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National Museum of Australia

Collection Explorer



  • Springfield - Faithfull Family collection(3501)

    Voiture de Gala, Musee des Voitures a Trianon
    Envelope addressed to Miss Faithfull Springfield Goulburn containing a card
    Envelope printed with Tuck's Post Cards, The Most Welcome, Artistic and Up-to-Date ...

    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)

    Interior SS. Simon and Jude Church of England, Bowral, 1907
    Botanic Gardens, Sydney, N.S.W
    Miyanoshita Hotel
    Houses of Parliament, Macquarie Street, Sydney
  • Timothy Millett collection(314)

    Convict love token from T. Jones, 1819
    Convict love token from E. Haddon
    Convict love token from John, 1836
    Convict love token from G.G., Jan 10th, 1820

    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.

  • Canning Stock Route collection(124)

    'Waruwiya' by Helicopter Tjungurrayi, 2007
    'Lake Disappointment' by Clifford Brooks, 2007
    Fibre basket by Janice Nixon, 2008
    Majarrka shield by Yanpiyarti Ned Cox, 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..

  • Errol Beutel collection no. 2(1)

    Aboriginal breastplate for King Tommy of Waverney

    The Errol Beutel Collection No. 2 contains a crescent-shaped brass Aboriginal breastplate (gorget) with the transcription, King Tommy of Waverney. Said to be collected by a scrap metal dealer, the breastplate is crudely made, perhaps the work of an amateur craftsperson. Unevenly sawn from a brass plate, the lettering of the inscription is cramped and unevenly placed and the emu and kangaroo are simple, naive figures. The style of lettering and design suggest it was made in the late nineteenth century. Gorgets were military in origin and were part of a suit of armour worn by medieval knights. The presenting of breastplates was instituted by Governor Macquarie in 1815 and was a strategy used by Europeans to elevate an Aboriginal person to a leadership position, as tokens of gratitude for services such as tracking or guiding expeditions, for bravery or to those believed to be the "last living member of a tribe".

    Waverney was a remote cattle station, now abandoned, near Windorah on the vast gibber plains of Queensland's Channel country. The Indigenous tribes of this region were the Karuwali, Malintji, Kuungkari, Marulta, Bidia, Kulumali, and Kungadutji peoples. Windorah was gazetted as a town in 1880 and Jundah, 80 km northward up the Thomson, was gazetted in 1883. The original owner of Waverney was John Costello, however, around the turn of the century, the station passed into the hands of the Bowman family. A report from Harold Meston, Protector of Aborigines for Queensland's far west, dated 14th June, 1902, lists Tommy (Goorkillee) and Tommy (Mooloojoolah) among the Aborigines who lived in this area. The Register of Aboriginal Deaths in Queensland (1910-1928), from QueenslandÂ?s State Archives, records the death, from old age, of a 'full-blood' Aboriginal man,King Tommy, in Jundah, on 26th July, 1914. It is possible that this man was the owner of the breastplate in this collection.

  • Anne Stockton collection no. 1(1158)

    LockHing, Japanese Ware Store, No. 37, Queen's Rd, 3 March 1934
    LCO Aumuller Powhattan Hankow. Home Sick Nankin Love Innes
    LCO Aumuller Powhattan Hankow. Sailing today, love George, Innes
  • Nettie McColive collection(189)


    Needlework has been an important creative outlet for women throughout Australian history. This work has often been denigrated due to the (gendered) divide between high and low culture which regards domestic work as trivial, feminine and unworthy of the title "Art". A reassessment of history informed by womens' history and feminism has led to domestic needlework being acknowledged as more than simply functional labour. The social role of this type of work is now better appreciated making it a vital aspect of domestic material culture.

    This collection consists of objects relating to the life of Minetta (Nettie) McColive (nee Huppatz). Mrs McColive's quilts form the centre piece of the collection. Three of these were made in the 1930's, the Farm Life Quilt, Wildflowers Quilt and the International Quilt. Also featured in the collection are certificates, photographs and d'oyleys. This collection helps to document issues such as women in rural Australia, quilting and needlework, education in the outback, community or commemorative quilting, shows and competitions.

    Mrs McColive's work has been the subject of considerable interest both in South Australia as well as in the general quilting community. Her work is featured in two books, Jennifer Isaac's The Gentle Arts and Margaret Rolfe's Patchwork Quilts in Australia. Her work has also featured in exhibitions such as the Quilt Australia '88 exhibition as well as an exhibition held in Prospect showcasing the work of local artists.

  • Josef Lebovic Gallery collection no. 6(9)

    See the better farming train
    Double-sided poster titled 'Why we Must Win The War', illustrated by Norman Lindsay, 1918
    An advertising sign for Pelaco shirts, collars and pyjamas.
    You love them - Fight for them!

    This collection consists of 10 excellent examples of Australian advertising posters. Artists represented include Percy Tromf, James Northfield, Norman Lindsay and May Gibbs . The majority of the posters were produced as lithographs.

    The poster as a form of advertising was popular in Australian throughout the twentieth century, particularly before the age of radio and television. The posters in this particular collection document a number of different types of advertising campaigns including war time recruitment, public health and safety, product endorsement and railway travel.