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Artwork, other (1266)
Ceramic (766)
Decorative object (716)
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Mixed media (520)
Painting (2482)
Print (1658)
Sculpture (402)
Textile (1395)
Work on paper (2054)
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Moorabbin Air Museum
Mixed media - CAC Aircraft production in Australia and New Zealand includes 1980 article on history of Australian aircraft industry, CAC History of aircraft production in Australia and New Zealand
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Federation University Art Collection
Ceramic, Vic Greenaway, Spherical Form by Victor Greenaway, 1983
Victor GREENAWAY (1947 - ) Born Sale, Victoria Victor Greenaway studied Ceramics at RMIT. He established his first workshop in Hawthorn in 1968, before moving to Ian Sprague's Mungeriba Pottery, Upper Beaconsfield in 1969. He studied under Tatsuzo Shimoaka in Mashiko, Japan under a Churchill Fellowship awarded in 1974. Upon his return he established Broomhill Pottery in Upper Beaconsfield in 1975, and in 1976 started employing trainees. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Hand thrown porcelain moon jar which was commissioned for the Ballarat College of Advanced Education Art Acquisitions Committee. art, artwork, victor greenaway, ceramics -
Whitehorse Historical Society Inc.
Textile - Doyley
Purchased at Blackburn Op Shop.Hand crotchet doyley - a koala in a gum tree bough with sprigs of wattle top and bottom. Triangular shape stepped down corners. Tricot stitched edge.handcrafts, crocheting or crochet work -
Federation University Art Collection
Ceramic - Artwork - Ceramics, "Four Part Triangular Form' by Kingsley Marks, 1984, c1984
Kingsley MARKS (1929 - ) Kingsley Marks trained at the South Australian School of Art before teaching secondary schools. He became interested in pottery after attending a class one night a week at the John Martins building in Adelaide. He received grants to travel and study ceramics in Mexico the US and Canada, then taught for twenty years at the Torrens and South Australian Colleges of Advanced Education. Upon his retirement in 1985, he moved to Brentwood near Minlaton and established the Brentwood Pottery, specialising in sculptural work using a range of forming, decorative and firing techniques. (https://www.flickr.com/groups/1281707@N21/discuss/72157641492795284/) Kingsley Marks was a guest at Strezleckie Spotkanie in 1984. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Electric kiln-fired slipcast decorated earthenware. Kevin Marks uses the mark "K" on his work. Gift of the Artist, 1984ceramics, kingsley marks, artwork, gippsland campus, churchill, brentwood pottery, artist, jan feder memorial ceramics collection -
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. -
Swan Hill Regional Art Gallery
Painting, TREVOR, James, Early Swan Hill, 1894
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Wangaratta Art Gallery
Painting, Len Pawluk, Afternoon Walhalla, 1981
Rural City of Wangaratta Collection, Wangaratta Art Prize Grand Winner 1981.A aerial landscape of a rural road, painted in oil using a colour palette of blue, green, white, yellow, and brown.Obverse: L Pawluk/ (bottom left corner)wangaratta art gallery, len pawluk, landscape, rural, painting, walhalla -
Flagstaff Hill Maritime Museum and Village
Textile - Tea Cosy
Tea cosy green plain cotton with two white cord ties at each end.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tea cosy, teapot cover, linen, tea service -
Federation University Art Collection
Ceramic, Ian Sprague, [Ceramic Panel] by Ian Sprague, c1977
Ian SPRAGUE (1920 - 18 April 1994) Born Geelong, Victoria Ian Broun Sprague's initial training was in Architecture, completing a degree at the University of Melbourne in 1950. After a serious car accident in England, Sprague was encouraged to take up a craft to restore the strength in his arms. He studied at the Central School of Arts and Crafts, London for three years, and spent two months at the David Leach Pottery in Devon, before returning to Australia in 1962. In 1964 Ian Sprague established the Craft Centre in Toorak Road, South Yarra, and the Mungeribar Pottery in Upper Beaconsfield, with Robin Welch, Mungeribar being an Aboriginal word meaning 'red clay'. In 1981, he moved to Mooney-Mooney, NSW (Mungeribar was gutted by bushfires shortly after he left), and to Noosa in 1992. The Mungeribar Pottery mark is an impressed 'm', and Sprague's own mark is an impressed 'IS' with the S rendered in Morse code. Ian Sprague's Mungeribar apprentices were Grattan Burley, Victor Greenaway (1969–73), Christopher Sanders (1976-78}, Trevor Hanby (1978–80). In 1981, he moved to Mooney-Mooney, NSW , and Noosa in 1992. Greenaway's mark in his Mungeribar years was an impressed capital G. Grattan Burley (for six months), The Craft Centre in South Yarra was owned and stocked entirely by Ian Sprague, and he travelled all over Australia in search of the best possible textiles, glassware, woodwork and jewellery, not just pottery. The opening exhibition showed the pottery of Robin Welch. Sprague sold the Centre in 1967, but soon started a campaign for a government funded centre, eventually established as the Meat Market Craft Centre in North Melbourne. In 1971 Sprague became president of the recently created Craft Association of Victoria. Dismayed by the quality of teaching in art schools and technical colleges, he ran many workshops around the country on the textural treatment of clay. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Contemporary ArtTexture fire clay slab and partly glazed wall panel. Ian Sprague produced his hand modeleed wall panels by cutting them from fireclay blocks, heating and scraping them, and applying bold simplified motifs. A strong solution of salted wated was poured onto the rugged clay surfaceswhich produced a warm toasted surface effect. The panels show a clear understanding of the modulation of two dimensional relief sculpture. Artists stamp on lower RH cornerceramics, ian sprague, gippsland campus, jan feder memorial ceramics collection, mungeribar, meat markery craft centre, craft centre south yarra -
Flagstaff Hill Maritime Museum and Village
Textile - Pillow Shams, Daisy Dale, 1844-1900
The two embroidered pillow shams were made by Betty Stones's mother Daisy (nee Dale) Welsh. A number of crocheted and embroidered articles were donated to Flagstaff Hill Museum by Betty Stone who advised that they cover a period of three generations from Sarah (nee Chamberlain) Lees, Ann (nee Lees) Dale, and Daisy Elvena (nee Dale) Welsh. All three were accomplished needlewomen, both Sarah Lees (born 1844) and her daughter, Ann (1865) these women crocheted a wide variety of articles for use in their homes. Today we have a few surviving examples of their skill that has survived the years.This item and others in the collection donated by Betty Stone are significant for their association with the early Warrnambool pioneering families of Chamberlain, Dale and Lees. These families are listed in the "Pioneers' Register" for Warrnambool Township and Shire, 1835-1900, and published by A.I.G.S. Warrnambool Branch. The item is a fine example of early 20th-century needlework and handmade domestic items.A pair of white pillow shams, rectangular in shape with a shallow scalloped crochet edge. The embroidered central design includes a bird motif. Made by Daisy Walsh (nee Dale). Part of the Chamberlain Dale Lees Collection.flagstaff hill, warrnambool, flagstaff hill maritime museum and village, great ocean road, chamberlain family, dale family, lees family, betty stone, warrnambool pioneer, warrnambool genealogy, wangoom, chamberlain dale lees collection, glory box, handmade, craft, manchester, linen, haberdashery, needlework, crochet, pillow shams, bed linen, pillow covers, daisy dale, daisy welsh, betty stone's mother -
Bendigo Historical Society Inc.
Painting - NO 6 A PANNIKIN OF GOLD
Card with coloured illustration showing a mining scene with group of miners in front of a tent signed F.Tofield. Jeweller, Horse Shoes Made, Gold Bought, titled A Pannikin Of Gold.unknownartwork, print, landscape -
Federation University Art Collection
Painting, 'Murray River Flood Plain', by David Alexander, 2004
David ALEXANDERFramed watercolour landscape depicting water in the foreground and mountains in the mid-ground.Signed and dated in ink lower left "DA Alexander '04"art, artist, david alexander, murray river, gippsland campus, landscape, watercolour, churchill -
Federation University Art Collection
Painting - Original poster, Eleanor Constance (Nornie) Gude, 'Ballarat - The Garden City' by Nornie Gude, c1934
Nornie GUDE (1915-2002) Eleanor Constance (Nornie) Gude was the daughter of Walter Gude, a leading musician, and highly regarded teacher. She grew up in Ballarat and was educated at Loreto College. From 1931 to 1936 Nornie Gude attended the Ballarat Technical Art School, a division of the Ballarat School of Mines. She was accepted into the School at the age of 15 because she was so advanced in painting. Nornie Gude studied at Ballarat for five years before progressing to Melbourne’s National Gallery of Victoria School. In 1936 Nornie Gude was studying at the Ballarat Technical Art School, and the National Gallery Drawing School in Melbourne. She won many art competitions, including first prize at the 1936 Melbourne Royal Agricultural Show for still life drawing, and in 1941 became the first woman to win the National Gallery Students Travelling Scholarship. In the 1936 Ballarat School of Mines Annual Report it was stated: "It is my pleasure to report a most successful year in the Technical Art School. I the Annual Poster Competition for Technical Schools, organised by Wiltshires Pty Limited, 16 prized valued at 33 pounds 8 shillings - out of 23 prizes valued at 56 pounds - were won by our students. As an artist Nornie Gude held no theories and was once heard to say, “You spend your first 20 years learning technique and the next 20 years losing it”. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.commercial artA large, original goauche poster produced for one of the regular poster competitions held during the 1930s (the exhibition stickers are still evident on the lower left hand side). It depicts a scene in the Ballarat Botanical Gardens. Written verso "Nornie Gude Technical Art School Ballarat" Exhibition Sticker "Exhibit NO 8545 Class No 1736art, artwork, gude, nornie gude, eleanor constance gude, ballarat, ballarat botanical gardens, statue, ballarat technical art school, alumni -
Darebin Art Collection
Sculpture - Lynda Draper, Lynda Draper, Winter, 2019
"AN UNCANNY LIKENESS It’s difficult to escape the flight of the imagination in Lynda Draper’s new work. Set within a dream-like milieu, an anthology of wondrous and majestic objects float and bob in space. Referencing kings and queens, and the flamboyance of the French Baroque, these large filigree works are woven from clay, and while not explicitly figurative, possess familiar facial markers which bring into play the metaphysical qualities attributed to inanimate objects by human memory and experience. Draper spent the European winter near Versailles, where marble sculptures set among the gardens are shrouded in the winter months to prevent frost from taking its toll on precarious limbs. And while the influence from her residency is certainly evident, rather than stimulating work of this nature, it has merely activated and amplified elements of her recent practice. From smaller ‘tiaras’ in 2016, her work has evolved into sizeable ‘crowned portraits’ of clay. Hovering somewhere between the real and the unreal, these works are architectural and figurative, formed and formless, literal and fictional. They bewitch and amuse, revealing multiple characters and personalities only after careful observation. The medium of clay is so exquisitely anomalous in Draper’s work that it becomes, to the viewer, an afterthought rather than a dialogue prompt for works that are traditionally contextualised by their medium. And this is how it should be. Clay has undergone a renaissance in the past decade or so; no longer is it in the domain of craft. With a strong conceptual narrative and by pushing the medium beyond its natural limits, ceramicists like Draper can be counted among Australia’s significant artists who contribution is gaining ground in contemporary art discourse. And yet, it is the use of clay which makes Draper’s work so utterly extraordinary. Ambitious in scale, virtuosic in composition, she has the ability to make the unmakeable. Drawing from a conventional practice of coiling and handbuilding, the maker’s hand is evident on every square inch of her work. The uneven coils are shaped by the impressions of her grip on the responsive nature of the material. But Draper somehow dispenses with the inherent limitations of the soft clay medium, manipulating it in a way which defies physics and logic. Her award-winning installation for the Sidney Myer Australian Ceramic Award in 2019 is testament to an artist whose practice has consolidated. Her ambition, robust conceptual thinking and technical understanding of materials have reached a zenith which has been rewarded her with one of the most prestigious prizes in Australian art" -
Wyndham Art Gallery (Wyndham City Council)
Sculpture, Rosemarie Reber, Oopsie Daisey 5, 2011
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Federation University Art Collection
Painting - Watercolour on paper, Neville Bunning, [Landscape] by Neville Bunning
Neville BUNNING 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.Small framed landscape.art, artwork, neville bunning, available, landscape -
Ringwood and District Historical Society
Mixed media - Video, RDHS Guest Speaker Presentation - "Archaeology in Ringwood" - Wren Lakeman
Digitised video (3.17GB). Duration: 56 minutes. Recorded June, 2023 (Video is available for viewing at Ringwood & District Historical Society Archives by appointment)Presenter: Wren Lakeman has a Bachelor of Archaeology and Masters in Professional Archaeology from LaTrobe University, finishing in 2018. She has been working as a sub-contractor for many different archaeology companies and with tickets in excavation, now works for Archstone Archaeology, providers of machinery and operators to archaeological sites all over Australia. For this talk, Wren talks about her work and outlines results of earlier excavations carried out in Ringwood. -
Whitehorse Historical Society Inc.
Textile - Lace Piece
Part of a travelling salesman's lace samples from Plauen, East Germany, a lace making town since 13th Century.Piece of cream lace used for demonstration purposeshandcrafts, lacemaking -
Gippsland Art Gallery
Mixed Media, Robbins, Cameron, Solar Loggerheads, 2016
Donated by the artist through the Australian Government Cultural Gifts Program, 2017Drawing and erasing instrument: solar and mains power, steel, timber, electric motors, solar panel, stainless steel sire, brass, aluminum, eraser, pen/pencil, stone, bearings, glassgippsland, artwork, permanent collection -
Bendigo Historical Society Inc.
Painting - Landscape, William A. Delecca
Bill Delecca was born in Bendigo, Victoria in 1929. A Bendigo-based teacher and painter, he has exhibited widely in the local area from 1951, including a retrospective in Bendigo Art Gallery, 1990. He has twice won the Bendigo Art Prize for watercolour and his work is represented in galleries and private collections throughout Australia and overseas. Instrumental in the establishment of degree courses in Art at Bendigo College of Advanced Education, he is also the author of an Education Department report to the Australia Council, 1987.Watercolour of a dirt road, tall trees on both sides and a mountain in the background. Untitled. William Delecca collectionThe signature of the artist at bottom rightlandscape, william delecca -
National Wool Museum
Textile - Cot cover
Cream cot cover with pom poms on fringing.children, babies, cot, sleeping, cover, blanket, pom poms -
Glenelg Shire Council Cultural Collection
Painting, Elma Amor Herbst, Girl, 1963
CEMA Art Collection Winner of Portland Artists' Society Prize for category Oil.The painting portrays a standing female figure. She has straight black hair and wears a blue/green dress. She is depicted as looking at the observer and holds something in her right hand which is held across her body. The background is a mixture of purple, green and blue. The work has a thick wooden frame and exposed canvas.Front: - 63 AMOR (lower right, black paint) Back: ELMA AMOR HERBST "GIRL" (1963) (lower left, typed label)cema, portland artists society -
Benalla Art Gallery
Painting, Arthur STREETON, Impression for Golden Summer, 1888
Born: Mt Duneed, Victoria, Australia 1867; Died: Olinda, Victoria, Australia 1943Heidelberg SchoolGift of Wooleen Pty. Ltd., 1980Flat rural landscape with sheep and standing figure. Black stained timber frame.Recto: Signed “A Streeton“ in brown paint l.l.c of composition; Not dated; Not titledlandscape, animals, figure, trees, summer, australian art -
Whitehorse Historical Society Inc.
Textile - Cosy cover, not known
Worked and used by Mrs Jean AshcroftWhite linen butterfly shaped cloth, folded to form tea cosy cover. Cover is embroidered with eyelet and cut work. Edge is finished with scalloped buttonhole work.nilmanchester, table linen -
Tatura Irrigation & Wartime Camps Museum
Painting - Painting - Oil, Billiards, 1940's
Discovered in 2003 when owner, Ken Gray, of Tatura, noticed the covering paper peeling away on the wall of a galvanised iron shed on his property. He believed the shed was bought at the internment camp 4 auction conducted by the Commonwealth Government in the early 1950's and transported to the property which he now owns.Cartoon like painting depicting men (army garrison soldiers) playing billiards. One man appears to be sitting on the edge of the billiard table. Item unframed. (conservation work done on this in 2021 and now framed)kenneth gray, camp 4, internment camp auction -
Darebin Art Collection
Painting - Voula Psaroudis, Voula Psaroudis, Sea Shell, 1994
sea shell -
Australian Lace Guild - Victorian Branch
Textile - Brussels Point de Gaze, Late 19th or early 20th century
Fine needle lace use as costume trimming. The detail image shows typical tiered rose petals.Needle lace border -
Whitehorse Historical Society Inc.
Mixed media - Doll House, Yvonne Fitzmaurice, Doll House Bathroom - contents, 1974
Hand-made child's doll's house. Built by Mrs Yvonne Fitzmaurice and finished in 1979. This house was built as a 1:12 scale and is a model of a Californian house called Peppercorn farm. House was built by Yvonne and her family and took a period of three years. A lot of the furniture is handmade and the rest is collected from various shops. Catalogued books, manuals, repair kits etc used when building the house.house, dolls -
Bendigo Historical Society Inc.
Mixed media - VIDEOCASSETTES OF MELBOURNE AND SYDNEY OLYMPIC GAMES, 1956 & 2000
Object Melbourne and Sydney Olympic Games. Melbourne Olympic Games 1956, Olympic Torch Bearers form Bendigo to Geelong and from Melbourne to Sydney Year 2000, Olympic Games Preamble, Scotland the Brave, Sydney Opera House, Alaska/Olympic Games (Sydney) highlights, 1st. October 2000, Closing events and Closing ceremony Sydney Olympics 2000. 2nd. October 2000 Alb/Border Olympians interviewing Olympians. 5 Video Cassettes in total.audio-visual technology, audio accessories, video cassettes -
Bialik College
Mixed media (item) - Oversized items from Kipen files, 1970s, c. 1970s
Oversized items from Kipen files, c. 1970s. Includes a photograph of students, correspondence regarding the opening of the Wantirna campus, newspaper articles and plans of the Auburn Road campus. Please contact [email protected] to request access to this record.