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National Museum of Australia

Collection Explorer

4

Collections

  • Springfield - Faithfull Family collection(3501)

    Winter Sunset off Southbourne
    Pencil sketch depicting Little Bo Peep
    Printed supplement from
    Pencil sketch depicting a range of mountains

    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)

    River Street, Ballina
    Postcard featuring Tramways in Elsternwick
    Be it ever so ugly...
    The Imperial Cafe, Brisbane St, Launceston
  • Timothy Millett collection(313)

    Convict love token from W. James, 1826
    Convict love token from M. Flinn, 1825
    Convict love token from T.C., 17th July 1787
    Convict love token from H.H.

    The Timothy Millett collection comprises 307 convict love tokens dating from 1762 to 1856, and seven contemporary documents relating to the criminal justice system including: recommendations to commute the death sentences of Hester Sampson and Thomas Hayes to life transportation; a calendar of prisoners awaiting trial in the goals of Durham, Newcastle and Northumberland; a request to the Middlesex assizes for rewards to be paid; a printed copy of George Skene's last speech prior to execution; a printed broadside listing prisoners in Dorchester jail awaiting transportation; and a 60 page handwritten account of the life of Thomas Jones, who was transported twice and finally hanged at Winchester Prison in 1856.

    Convict love tokens, typically made from smoothed-down coins and engraved or stippled with a message, derive from traditional sailors' farewells. The production of these 'leaden hearts' rose as criminal indictments increased in Britain, with the majority produced during the 1820s and 1830s. As mementos made by or for convicts facing transportation (or death) to leave behind for their loved ones, the tokens provide a poignant, personal insight into the transportation system.

  • Canning Stock Route collection(124)

    'Kaningarra' by Manmarr Daisy Andrews, 2007
    'Kalyuyangku' by Richard Yukenbarri (Yugumbari), 2007
    'Pangkapini, Minyipuru' by Mulyatingki Marney, 2007
    'Puntuwarri' by Pukarlyi Milly Kelly, 2007

    The Canning Stock Route collection is comprised of 125 works and includes paintings, drawings, baskets, boomerangs, coolamons, headdresses, carved figures and shields.

    The Canning Stock Route is a no-longer-used cattle droving route that traverses the Great Sandy and Gibson Deserts of central Western Australia. Comprised of 48 wells along an 1800 kilometres stretch of track, the route links Wiluna in the south with Sturt Creek in the north and traverses the traditional lands of nine Aboriginal language groups. The route was founded in 1905 when Alfred Canning was commissioned to investigate a route suitable for the droving of 500 head of cattle, with water sources spaced at intervals of no more than one day's walk apart. Although Canning's map records observations of the land and water resources, it makes no mention of Indigenous places and their associated meanings which the route traversed. This collection, composed of 'painting stories', sculptural works and oral histories, re-dresses Canning's omission and records the impact of the stock route on Indigenous lives and country. A six week journey with traditional owners held in July and August of 2007 inspired the artworks, many of which were produced during the journey, and provided an opportunity for more than 70 senior and emerging artists to reconnect with traditional lands..

  • Aboriginal Arts Board collection no. 2(561)

    Painting depicts three figures dancing
    'Two Women Mythology at Putja Rock Hole', painted by Turkey Tolson Tjupurrula, 1977
    Bark painting depicting a 'nature story' of dukala, possums and lambalk, the sugar glider, by Bardayal Nadjamerrek
    Three fish.
  • Dr Herbert Basedow collection(424)

    Glass plate negative - Aboriginal rock engravings, South Australia, photographed by Herbert Basedow, 1906
    Glass plate negative - Luritja men demonstrating use of weapons, central Australia, photographed by Herbert Basedow, 1920
    Film negative - The man has grouped his two wives and children according to blood relationships, north of Mt Davies, Tomkinson Ranges, South Australia, Ullparidja people, photographed by Herbert Basedow, 1903
    Glass plate negative - Old Kai Kai, a Western Arrernte man, Henbury station, Northern Territory, photographed by Herbert Basedow, 1920
  • Papunya Art 2008 collection(15)

    Pencil and watercolour, on paper in Papunya style by unknown Pintupi artist, 1971
    Pencil drawing in Papunya style by Uta Uta Tjangala, Pintupi, 1971
    Pencil drawing in Papunya style by Uta Uta Tjangala, Pintupi. 1971
    Pencil drawing in Papunya style by Uta Uta Tjangala, Pintupi, 1971

    The Papunya Art 2008 Collection consists of fifteen artworks, comprising eleven untitled watercolours and drawings on paper produced by Pintupi artists in 1971, 'Goanna Corroboree at Mirkantji' painted on plywood by Kaapa Tjampitjinpa in 1971, 'Snake Dreaming for Children' painted on particle board by Uta Uta Tjangala in 1971, an untitled work painted on wooden board by Anatjari Tjakamarra in 1972, and an untitled work on linen by Uta Uta Tjangala painted in 1986. It also includes some supporting documentation held in the Archive collection.

    The works in this collection are all significant Indigenous works, representing different stages and some of the major artists involved in the development of the Western Desert art movement at Papunya, which has become internationally renowned as the origin of the contemporary Aboriginal acrylic painting industry. The fourteen works from 1971 and 1972 represent the very earliest phase of the movement at Papunya. The eleven watercolours and drawings on paper , three attributed to Uta Uta Tjangala, represent a formative moment in this movement when artists began experimenting with different media.The sketching of designs on paper took place prior to the production of acrylic paintings. Although the designs themselves had been produced traditionally by the artists as body decoration, ground and cave paintings, when Papunya school teacher Geoffrey Bardon supplied the Pintupi men with paper, watercolour and pencil, this was the first time their designs had been applied to a non-traditional surface. Kaapa Tjampitjinpa, Uta Uta Tjangala and Anatjari Tjakamarra were all important artists who contributed to the birth and subsequent development of the Papunya painting movement. The three paintings on boards in this collection, done during 1971 and 1972, therefore enhance the Museum's holdings of significant works from this early period. The 1986 Uta Uta Tjangala painting is also a significant addition to the NMA's growing holdings of this important artist. Overall, the items in this collection are significant in expanding the chronological sweep of the NMA's holdings of Papunya related material, beyond its current strengths in the 1974-1981 period.

  • Warakurna Tjanpi collection no.2(5)

    Untitled basket by Nancy Nyanyarna Jackson
    Yarnangu Painting Tjarra (Person with Painting) by Nora Holland, Dianne Ungukalpi Golding and Eunice Yunurupa Porter
    Y'iwarra Kultu Warakurnala Kutu (The Road to Warakurna) by Jean Burke
    Yilkaringkatjanyayi Pitja (Has the Plane Come?) by Dianne Ungukalpi Golding

    The Warakurna Tjanpi Collection No. 2 consists of five woven fibre art pieces produced by artists from the Warakurna Aboriginal community. The three individual works and two collaborative works were made by Dianne Ungukalpi Golding, Jean Burke, Polly Pawuya Jackson, Nancy Nyanyarna Jackson, Nora Holland and Eunice Yunurupa Porter during the period 2011 to 2012.

    These objects reflect the dynamism of the art movement in the Western Desert and are closely related to the narrative style paintings being produced at Warakurna. Like other Western Desert artworks and artefacts adapted for sale, woven fibre objects had their origins in traditional forms. A shift in recent years has seen artists produce woven sculptural objects which reference a range of historical and contemporary themes, in addition to the Tjukurrpa (creation) stories for which Western Desert artists are well-known.

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