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National Museum of Australia

Where our stories come alive

Collection Explorer



  • Josef Lebovic Gallery collection no. 1(7551)

    Zuiderzee Club. Red Cross Fete, 1922
    All Saints' Church of England, Parramatta
    Photograph of ship
    His was the vision, ours was the task [F. M. Ludbrook]
  • Dr Herbert Basedow collection(424)

    Lantern slide - Pitjantjatjara man, central Australia, photographed by Herbert Basedow, 1920-1924
    Glass plate negative - One of the vice-regal cars bogged on the Burt Plain, Northern Territory, photographed by Herbert Basedow, 1923
    Film negative - entrance to a limestone cave on the Nullabor Plain, South Australia, photographed by Herbert Basedow, 1920
    Glass plate negative - Houses, Killalpaninna, South Australia, photographed by Herbert Basedow, 1919
  • Peter Evans collection(1)

    Architectural drawing of a Mill Dug-out by the Department of Mines for the Forests Commission

    The fire-refuge "dugout", is a cultural feature of the Victorian forests which has its roots in the war of 1914-18 and which is almost unique to Victoria in this continent, and perhaps in the world. Dugouts were holes in the ground or in the side of an embankment, supported by corrugated sheeting and timber props and heaped over with earth. There was one narrow opening shielded with a blanket that was constantly kept wet from the inside. Water and first aid equipment were stored inside the dugout. This plan is of a post-1939 dugout as required under the new Forests Act passed as a result of the 1939 bushfires.

  • Springfield - Faithfull Family collection(3501)

    Envelope addressed to MMS I M Brown, Springfield, Goulburn, NSW
    Clovelly, High Street
    Sir Ernest Cable's property, Devon 1915
    Piece of felt

    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.

  • Aboriginal and Torres Strait Islander Affairs Art (ATSIAA) collection(2104)

    Flags Act 1953 - Proclamation
    Bark painting 'Djang'Kawu Sisters at Gariyak' by Valerie Munininy 2
    Landscape painting.
    Signed AFL St Kilda Football Club Jersey

    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.

  • J Davidson collection no. 3(319)

    Bark painting 'Napililingu',  Narritjin,1968
    Wooden sculpture, representing a freshwater turtle
    Bark painting 'Tree Spirit' by David Malangi, Milingimbi, 1967
    Painting depicts an abstract design with flying foxes
  • Nanette Ward collection(226)

    Australian Cricket team dressed in suits and photographed in a garden
    Sepia photograph of the Australian Cricket team taken at Southend Ground, England 1921
    Man standing beneath a roll of honour in the club room of East Melbourne Cricket Club
    Black and white photograph of the Australian Cricket team at the Leicester Cricket Ground
  • Alexander Mussen collection(33)

    Letter from William Mussen to Alexander Mussen, May 1863
    Letter from Joseph Sharpe to Thomas Mussen, November 14th 1864
    Letter from Alexander Mussen to Thomas Mussen, August 1862
    Letter from Alexander Mussen to William Mussen, August 1855

    The Alexander Mussen Collection consists of 3 sketches, one ambrotype portrait, newspaper clippings, 13 letters and a death certificate relating to Alexander Mussen, his time on the NSW goldfields and his death, in 1864, at the hand of bushrangers. Alexander Mussen was a young Canadian, the son of a well known merchant in Montreal. It seems he fell into some disrepute and debt in Canada and travelled to the NSW goldfields to both try his luck and redeem the family name.

    The gold rush in Australia had a major impact on society, culture, the environment and politics. The population increased dramatically, society became more diversified, colonial governments had to respond to the changes and the rest of the world became increasingly aware of Australia's wealth. The Mussen collection provides a personal and intimate insight into the practical workings of some New South Wales diggings, society more generally, law and order on the goldfields and the continuing connection between those who came to Australia and family left behind.