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National Museum of Australia

Collection Explorer



  • Josef Lebovic Gallery collection no. 1(7553)

    The Blue Lake, looking west, Mt Gambier, SA
    Postcard featuring a verse poem
    Archibald Fountain, Hyde Park
    Postcard featuring a mounted photograph
  • Dr Herbert Basedow collection(424)

    Film negative - Old man Munnkie and child surprised while rabbit hunting, southern Musgrave Ranges, South Australia, photographed by Herbert Basedow, 1903
    Film negative - Aboriginal children bathing, Sunday Island, Western Australia, photographed by Herbert Basedow, 1916
    Glass plate negative - Expedition camp, central Australia, photographed by Herbert Basedow, 1920
  • Springfield - Faithfull Family collection(3501)

    Welcome home noble brothers
    Daguerreotype portrait of man in military uniform mounted in a brown union case with a red velvet lining
    Painting depicts a woman in silhouette
    Handwritten recipe for Black Puddings

    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.

  • Sally Banyard collection(3)

    'Tingarri Dreaming at Nariboruka [Naripuruka]' painted by George Tjapaltjarri, 1977
    Male and Female Minih with Rainbow Serpent
    'Wulawarry' freshwater eel tailed catfish and 'Bipupan' file snakes at Murwangi

    This collection comprises two bark paintings from Arnhem Land, two Central Desert paintings on canvas and two Papunya paintings, also on canvas. Collector, Sally Banyard, purchased the works from various Sydney Aboriginal art dealers, between 1976 and 1984.

    Identified as the birthplace of the modern Central Desert Indigenous art movement, the small community of Papunya is situated approximately 240 kilometres northwest of Alice Springs in the Northern Territory and is home to Arrente, Anmatyerre, Luritja, southern Walpiri, but predominantly, Pintupi peoples. Four of the artworks in this collection were painted during the formative period of the art movement which emerged around 1971. Born at Watikipinrri, west of central Mount Wedge, c1910, Kukatja elder and ceremonial leader, Mick Wallankarri Tjakamarra was one of the founders and most important, and also the oldest of the Papunya painters. Mick often used motifs representative of wild fruits and vegetables, such as the yams in his 'Sacred Yam Story' 1977, which related to the Dreamings of his country. Pintupi artist, George Tjapaltjarri, was born in the Gibson Desert c1935. An important Pintupi elder, George Tjapaltjarri painted for the Papunya Tula artists in the mid-to-late 1970s, and again from the late 1980s. Tjapaltjarri is renowned for his Tingari paintings, such as 'Tingarri dreaming at Naripuruka', 1977, which utilize traditional colours and are associated with Dreamings related to the travels of Tingari beings as they created landforms and brought Law. Born at Mereenie near Haasts Bluff c1930, Arrente and Luritja speaker, Limpi Tjapangati, was a pioneering artist of Papunya whose distinctive 'striped' style is evident in 'Moon Dreaming' 1980. This style is consistent throughout his work and influenced other artists from his community of Haasts Bluff. John Tjakamarra was born in country west of Tjukurla, c1937. He was one of the first Pintupi to encounter Europeans in the early 1960s, and a founding member and early shareholder of Papunya Tula Artists. 'Tingari Men Dreaming', 1978, is typical of much of his work which relates to the Dreaming journeys and ceremonies of his Pintupi ancestors. The two bark paintings in this collection are by two early Kuninjku artists from central and western Arnhem Land. Dangbon artist, Dick Ngulayngulay (Nguleingulei) Murrumurru, 1920-1988, painted with natural ochres on bark sheets. His figurative images were often of mimi spirits, delicately cross-hatched between solid lines of ochre in the traditional rarrk technique used in rock art. His work was featured on a first-issue stamp, released in 1982, showcasing the work of Kuninjku artists. Aboriginal artist George Garrawun, 1945-1993, of the Djardewitjibi people, resided in Maningrida, Central Arnhem Land, until his death. This collection's painting, 'Wulawarry' freshwater eel tailed catfish and 'Bipuan' file snakes at Murwangi' relate to symbolic totems of the artist's Dreaming sites. George Garrawun's prominence as an artist was emphasised by his presentation to Queen Elizabeth at the opening of the Australian National Gallery in Canberra, October 12, 1982.

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

    Fish scoop
    Painting of a landscape
    Bark painting depicting Njalyot the Rainbow Serpent by Peter Marralwanga, Marrkolidjban
    Bark painting 'Mimi and Namorodo Spirits' by Dick Nguleingulei Murrumurru, Gunbalanya

    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.

  • Papuan Official collection(1043)

    Dance wand
    Cane cuirass
    Shell money
    Cane cuirass
  • Aboriginal Arts Board collection no. 2(561)

    Painting depcits a kangaroo in the X-ray
    'Trial by Fire', painted by Tim Leura Tjapaltjarri, 1975
    'Snake Dreaming at Naruingya', by Yumpuluru Tjungurrayi, 1976
    Bark painting 'Head of Animal (Kangaroo)' by Yuwunyuwun Marruwarr, Gunbalanya, 1974
  • Professor Peter Spearritt collection no. 2(185)

    Royal Tour
    Souvenir flag of the Royal Visit, 1954
    1954 Royal Visit pennant
    Opening of Parliament by Her Majesty The Queen in the Legislative Council Chamber, Adelaide, on Tuesday 23 March 1954

    The Professor Peter Spearritt collection No. 2 is divided into four categories; British Royal Family memorabilia, Australian Republic Movement material, T-shirts with Indigenous motifs and anti-logging material. The British Royal Family memorabilia category predominantly relates to Queen Elizabeth II's 1954 tour of Australia. The items were specifically collected by the vendor for the 1993 exhibition entitled Australians and the Monarchy. The Australian Republic Movement material was also featured in this exhibition. The Indigenous motifs t-shirts and the anti-logging material were collected for the 1992 exhibition Lie of the Land. Both exhibitions were jointly created by the Powerhouse Museum, Sydney and the National Centre for Australian Studies at Monash University. Professor Spearritt was the head curator of both exhibitions.