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National Museum of Australia

Collection Explorer



  • Josef Lebovic Gallery collection no. 1(7553)

    NSW Govt. Railways - Wynyard, Sydney
    Post Office, East St., Rockhampton, Queensland
  • J B Young Ltd collection(228)

    Wages book
    Letter to the National Retail Merchants Association declining the Association's invitation to an Awards Luncheon
    Copy of the chairman's address to the 1981 Annual General Meeting of Grace Bros Holdings Limited
    Grace Bros Annual General Meeting form of proxy
  • Political Humour Competition 1999 collection(113)

    Killer Sponge
    Sand in the Face
    But Seriously Though!
    A Serve of Lamb

    This collection consists of 134 political cartoons collected under the auspices of the National Museum's 1999 Political Humour Competition.

    The cartoons provide a satirical record of the major events and personalities in Australian politics in 1999. Major topics addressed within the collection include the Goods and Services tax, the Sydney Olympics, the 'cash comment controversy' on talkback radio, the defeat of Jeff Kennett in the Victorian election, Republic referendum, the independence struggle in East Timor, racism, Aboriginal land rights and Australia's international relations. There are a number of illustrations and caricatures of notable political figures including John Howard, Peter Costello, Jeff Kennett and Peter Reith. The collection features works from all of Australia's major metropolitan newspapers. Taken together the collection provides a wonderful archive of the best of Australian political cartooning in 1999.

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

    Plaster bust
    Morning Star by David Malangi
    Painting by Gordon Syron - Miners Cottage, 1982
    Mountain Devil Dreaming

    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.

  • Campfire Group All Stock Must Go collection(2)

    Concept photograph of nine members of the Campfire Group of artists seated around the oval boardroom table of the Queensland Art Gallery
    A colour concept photograph of the installation artwork

    The installation work All Stock Must Go is an assemblage of body parts from an old Dodge truck painted with significant Aboriginal designs. It comprises a truck cab, a bonnet, a fuel tank, tray back, side mirror, 4 wooden human figure cut outs, 2 contextual photographs, decorated goggles, a CD and Video documentaries and lid support for the monitor. This work was created in 1996 in Brisbane by the Campfire Group (primarily a collective of urban Indigenous artists) for inclusion in the 1996 Asia-Pacific Triennial held in Brisbane.

    This installation is a symbolic visual statement by a collective of Indigenous people about urban culture and related socio-political issues. The use of the truck references the history of the removal of Aboriginal people from ancestral lands to depots of assimilation such as missions. Parallels are drawn with the use of cattle trucks for the herding of cattle. The title is a play on words which simultaneously refers to the commodification of culture at sale prices - thus "all stock must go" - and the further devaluation of urban and tribal artefacts by selling art from 'the back of a truck', both of which highlight the use of Indigenous designs through the tourist trade. Issues of cultural loss, self determination and cultural reclamation were addressed in various ways including the re-purposing of the truck which led to it being dismantled. Truck parts were re-possessed or re-appropriated through the application of traditional markings.

  • Dorothy Bennett collection(167)

    Bark painting 'Macassan Prau' by Mawalan Marika
    Bark painting 'The Dead Spirit' by Yirawala, Marrgulidban
    Hunting by the Sea.
    Muraina's Quarrel with Gandji, the Jabilai Man and Wurrban, the Emu Woman.
  • Springfield - Faithfull Family collection(3501)

    Handwritten recipe for
    Album containing postcards collected during Florence [Bobbie] Faithfull's European trip in 1914
    Christmas card from Governor General William Slim, 1958

    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.

  • Lindy Chamberlain-Creighton collection no. 1(3)

    Dress worn by Lindy Chamberlain at the second inquest into the death of Azaria Chamberlain
    Dress worn by Lindy Chamberlain at Federal Court, 1983
    Dress worn by Lindy Chamberlain at the first inquest into the death of Azaria Chamberlain, 1980

    The Lindy Chamberlain-Creighton collection no. 1 contains items relating to events surrounding the death of Azaria Chamberlain. This includes items of clothing worn by Michael and Lindy Chamberlain, props from the film 'Evil Angels' and gifts sent to Lindy and other objects relating to her time in prison.

    The disappearance of Azaria Chantel Loren Chamberlain (11 June - 17 August 1980) has become one of the most infamous events in contemporary Australian history. The explanation of her disappearance, that she was prey to a dingo at Ayers Rock (now Uluru), was soon treated with suspicion by the general public. After two coronial inquests, Lindy Chamberlain was convicted of murder and imprisoned for over three years, until mounting evidence forced a royal commission that ultimately resulted in the exoneration of Lindy and Michael Chamberlain by the Supreme Court of Darwin. The National Museum holds the largest public collection of material culture relating to the case.