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National Museum of Australia

Collection Explorer

4

Collections

  • Springfield - Faithfull Family collection(3501)

    Large group of adults and children in an outdoor setting. Lucian Faithfull is standing to the right of the young boy holding an Australian flag
    Lilian Faithfull wedding 1898 (circa) to William Hugh Anderson
    Oakhampton Castle
    The Tourist.

    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)

    NSW Govt. Railways - Wynyard, Sydney
    Observatory, 'Rocks', Sydney
     'Who Is The Taller?'
    Ladies' Baths and View of Wollongong
  • Geoff Gray collection(20)

    Standard Peck gun-metal grain measure
    Set of three official standard gun-metal grain measures
    Standard Bushel gun-metal grain measure
    Standard Half Bushel gun-metal grain measure
  • Harry Ziegler collection(1)

    Aboriginal breastplate for Geroone, Chief of Unanderra
  • Woodleigh Shorthorn Stud collection(85)

    Certificate
    Certificate
    Certificate
    Certificate

    The Woodleigh Shorthorn Stud Collection is an extensive collection of trophies, ribbons, medals, badges, prize certificates, showing equipment and stud cattle photographs. The items are associated with a beef shorthorn stud established by the Davis family of the Corowa district in the early 1950s, and are in good condition.

    These objects record a recent expression of a long tradition of showing stud livestock at agricultural shows in Australia and Britain. Stud competitions at annual shows in Australian cities and regional centres enabled the gradual improvement of sheep and cattle herds. Shorthorn cattle proved adaptable and hardy in Australia, and became one of the dominant breeds. The Woodleigh Shorthorn Stud Collection helps to record the successful establishment of the shorthorn breed in Australia and the role of agricultural shows in enabling the improvement of cattle breeds. The collection also reflects the dramatic changes experienced by the rural sector in the second half of the twentieth century as tightening economic conditions forced many rural families, including the Davis family, to sell their properties.

  • Bothwell Museum collection(192)

    Wignalls bamboo pram

    Wire clothes peg

    SIGMA White Pine and Tar Compound

    Factory made rubber clothes peg

  • Barrie Pittock collection(1)

    Red fabric headband worn by Barrie Pittock

    This red headband dates from the Easter 1970 meeting of FCAATSI - the Federal Council for the Advancement of Aboriginal and Torres Strait Islanders. It was at this meeting that a section of delegates, both Indigenous and non-Indigenous, put on red headbands to denote their support for an increased role for Indigenous people within the organisation. The growing sea of red headbands provided a visual symbol of the spread of support for Aboriginal and Islander power in FCAATSI. (Taffe p 259). FCAATSI had been a powerful agent for change in redressing injustices against Aboriginal people, especially in its support for the 1967 referendum. The 1970 split marked the end of FCAATSI's influence in Indigenous affairs. This headband is possibly unique; most ephemeral protest material does not survive the use of the moment.

    The headband belonged to Dr Barrie Pittock. It was Pittock who had proposed the motion that only Indigenous people be allowed to vote in the organisation. Pittock, a former Quaker, had been a longtime worker for Indigenous rights and had been involved with FCAATSI for some years, focusing in particular on landrights issues. Before that he had worked with Abschol and had spent time in the USA where he made contact with Native American communities.

  • Beth Dean Carell collection no. 2(78)

    Sketch of Beth Dean in a seated dance pose wearing an orange-brown costume with white swirls, [5 min Sketch by Bill Constable 1950]
    Sketch of Beth Dean in a seated dance pose wearing an orange-brown costume with white swirls, [5 min Sketch by Bill Constable 1950]
    Pen and ink drawing on transparent paper of Beth Dean in an aboriginal dance
    Sketch of Beth Dean in a seated dance pose wearing an orange-brown costume with white swirls, [5 min Sketch by Bill Constable 1950]

    The Beth Dean-Carrell archive and collections 1, 2 and 3 comprise a vast array of costumes, photographs, tapes, videos, documents and letters relating to the development, choreography and staging of a number of ballets dealing with Aboriginal myths and legends, including Corroboree, Kurdaitcha and The First Boomerang. As well, the collections contain a large number of Aboriginal and Torres Strait Islander, Pacific Islander (e.g. Cook Islands and New Zealand) and Papua New Guinean cultural objects.

    An early concern for, and appreciation of Aboriginal culture, led dancer, choreographer and writer, Beth Dean, and her husband singer, writer and film maker, Victor Carell, to spend several months researching dance in Aboriginal societies in the Northern Territory in 1953, and later, in the Pacific Islands and Papua New Guinea. Their research was assisted by anthropologists such as A. P. Elkin, T.G.H. Strehlow and C. P. Mountford and by traditional elders. Although based on cultural values and customary costume, Dean's ballet performances were interpretations, rather than literal representations, of Aboriginal ceremonial dances. Dean's was the second stage version of Corroboree in 1954, which was set to composer John Antill's musical score, Corroboree, which he completed in 1946. Antill was inspired to incorporate Aboriginal rhythm and melody into symphonic music following meetings with Aboriginal communities at La Perouse in Sydney. Both Dean's and Antill's productions reflected a post- World War II national trend by Australian composers and choreographers towards an intentional Australian cultural identity or national style which incorporated either actual or impressionistic interpretations of Aboriginal music, dance and culture. It is ironic, nonetheless, that Aboriginal people at that time were not considered to be Australian citizens, lacked many basic human rights, and were largely absent, not only from the lives of most urban white Australians, but from the concert performances through which only selective versions of their culture were portrayed. However, while these performances would be considered unacceptable today, Beth Dean's intention was not to further marginalize Aboriginal people but to sensitively and considerately convey to Australian audiences "the ethics, wisdomÂ?discipline [and] harmony of Aboriginal customs and culture.

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