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National Museum of Australia

Collection Explorer

4

Collections

  • Josef Lebovic Gallery collection no. 1(7553)

    Lake Kerferd
    Golden bird of paradise
    Child on Rocking Horse
    Aboriginals, Albany WA, Entrance, Princess Royal Harbour, Albany WA, King River, Albany WA
  • Enid Treadgold collection(375)

    Medical inspection card for Mrs Elna Glover 1919
    Envelope for letter written to Will Glover and his new wife Elma to welcome them home
    Envelope for letter from 'Nephew & Cousin George' to 'Aunty, Uncle & Enid'
    Letter addressed to Will Glover from cousin Cissy Grahame, inviting Will and his wife to visit
  • Aboriginal and Torres Strait Islander Affairs Art (ATSIAA) collection(2104)

    Painting of a landscape
    Landscape by Greg Kelly
    Landscape with grass tree
    Signed AFL St Kilda Football Club Jersey

    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.

  • Inada Holdings 19/08/1985 collection(4)

    Pay the Rent
    Aboriginal Land Rights
    Circular black and red badge with central yellow circle [Aboriginal flag]
    Aboriginal sovereignty
  • Aboriginal Arts Board collection no. 2(561)

    'Tingarri men and Initiates at Marabindinya [Marrapintinya]', painted by Anatjari No 1 Tjampitjimpa, 1980
    'Tingarri Story', painted by Tim Payungka Tjapangarti, 1981
    Two fish
    'Mala and the bad uncles at Tjikarri (II)', painted by Johnny Warangula Tjupurrula, 1976
  • Benny Zable collection no. 2(137)

    Letter from Benny Zable to the Organisers of ANZART
    Photograph and newsclippings of Benny Zable at Roxby Downs
    Letter
    Letter from Benny Zable to the Organisers of ANZART, 1985

    The Benny Zable collections comprise a diverse range of large and small objects, including a blue Ford XA panel van, conical road markers, protest banners and badges, costumes, photographs, political posters, leaflets, letters, placards, legal documents and documents. These objects were donated to the Museum by environmental protester, peace activist and performing artist, Benny Zable.

    Born in 1945 and raised in a Jewish family in Melbourne, the tragic senselessness of the 1967 Arab-Israeli War was the first in a series of life changing experiences for Zable who journeyed to Israel in 1968 to work on a kibbutz on the Lebanese border. This transformational experience was followed by visits to London and Paris, which, at that time, were witnessing the rise of counter culture and peace movements. The Paris student uprising in 1968 was a watershed event precipitating the largest general strike ever recorded, bringing France to a virtual standstill. The World Symposium on Humanities in Los Angeles, which Zable attended in 1979, coincided with the America's worst nuclear accident at Three Mile Island nuclear power plant near Harrisburg, Pennsylvania. On his return to Australia, Zable became active in anti-nuclear protest organization, Nomadic Action Group (NAG). Using his artistic and performative skills, Zable developed a caricature costume of the grim reaper "I visualised a dark character with a skull head, "Greedozer" to portray the ugly side of civilisation". A pedestal, formed from black painted forty-four gallon drums, allowed for extra height from which to hang protest banners. On receiving an Australia Council for the Arts grant, Zable developed a road show, transporting his costume and toxic tower statue, to which he had added a PA system, a mike in the gas mask, a video display unit and tape deck, in a blue Ford panel van. After touring Australia, Zable travelled first to Asia and then the US, before returning to Australia and settling in Nimbin, northern New South Wales. Benny Zable has been continuously active in protest movements spanning three decades. Most recently, while acting as creative director for New York's Ecofest and attending the UN's International Vigil for peace, Benny brought his performance and costume to support the 2011 New York 'Occupy Wall Street' protest in Manhattan's Zuccotti Park. This protest sparked a series of massive global protest movements among disaffected citizens throughout the world, prompting a remarkable move by Time Magazine to nominate 'The Protester' as its 2011 'Person of the Year'.

  • Springfield - Faithfull Family collection(3501)

    Presented by The Australian Red Cross Council in recogntion of Twenty Years' Loyal Service
    The Explorer's Tree Katoomba.
    Note to Constance Faithfull, 11 November 1873
    Tissue paper

    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.

  • Alexander Mussen collection(33)

    Letter from J.A. Sharpe to Thomas Mussen, July 1865
    Letter from Alexander Mussen to Thomas Mussen, February 1856
    Letter from Samuel Bromley to Thomas Mussen, November 16th 1864
    Letter from William Mussen to Alexander Mussen, December 1862

    The Alexander Mussen Collection consists of 3 sketches, one ambrotype portrait, newspaper clippings, 13 letters and a death certificate relating to Alexander Mussen, his time on the NSW goldfields and his death, in 1864, at the hand of bushrangers. Alexander Mussen was a young Canadian, the son of a well known merchant in Montreal. It seems he fell into some disrepute and debt in Canada and travelled to the NSW goldfields to both try his luck and redeem the family name.

    The gold rush in Australia had a major impact on society, culture, the environment and politics. The population increased dramatically, society became more diversified, colonial governments had to respond to the changes and the rest of the world became increasingly aware of Australia's wealth. The Mussen collection provides a personal and intimate insight into the practical workings of some New South Wales diggings, society more generally, law and order on the goldfields and the continuing connection between those who came to Australia and family left behind.

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