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National Museum of Australia

Collection Explorer

4

Collections

  • Josef Lebovic Gallery collection no. 1(7553)

    Aboriginal in Devils Mask
    Railway Bridge, Bridgewater, South Australia
    Team of bullocks pulling a boiler
    St John of Gods R.C Hospital, Goulburn, NSW
  • Nettie McColive collection(189)

    Certificate
    Certificate
    Certificate
    Certificate

    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.

  • Myrtle Wilson collection(87)

    Certificate awarded at the Rocklea Agricultural & Industrial Association, 1963 for first prize for a jug cover
    Certificate awarded at the Kerang District Agricultural Society 84th Annual Show, 1968 for first prize for an appliqued doily
    Certificate awarded at the Wangaratta Agricultural and Industrial Society Annual Show, 1968 for first prize for a calico apron
    Certificate awarded at the Royal Melbroune Centenary Show, 1948 for first prize for a snow white play apron
  • Nanette Ward collection(226)

    Black and white photograph showing E.R. Mayne going out to bat against Kent at Canterbury Ground, England, 1921
    Dinner menu from R.M.S. Otway that has been signed by the Australian cricket team of 1912
    Black and white photographic postcard showing Australian cricketers v Yorkton (Canada), September 1913
    Black and white photographic postcard of the Australian cricket team, 1912
  • American-Australian Scientific Expedition to Arnhem Land (AASEAL) collection(218)

    Weapon - Spear
    The Man, Galdar
    Weapon - Spear
    Borolo-borolo, work on paper, Yirrkala, 1948
  • Springfield - Faithfull Family collection(3501)

    Pencil sketch depicting the ruins of a church
    Pencil sketch depicting a church and lake
    Royal Agricultural Society passes

    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.

  • 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.

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

    Portrait of David Unaipon by Lyell Dolan
    Morning Star by David Malangi
    Carving of a lizard
    River Murray Story - woven fibre mat

    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.

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