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National Museum of Australia

Collection Explorer



  • Keith Goddard collection(252)

    Kimberley point
    Kimberley point
    Kimberley point
    Kimberley point
  • Springfield - Faithfull Family collection(3501)

    Black and white framed photograph of the four Faithfull brothers involved in the bushranger incident
    Florence Faithfull seated and holding a fan
    Taxidermied green parrot in a tall glass domed display case
    Young woman dressed in a riding habit standing beside a light coloured horse with a small dog at her feet.

    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(7551)

    Grenfell Street, Adelaide, SA
    Good wishes from the land of the golden fleece to the stars and stripes
    The Blue Lake, Mt Gambier, SA
    Postcard featuring crowd at a racetrack
  • Myrtle Wilson collection(87)

    First Prize awarded to Mrs V.M. Wilson for 'Prettiest Tea-Cosy' at the Carcoar P.A. & H. Society Annual Show 1962
    Certificate awarded at the Launceston National Agricultural and Pastoral Society of Tasmania for first prize for a bridge cloth
    Certificate awarded at the Nhill Agricultural and Pastoral Society Annual Show, 1969 for first prize for a painted table centre
    Certificate awarded at the Royal Society Agricultural of Tasmania Royal Show, Hobart, 1966 for first prize for a tatted butterfly doily
  • Paul Tom collection(1)

    Dugong in tail down position, carved from wongai wood by Paul Tom, Moa Island

    The Paul Tom collection consists of a dugong carving made from wongai wood found within the Torres Strait. Mr Paul Tom is from Kubin Village, Moa Island in the Torres Strait. The dugong carving illustrates Torres Strait Islanders relationship with clan totems.

    The Dugong is a sea mammal found in the Torres Strait Islands. It is a main source of food for the Torres Strait Islanders as well as pertaining to cultural practices. The dugong is one of the clan totems used in ceremonies including initiation, medicinal purposes, dancing, legends, custom and laws. The dugong is also referred to as Dhangal by the Western Islanders from the Western Island language Kala Lagaw Ya.

  • Noelle Sandwith collection no. 1(111)

    Shearing shed, Keera, N.S.W. September, 1952
    Said Goolamadeen, retired camel driver, Marree, S.A. February, 1953
    Keera blacksmith. September, 1952
    Charlie Macgregor, Senior. Windorah. Early January, 1953

    A collection of 101 sketches drawn in 1952-53 by Noelle Sandwith, an English artist visiting Australia who was intent on drawing 'unusual subjects' and set her sights on the Australian outback. A wide variety of groups and people within the Australian community are examined through the sketches. These include Aboriginal people and their involvement in missions, life on the outskirts of town, incarceration and the role of the Protectorate. Post-war immigration is represented through the involvement of Greeks and Italians running cafes in small country towns. Community groups representing rural and outback people such as the Australian Inland Mission, Salvation Army, Country Women's Association and the Flying Doctor's Service also rate a significant mention. Other issues and people who are explored include Afghan cameleers, social events such as rodeos and drinking, life in the shearing shed and the role of the local police to name a few.
    On the recommendation of the Australian Inland Mission, Ms Sandwith set out for south-western Queensland and down the Birdsville track to Marree in South Australia. She undertook this journey on her own, allowing her the freedom to travel where she wanted and to record the lives of people in the outback as she viewed it. Great changes occurred in Australia in the 1950s. Society changed relatively quickly with the influx of immigrants following WWII. Policies of assimilation were at their height and this extended to both the indigenous people of Australia and the newest groups of immigrants. This period of contact between the various sectors of the Australian community is one which of great interest to us today. The sketches provide a view of outback society at this time and chronicle the relationships between various groups and people. There was great interest in the treatment of Australia's Indigenous inhabitants during this period. The sketches provide a personal view of the perceptions of European people towards Aboriginal people. Several of the sketches slip into caricature when dealing with Aboriginal people and this also provides us with Sandwith's view. Several poignant comments are made regarding the lifestyle and expectations of Aboriginal people. Whilst these seem dated now, they are powerful reminders of the attitudes which prevailed at the time of sketching.

  • William and Jeanette Derham Family - Bendigo Pottery collection(417)

    Ceramic vase
    Ceramic bread crock with lid
    Salt glazed brown ceramic demijohn [Aqua]
    Ceramic jardiniere

    The William and Jeanette Derham family collection is the physical manifestation of Mr Derham's commitment to documenting the work of Bendigo Pottery, its wares and institutional history, as well as the association he and his family had with the business between 1968 and 1983. The collection consists of historic Bendigo Pottery ceramics from the 19th and 20th centuries which illustrate the diversity of wares produced between 1858 and 1971, as well as a comprehensive range of items manufactured during the Derham era. This material is supported by a unique collection of stamps and printing blocks used as part of the manufacturing and advertising processes as well as documentary materials, photographs and ephemera which illustrate working life at Bendigo Pottery.

    Since its establishment in 1858, Bendigo Pottery has played a significant role in the history of Australian ceramics, producing wares ranging from the domestic and decorative, to the utilitarian and industrial. The history of the business illustrates the process of technological transfer in the decorative arts, the adaptation of imported ceramic traditions to local markets and the development of distinctively Australian imagery, styles and pottery products. Bendigo Pottery has provided useful products and employment opportunities to the community for 150 years and on an aesthetic level ensured that the skills of the potter, which so easily could have been lost with the advent of mass production techniques, have been preserved for posterity.

  • Beth Dean Carell collection no. 2(78)

    Costume design in gouache and pencil on paper with card backing, showing an Aboriginal woman wearing a feathered pubic apron and wristbands
    Sketch of Beth Dean in a seated dance pose wearing an orange-brown costume with white swirls, [5 min Sketch by Bill Constable 1950]
    Kangaroo Man costume
    Costume design in gouache and pencil on paper with card backing, showing an Aboriginal man in costume

    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, wisdomÃ?Â?discipline [and] harmony of Aboriginal customs and culture.