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Artwork, other (1281)
Ceramic (766)
Decorative object (717)
Drawing (4609)
Mixed media (523)
Painting (2482)
Print (1662)
Sculpture (405)
Textile (1395)
Work on paper (2063)
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Clunes Museum
Textile - D'OILEY
DONATEDSANDWICH CLOTH - WHITE CROCHETlocal history, handcraft, crocheting, -
Port Melbourne Historical & Preservation Society
Drawing - Property sketches, Frank Gordon Real Estate, 1990s
Property sketches done for Frank Gordon Real Estate in the 1990s. 101 Spring St South "Clareville" built environment - domestic, frank gordon real estate, spring street -
Australian Lace Guild - Victorian Branch
Textile - Tambour
Flouncing - costume trim.Embroidered net. Flounce of machine made net with floral design worked in chain stitch. Could possibly be handmade but is more likely to be machine made. -
Federation University Art Collection
Drawing, Geehan, Naomi, [Skeleton] by Naomi Greehan, c2002, 2002
This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed drawing of a skeleton. If you can assist with information on this artist or artwork please use the email link below. art, artwork, horsham campus art collection, skeleton, available horsham, naomi grejehn -
Stawell Historical Society Inc
Drawing, "Woodlands" Homestead on Wimmera River near Crowlands -- Drawing
Drawing of Woodlands Homestead on Wimmera River near Crowlands the seat of John Wilson Esqstawell -
Glenelg Shire Council Cultural Collection
Drawing, Mary Macqueen, Cheetah, c. 1972
UnknownLine drawing of a cheetah reclining and looking over its shoulder to the right. Mounted in pale cream matt. In red wooden frame with glass glazing.Front: M. Macq (lower left, signature)(pencil) Back: "Cheetah" $65 Drawing Mary Macqueen Iowen St East Kew 3102 803155 -
Parks Victoria - Days Mill and Farm
Textile - Textile parcel
Chamois, rolled and tied with coarse string. -
Port Melbourne Historical & Preservation Society
Drawing - Sketch, Proposed extension of Sandridge Jetty, R R M, 29 Oct 1863
Sketch showing proposed extension of Sandridge Jetty 1863.piers and wharves - town pier -
Port Melbourne Historical & Preservation Society
Drawing - Property sketches, Frank Gordon Real Estate, 1990s
Property sketches done for Frank Gordon Real Estate in the 1990s. 172 Dow St built environment - domestic, frank gordon real estate, dow street -
Bendigo Historical Society Inc.
Textile - BLACK LEATHER WRITING SATCHELL, Early 20th C
Textiles. Black leather writing satchell. Gold engraving R.M.D. on front flap, Trifold with front half flap fastened with suitcase clasp, includes pen with nibs (made in Germany). Blotting paper in leather frame, five leather pockets and inner section for paper. Leather carrying handle on top edge.''R.M.D.'' In Gold lettering on front flap.textiles, domestic, black leather writing satchell -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 9 Allaville Avenue, Glen Iris, 1990
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Ararat Gallery TAMA
Decorative object, Decoration, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 18 Amery Street, Ashburton, 1996
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Horsham Regional Art Gallery
Mixed media, Trevor SMITH, And the birds came back, 2006
Gift of the artist, 2007 -
Port Melbourne Historical & Preservation Society
Drawing - Sketch, Thomas SWALLOW, 1890s
Sketch portrait of Thomas SWALLOW, Director and founder of Swallow & Ariell. Mayor, Borough of Sandridge 1861-62. President Port Melbourne Football Club 1888-1890local government - borough of sandridge, sport - australian rules football, industry, thomas swallow, swallow & ariell ltd, port melbourne football club, pmfc, mayors -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 10 Frater Street, Kew East, 1990
After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for real estate agents in Melbourne between 1983 and 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink drawing on drafting film of 10 Frater Street, Kew East by Margaret Picken.10 FRATER ST., KEW EAST / MARGARET PICKEN '90 / WOODARDS ~ KEWartist -- margaret picken 1950-, property illustrations — buildings — kew east (vic.), 10 frater street -- kew east (vic.) -
Moorabbin Air Museum
Drawing (Item) - TAA Trans Australia Airlines Viscount Aircraft Registration Letters Outer Wing 526 Sheet 121
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Mont De Lancey
Decorative object - Vase
It was used as a vase for flowers.A small plain brown pottery vase which is darker brown at the bottom with a stripe below the textured lighter grey or green coloured speckled neck. It is finished with a glaze.Evelyn. nickvases, containers, domestic object -
Whitehorse Historical Society Inc.
Textile - Doyley
Square white cotton doyley with centre flower embroidery in white. Scalloped edging in button hole stitch.handcrafts, needlework, manchester, table linen -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Yackandandah XI, c1972-1976
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: YACKANDANDAH / ERNEST MARCUSE Reverse: Y 1 / 012 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
Federation University Art Collection
Drawing - Artwork - Drawing, Lamb, Evelyn, Ballarat Technical Art School Folio by Evelyn Lamb, 1900
Evelyn Lamb was a student at the Ballarat Technical Art School, a division of the Ballarat School of Mines. Ten drawings by Evelyn Lamb of the Ballarat Technical Art School. .1) triangle and circle .2) vase .3) Jonquils .4) Drawing from Plaster (with technical art school number) .5) Drawing from Plaster .6) Drawing from Plaster .7) Drawing from Plaster .8) Drawing from Urn .10) plantevelyn lamb, drawing, ballarat technical art school, drawing from plaster, folio, alumni -
Mission to Seafarers Victoria
Mixed media - Framed Collage, Flinders Street Station 2015 (commemorative print), 2015
Produced 2015 to commemorate WW1. Possibly Anzac-linked given the centenary of this event.Framed and glazed depiction of Flinders Street Station with a $2 coin with enamelled poppy and an engraved description on a small brass plate. Engraved plaque at lower edge of print: Donated by Adam Baker ( Bakewell ?) / Canberra 11/11/2015world war 1, flinders street station, prints, collage, poppy, ww1, first world war, great war, coin, memorabilia, adam baker, canberra, 11 november, 2015, artwork-paintings -
Moorabbin Air Museum
Mixed media (item) - Brian Ridgeway Collection Miscellaneous aircraft photos, newspaper items etc. See under "Description" Section
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Camberwell Historical Society
Drawing (series) - Architectural drawing, 1/68 Edgar Street, Glen Iris, 1995
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Ararat Gallery TAMA
Textile, Frances Burke, Crete, 1948
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 97 Princess Street, Kew, 2001
After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 22 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a number of real estate agents in Melbourne between 1983 and 2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink architectural drawing on drafting film of 97 Princess Street, Kewby Margaret Picken.97 PRINCESS ST., KEW / MARGARET PICKEN ©2001 / FLETCHERS REAL ESTATEartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 97 princess street - kew (vic) -
Ballarat Heritage Services
Textile - Doily, Crocheted runner
Crocheted runner crochet, doily -
Ararat Gallery TAMA
Textile, Frances Burke, Staccato (brown-gray), c.1962
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Mont De Lancey
Decorative object - Cake dish
Wedding present to Dorothy and Karl Adamson in 1936.Oval silver cake dish with patterned edge. Has decorative handle.baskets, tableware -
Mont De Lancey
Decorative object - Small Wheel Lorry Model, Mr Chas W. Davis, Unknown
The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Small Wheel Lorry replicates the vehicle that enjoyed respect from the public during the 1880's and early 1900's. A model of a Small Wheel Lorry with a brown short two spoked wheeled wooden tray with low sides drawn by a cream coloured horse. The horse has reins and a simple noseband.There is a single seat and footrest at the front for the driver. The wooden shafts are to control the horse whilst working and they have a silver chain attached on each side. It has four replica brown wooden wine barrels with silver rims in the cart.replicas, models, scale models, vehicles, horse drawn vehicles, toy horses, drays, carts, lorries