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National Museum of Australia

Collection Explorer

4

Collections

  • Josef Lebovic Gallery collection no. 1(7551)

    Group of seven females and four males.
    After the ball was over...
    The Museum, Sydney, N.S.W (Australian Museum)
    Parliament House, Canberra
  • Springfield - Faithfull Family collection(3501)

    Clare Wilkinson (nee Faithfull) with her dog Pop.
    Country garden
    Taxidermied green parrot in a tall glass domed display case
    Handwritten document titled 'The double life'

    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)

    Painting by Gordon Syron - Miners Cottage, 1982
    Two Snakes by Jack Wunuwun
    Wooden carving of a crocodile
    Painting by Gordon Syron - Left side of tryptic

    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.

  • Dr Robert C Percival collection(153)

    Technical drawings titled
    Blue card holder with coat of arms
    Technical drawing for a Percival aircraft titled
    Painting of a plane in flight by Herman R Bollin

    The Dr Robert C Percival collection consists of hundreds of objects recording the career of Edgar W Percival and his aircraft manufacturing companies, between 1897 and 1984. Items include material from Percival's military service in the AIF and RFC from 1915 to 1918; photographs, flying helmet and gloves from his commercial flying activities in Australia during the 1920s; photographs and documents recording his design and manufacturing work with Percival Aircraft Company in England during the 1930s and 1940s; trophies, certificates and medals awarded to Percival; travel documents, photographs and correspondence related to Percival's aircraft design and manufacturing work during the 1950s and 1960s; and documents and audio recordings made by Edgar Percival and his younger brother Robert Percival documenting the achievements and life story of Percival's aviation career.

    Edgar Wikner Percival was born in Albury on 23 February 1897. He was inventive and mechanically minded from an early age, working with his father, William Percival, on their property, Clarendon Park, at Richmond, New South Wales. While Percival studied engineering at Sydney Technical College and was apprentice to a marine engineering firm in Sydney, he was able to watch and fly with William (Bill) Hart, the first qualified pilot in Australia, when he moved his aviation school operations from Penrith to Ham Common, now Richmond Aerodrome, a short distance from Clarendon Park. In 1915, Percival joined the AIF, lying about his age to pursue a commission with the Royal Flying Corps which he achieved in 1917. After the war, Percival returned to Australia and undertook a variety of commercial flying activies, including aerial photography, map-making, geological surveying, joyflights and advertising. In 1929, Percival travelled to England hoping to sell one of his aircraft designs to an English manufacturer, but without success. Instead, Percival founded his own company, Percival Aircraft Company, to design and manufacture Great BritainÃ?Â?s first low-wing cantilevered monoplane, the Gull. Percival won many competitions and awards flying his own aircraft, and the Gulls quickly established a reputation for high performance, attracting the era's most daring pilots.

  • Guna Kinne collection no. 1(7)

    Latvian natural-coloured linen waistcoat with black embroidery
    Latvian red felt headdress
    Latvian red ankle length costume skirt with embroidery
    Latvian silver-coloured metal brooch with amber coloured bead

    The Guna Kinne Collection no 1 comprises objects which make up a Latvian woman's national costume including blouse, waistcoat, skirt, headdress, bonnet and brooches. Guna Kinne made the outfit over a period of 30 years, starting work on it as a sewing project while a schoolgirl in Riga in 1942, completing the jacket as she fled Latvia at the end of the Second World War, final touches were made to the costume after she migrated to Australia. As she fled her homeland, she took the unfinished costume with her, together with some clothes and photographs. She later wore the costume at a dance in a displaced persons camp in Germany, the day she met her future husband.

    Mrs Kinne's experiences are representative of post-war Latvian migration to Australia. After World War Two, the Australian Government adopted a new immigration policy which encouraged European emigration to Australia to boost a low population. By 1952 almost 20,000 Latvians had come to Australia as part of the program. Many, including Mrs Kinne, participated in Latvian community organisations formed to help maintain cultural activities and provide mutual social support as emigrants adapted to life in their new country. Mrs Kinne and her husband Arturs arrived in 1948 and settled in Maffra, Wangaratta and then Melbourne in Victoria. Mr Kinne attempted to make a living through his wood carving and used his skills in dairy production while Mrs Kinne continued her artistic skills through colouring photos as paid employment and painting as a hobby.

  • Myrtle Wilson collection(87)

    Certificate awarded at the Kerang District Agricultural Society 84th Annual Show, 1968 for first prize for an appliqued doily
    Certificate awarded to Mrs V.M. Wilson at the Cudal Agricultural and Pastoral Society 66th Annual Show, 1967 for first prize for a bridge cloth
    Certificate awarded at the Margaret River And Districts Agricultural Society 31st Annual Show, 1965 for first prize for an appliqued doily
    Certificate awarded at the Agricultural and Pastoral Society of Southern Queensland, Centenary Year Show 1859-1959, Beenleigh for second prize for a tatted butterfly doily
  • Horne-Bowie collection(720)

    Spearhead
    Spearhead
    Spearhead
    Spearhead
  • Vane Lindesay collection no. 1(71)

    Letter from Maurice Horn approving Vane Lindesay's suggestions regarding contribution to
    Letter dated 9/10/1976 from Maurice Horn to Vane Lindesay
    Letter from Maurice Horn, discussing illustrations for the book he is editing titled
    Biography of cartoonist Cecil White
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