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National Museum of Australia

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Collection Explorer

4

Collections

  • Banks Florilegium collection(2476)

    Epacris longiflora
    Capparis lucida
    Hibiscus meraukensis Malvaceae
    Banksia serrata

    The Banks' Florilegium was published by Alecto Historical Editions (London) in association with the British Museum (Natural History) between 1980 and 1990. Each of the 100 sets that comprise the edition consists of seven hundred and forty three botanical line engravings, after the watercolours drawn from nature by Sydney Parkinson recording the plants collected by Joseph Banks and Dr Daniel Carl Solander during their voyage round the world on HMB 'Endeavour' with Lieutenant James Cook, 1768-1771. Each set is divided into 35 parts and housed in Solander Boxes. Each print or sheet within the set is identified by a blind embossed stamp on the recto, recording the publisher's and printer's chops (ie: their signatures), the copyright symbol and date. The initials of the individual printer, the plate number and the edition number are recorded in pencil. The plate-marks are virtually uniform in size: 18 x 12 inches (457 x 305 mm), and the paper is Somerset mould-made 300gsm, each sheet watermarked 'AHE' and produced specially for this edition by the Inveresk Paper Company. The sheet of paper on which the image is printed measures 28 �½ x 21 inches (724 x 556 mm), and each of the engravings is protected within a double-fold sheet of the same acid free paper which has been cut to form a window mount. Every print includes watercolour embellishments added by artists working directly from Banks' own notes. The condition of the Museum's set, No 5/100, is excellent.

    The Banks' Florilegium records and celebrates the botanical discoveries made during the first voyage of scientific discovery undertaken by Britain's Royal Navy. In addition to the vast collections of botanical and zoological specimens created, astronomical observations made and accurate maps compiled during HMB Endeavour's voyage to the Pacific, the east coast of Australia was mapped and claimed for the British Crown, leading 18 years later to the establishment of a colony in New South Wales. Joseph Banks, who financed and led the natural history contingent onboard the Endeavour, planned to publish the botanical results of the voyage in a 14 volume folio work. He hired artists to complete Sydney Parkinson's drawings and engaged a team of 18 engravers to create the copperplates. The project took 12 years and was then put aside by Banks who was by now President of the Royal Society and closely involved with the Royal Horticultural Society, Kew Gardens, the British Museum and was a friend of and unofficial advisor to the King. Sir Joseph, as he became in 1781, would go on to serve as a member of the Board of Longitude, the Coin Committe and the Privy Council's Committee for Trade, and Plantations, and his wealth, social position and extraordinary range of contacts within the political, scientific, manufacturing and diplomatic spheres made him one of the most influential figures of his day. Although the Florilegium was not published during his lifetime, he took steps for its preservation and made the drawings, notes and specimens upon which it is based available to interested visitors to the Herbarium he maintained at his home.

  • Josef Lebovic Gallery collection no. 1(7551)

    George St. Sydney
    Australian Natives: Taking down the poor bushies
    Postcard featuring a black and white photograph of
    West Gippsland hospital, Warragul, Vic
  • Dr Herbert Basedow collection(424)

    Glass plate negative - Sand deposited between kitchen and meat house during a single sandstorm, Miranda Station, South Australia, photographed by Herbert Basedow, 1919
    Film negative - Men at Aparanya, South Australia, photographed by Herbert Basedow, 1903
    Lantern slide - Pitjantjatjara man, central Australia, photographed by Herbert Basedow, 1920-1924
    Glass plate negative - Mother and child, Sunday Island, Western Australia, photographed by Herbert Basedow, 1916
  • Judy and Ian McPhee collection(167)

    Pair of white cotton knickers
    Pair of white, cotton crocheted gloves
    Doily
    Black metal
  • Springfield - Faithfull Family collection(3501)

    The Book of Common Prayer
    Ground floor verandah of main house at Springfield
    Pencil sketch of a cat and a dog
    Hope's hair

    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.

  • J Davidson collection no. 3(319)

    Painting depicts a fresh water crocodile surrounded by one
    Bark painting depicts three black fish
    Goanna.
    Split cane basket
  • Aboriginal and Torres Strait Islander Affairs Art (ATSIAA) collection(2104)

    Council for Aboriginal Reconciliation Poster
    Gunyan White Sand Crab by Narritjin Maymuru
    Bark painting 'Kindaagi the old red plains kangaroo' by Yirawala
    Bark painting by Dawidi Djulwadak

    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.

  • E Milne collection(652)

    Aboriginal breastplate for Jemmy Muggle, King of Wiggley
    Aboriginal breastplate for Billy Hippie, King of Minnon
    Kimberley point
    Aboriginal breastplate for U Robert, King of Big Leather and Big River Tribes
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