting Freshwater Turtles and Grass Snakes by Djikululu
    Painting is divided into panels decorated with cross hatching and small circles
    Bark painting 'Emu Dance' by Tom Djawa, Milingimbi
  • Josef Lebovic Gallery collection no. 1(7553)

    QSL card for VK5LB, Australia
    Sailors from Japanese Squadron passing along Swanston St Melbourne, 14th May 1906
    Trans-Australian Railway. Charlie
    Brisbane Institute of Social Service
  • Aboriginal Arts Board collection no. 2(561)

    Bark painting 'Animal pieces, two dogs, two grubs' by Bardayal Nadjamerrek, Gunbalanya, 1974
    Bark painting 'Sacred ceremonial ground Gununguwuy' by Narritjin Maymuru, Djarrtipi, 1975
    Painting depicts three x-ray style fish
    Stone with incised Wandjina figures
  • Swan Richards collection(7)

    Australian One-Day International Cricket Team baggy yellow cap, worn by wicket keeper Rod Marsh
    Baggy green cricket cap with embroidered coat of arms on the front, worn by Greg Chappell
    Gray-Nicolls cricket bat used by captain of the Australian Cricket Team, Greg Chappell, from 1981-1983
    Pair of wicket keeper's leather gloves

    The Swan Richards collection consists of seven items relating to Australian cricket in the twentieth century. It includes Bill O'Reilly's NSW Sheffield Shield blazer, Rod Marsh's wicket keeping gloves and one day international cap, Greg Chappell's Australian Test cap and cricket bat and Wally Grout's wicket keeping gloves and world record 8-catch ball mounted as a trophy.

    Robert 'Swan' Richards, a well known cricket identity and recipient of the Australian Sports Medal in 2000, collected these objects during his career as a cricket bat maker and businessman. The items in the collection relate to the history of Australian cricket from the end of the Second World War to the 1980s. During these five decades cricket changed immensely, from a game played by amateur sportsmen to one played by professional sportsmen in a commercial atmosphere.

  • Fran Johnson collection(1)

    Mary Gilmore's typewriter

    The Fran Johnston collection consists of a black, manual typewriter used by Gilmore during her time in Paraguay and upon her return home to Australia.

    Dame Mary Gilmore's body of work includes prose, essays, newspaper columns and social commentary. When looked at as a whole, it provides the reader with not only an in-depth look at the issues facing Australia during Gilmore's lifetime, but also a glimpse of her personality and life history, since the majority of topics she wrote about were written from first-hand experience.

  • Dr Helen M Wurm collection no. 4(75)

    Bark painting 'The Wagilag Story' by Dawidi Djulwadak, Milingimbi, 1967
    Bark painting 'The Djanggawul in Djabu mada [language] territory' by Mutitjpuy Mununjgurr, Yirrkala, 1967
    Painting depicts a large shark & lizard
    Bark painting 'Djirird and Damala' by Narritjin Maymuru of Yirrkala, painted Darwin, 1967
  • Warakurna History Paintings collection no.2(9)

    Wangurnu by Eunice Yunurupa Porter, 2011
    Ngaanyatjarra Council's 30th Birthday Party by Jean Inyalanka Burke, 2011
    Whitefellas Spinning Around by Jean Inyalanka Burke, 2011
    Land Management, Burning Country by Dianne Ungukalpi Golding
  • Robert and Irene Goard collection(43)

    Debrie Parvo model 'L' 35mm hand-crank movie camera and accessories, used by Frank Hurley
    Stereographic viewer
    Circular metal film canister used by Frank Hurley
    Circular metal film canister

    The Robert and Irene Goard collection comprises cameras and other photographic equipment owned and used by prominent Australian photographers and businessmen Charles Kerry, George Rose and Frank Hurley and amateur photographer and engineer Ernest Macartney de Burgh. The collection includes a dry whole plate field camera and a wet plate sliding box camera used by Kerry, a Lizars Challenge stereo camera owned by George Rose and a 35mm Debrie Parvo cine-camera acquired by Frank Hurley for the 1929-30 British, Australian and New Zealand Antarctic Research Expeditions. It also includes a Sanderson folding plate camera awarded to de Burgh by the Institute of Engineers to recognise his securing the prestigious Telford Premium award in 1903-04.

    From the 1880s to the 1920s, professional Australian photographers such as Kerry, Rose and Hurley created an extensive record of urban and rural life in eastern Australia and developed highly successful businesses producing and selling portraits, landscape views and news and event photographs as prints, postcards and stereocards. These photographers also exhibited overseas and imported views of the world, including, for Hurley, of Antarctica, for Australian consumption. Through these practices, photographers such as Kerry, Rose and Hurley shaped both Australians' understanding of and interest in their own social and natural environments and Australians' perception of their place in the world.