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National Museum of Australia

Collection Explorer



  • Y Pettinato collection(42)

    Bark painting 'Emu Dance' by Tom Djawa, Milingimbi
    Dances from Manarrngu  Hollow Log Ceremony.
    Bark painting titled Red Kangaroo by Bunuwuy
    Bark painting Freshwater Turtles and Grass Snakes by Djikululu
  • Papunya Art 2008 collection(15)

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

  • Springfield - Faithfull Family collection(3501)

    Cream coloured Christmas card with robin decoration
    School report
    Pencil sketch depicting a bridge and a human figure riding a donkey
    Pencil sketch depicting Little Bo Peep

    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.

  • Dr Herbert Basedow collection(424)

    Film negative - Red Lily Lagoon, Northern Territory, photographed by Herbert Basedow, 1928
    Glass plate negative - Nell Basedow hanging out washing, expedition camp at Dickerie Waterhole, South Australia, photographed by Herbert Basedow, 1919
    Film negative - Bert Oliffe and pack-camel, central Australia, photographed by Herbert Basedow, 1926
    Lantern slide - View from the sea of Point Charles lighthouse, Northern Territory, photographed by Herbert Basedow, 1905
  • Josef Lebovic Gallery collection no. 1(7553)

    Brisbance Q. Parliament House
    After the Riot
    Arrival of Part of Wirth's Circus at Ipswich
  • Frank Arthur collection(2)

    Sterling silver helmet trophy awarded to Australian speedway star Frank Arthur 1928
    Golden Gauntlet awarded to Australian speedway star Frank Arthur 1928

    The Frank Arthur Collection consists of one sterling silver helmet trophy and one golden gauntlet trophy, both were won in the British speedway season of 1927-28.

    Frank Arthur's international racing debut in England in 1927 saw him winning many trophies. From the following year Arthur started promoting other riders. His company Empire Speedways Pty Ltd quickly became one of the most successful in Australia. Arthur's involvement in speedway lasted over forty years and gave him the nickname 'Mr Speedway'.

  • American-Australian Scientific Expedition to Arnhem Land (AASEAL) collection(218)

    Iguana and Shark
    Armband - Milingimbi, N.T.
    Weapon - Spearthrower
    Weapon - Spear
  • Timothy Millett collection(314)

    Convict love token from Thomas King
    Convict love token from J. Dunham, 1835
    Convict love token from James Clarke, 1849
    Convict love token from W. Sindary, 1827

    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 in the John Dixon case; a printed copy of George Skene's last speech prior to execution; a printed broadside of the names of prisoners in Dorchester jail awaiting transportation and a 60 page handwritten manuscript account of the life of Thomas Jones, who was transported on two occasions 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.