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National Museum of Australia

Collection Explorer



  • Springfield - Faithfull Family collection(3501)

    Pencil sketch of a stream with trees on bank and a tower in the distance, by R Cox
    Castle of Rheinstein
    William Percy Faithfull, George Ernest Faithfull, Reginald Faithfull, Henry Montague Faithfull.

    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)

    Bondi, NSW
    No.19 St. Joseph's Hospital, Auburn, N.S.W.
    Wishing you a Merry Christmas and a Happy New Year. The Philp Cabinet
  • E Milne collection(652)

    Aboriginal breastplate for Jemmy Muggle, King of Wiggley
    Aboriginal breastplate for Tommy, King of Gongolgon
    Aboriginal breastplate for Thomas Tinboy, King of Nelligan
    Aboriginal breastplate for Timothy, Chief of Merricumbene
  • Chai Vang and Por Ye collection(12)

    Knife with bullock horn handle
    Hook blade brush knife
    Wooden arrow with cardboard fletching or fin
    Cardboard sign for leeks from a market garden stall

    The collection consists of one dibble (or digging stick), four cardboard signs, two knives, the head of a small hoe, a cross-bow and arrows used by Chai Vang and Por Ye, Hmong market gardeners in Tasmania. The metal objects were made in Thailand by Chai Vang's father, a traditional Hmong blacksmith, and the wooden items and cardboard signs were made by Chai in Hobart.

    Chai Vang and Por Ye arrived in Australia with their eight children as refugees from Laos in 1991. The family settled in Hobart, Tasmania within the small Hmong community that had established itself during the 1970s. In 2000 the family began to farm on several acres of land near Hobart and sell their produce at the Salamanca Markets. The Hmong market gardeners have become an important part of Tasmania's social, cultural and agricultural scene through their involvement with the Salamanca Markets and their willingness to share aspects of their traditional culture with the wider community.

  • Dr Helen M Wurm collection no. 2(85)

    Bark painting depicts a hunter in white, with short limbs, holding a raised spear and shield
    Bark painting divided into 16 panels by three horizontal white bands with red outlines
    Bark Painting depicting the body painting for Kulama initiation by Deaf Tommy in Snake Bay, Melville Island, 1965
    Painting is an abstract design of patterned & black horizontal bands
  • Vane Lindesay collection no. 1(71)

    Letter from Maurice Horn informing Vane Lindesay, 1976
    Letter from Maurice Horn, 1977
    Biography of cartoonist Cecil White
    Letter from Maurice Horn inviting Vane Lindesay to contribute material to
  • American-Australian Scientific Expedition to Arnhem Land (AASEAL) collection(218)

    Bark Painting, Fishing Scene showing Dugong and Turtle, from Groote Eylandt, 1948
    Cylindrical basket
    Wood carving - female human figure
  • 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.