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National Museum of Australia

Where our stories come alive

Collection Explorer



  • E Milne collection(652)

    Aboriginal breastplate for Mr Briney of Pialliway
    Aboriginal breastplate for Tommy, King of Gongolgon
    Aboriginal breastplate for Billy Hippie, King of Minnon
    Aboriginal breastplate for Billy Kelly, King of Broadwater
  • Dr Helen M Wurm collection no. 4(75)

    Bark painting 'The Wagilag Story' by Dawidi Djulwadak, Milingimbi, 1967
    Bark painting depicting a goanna, a tree and a drum, by Libunja, Milingimbi, 1967
    Painting is divided into 8 sections with 4 birds & 4 lizards
    Bark painting 'The Bremer Island Turtle Man' by Mawalan Marika, Yirrkala, 1967
  • Josef Lebovic Gallery collection no. 1(7551)

    Sale of Horses, Toowoomba, Queensland.
    Three Aboriginal women with cicatrization on their chests
    Native warrior, Fiji
    St. Andrew's Cathedral, Sydney
  • Adrian Luck collection no. 1(56)

    Australian Engineers, On Active Service 1917, Christmas and New Year Greeting Card
    Group portrait of Australian soldiers in uniform with rifles in hand
    Beni Souef Bank of Egypt
    Commemorative souvenir red, white and blue triangular paper 'PEACE HAT, 1918'
  • Springfield - Faithfull Family collection(3501)

    Ethel Faithfull, seated with baby Florence [Bobbie] on her lap and Lilian Hazel standing on the left.
    Membership card for Mrs W.H. Faithfull Anderson to the Australian Polo Club
    King's School Parramatta
    Side saddle

    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)

    River Dreaming - woven fibre mat
    Kungkarangkalpa (Seven Sisters) at Warnarn Rockhole
    Mountain Devil Dreaming
    Painting of a landscape

    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 Herbert Basedow collection(424)

    Film negative - Men at Aparanya, South Australia, photographed by Herbert Basedow, 1903
    Glass plate negative - The Narlarla outcrop, Napier Range, Western Australia, photographed by Herbert Basedow, 1916
    Glass plate negative - Punch (Arrerika), suffering with fly bitten eye, central Australia, photographed by Herbert Basedow, 1920
  • Dr Helen M Wurm collection no. 2(85)

    Bark painting depicting two circles, one black with red and white outlines and one white with red lines
    Bark painting divided into three panels by two vertical white bands with yellow lines
    Bark painting depicting the sun at Wuriupi by Deaf Tommy in Snake Bay, Melville Island, 1965
    Painting depicts a central figurative shape in black within rectangles with rounded corners in rings of alternating colours