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Artwork, other (1252)
Ceramic (762)
Decorative object (668)
Drawing (4568)
Mixed media (490)
Painting (2391)
Print (1645)
Sculpture (397)
Textile (1239)
Work on paper (2040)
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Darebin Art Collection
Painting - Katherine Hattam, Katherine Hattam, Bridge Merri Creek, 2013
In Bridge Merri Creek, Katherine Hattam continues her exploration of local waterways and their locations. This work on plywood depicts the bridge over Merri Creek on High Street, Northcote with accompanying trees and powerlines and the much ignored cyclists dismount sign. It is surrounded by a repertoire of recurring domestic motifs significant to the artist including chairs, clocks and a shopping basket, creating a psychological layering of memory via personally symbolic objects. -
Glenelg Shire Council Cultural Collection
Painting, Untitled (Eagle), 1990
Image of an eagle with head turned towards viewer. Eagle is depicted in brown and blue, with feathers detailed in white and yellow. Beak and around eyes are highlighted with pale blue and white. Background is abstract colouring in blue and pink. Mounted in cream matt in carved wooden frame, under glass.Front: McL 90 (lower right) (white paint) Back: (no inscriptions)eagle -
Gippsland Art Gallery
Print, De Sainson, Louis (after), Nouvelle-Guinée, c.1835
Bequest of Caroline and Arthur Howard, 1984Hand coloured lithograph on papergippsland, artwork, permanent collection -
Ringwood RSL Sub-Branch
Print (item) - Photograph of Queen Elizabeth II
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Glenelg Shire Council Cultural Collection
Print - Contact Print - Historic Vessel SS Eumeralla, 1960-1979
Black and white contact print from glass plate negative. Image is of SS Eumeralla at sea.Front: 'S.S. Eumeralla' - in white, bottom of plate. -
Working Heritage Crown Land Collection
Ceramic - Ceramic shard, Mint ceramic shard
Ceramic shard with glazed white finish -
Swan Hill Regional Art Gallery
Painting, HEFFERNAN, Edward, Thirteenth beach, unknown
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Federation University Art Collection
Ceramic, 'Man and Woman' by Professor Patrick Vernon, c1990
Professor Vernon PATRICK (1943- ) Born Havre, Montana, United States of America A lecturer at the Montana State University, Vernon Patrick was a visiting artist to the Gippsland Centre for Art and Design (GCAD).Woodfired stoneware vase form. jan feder memorial collection, vernon patrick, ceramics, gippsland campus, artwork, artist, jan feder memorial ceramics collection, patrick vernon -
Swan Hill Regional Art Gallery
Print, HOWARD, Susan, Spotted dogs, 1982
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Ballaarat Mechanics' Institute (BMI Ballarat)
Print - Photograph by Herb Richmond, SS Titanic Memorial Bandstand, Sturt St, Ballarat
Ballarat HistoryOld matte printballarat, ballaraat, titanic, memorial, bandstand -
Horsham Regional Art Gallery
Painting, Norman HOFMAIER, In the depths of the temple, 1989
Mack Jost Bequest, 2001oil on board -
Federation University Art Collection
Painting - Acrylic on Canvas, [Red Abstract]
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.Absract painting. If you can provide information on this artist or artwork please use the email link below. art, artwork, horsham student collection, alumni -
National Vietnam Veterans Museum (NVVM)
Ceramic - Ceramic bowl
Small ceramic bowl on perspex stand contains soil from the site of the Battle of Long Tansoil, battlefield, long tan -
Swan Hill Regional Art Gallery
Painting, JOHNSON, Brian M, Swan Hill, 2008
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Latrobe Regional Gallery
Print, LANCELEY, Colin b. 1938 Dunedin, New Zealand, Some are More Equal than Others, 1969
ScreenprintSigned 'Lanceley 69' in lower right corner of print. Edition 141/150, numbered under printed image towards bottoms right corner. Titled 'Some are more equal than other' in centre bottom edge of print. -
Gippsland Art Gallery
Print, Larwill, Kir, Better Days, 2017
Purchased, 2017Monoprint and collograph on papergippsland, artwork, permanent collection -
University of Melbourne, Burnley Campus Archives
Ceramic - Mug, Orca Coatings, Burnley Celebrating 125 Years, 2016
Commemorative artefact for 125 years of teaching at Burnley CollegeCeramic mug with 2 photographs on it: Black and white B91.106 Students learning how to espalier a pear tree. Colour photograph of Oak Tree and Summer House.Burnley Celebrating 125 Yearsartefact, mug, commemorating teaching -
Gippsland Art Gallery
Print, Rose, William, Untitled, 1968
Donated by Charles Nodrum, 2018Lithograph on papergippsland, artwork, permanent collection -
Ballarat Heritage Services
Ceramic, Ramikin Cup by Mudwood Studio, c1980s
Bill LONGLEY (03.12.1933 – 20.5.2020) Arrived Australia 1981 Bill Longley started an apprenticeship with “Kingwood Rural Industries” Surrey in 1948. In 1956 is changed name to “Greyshott Pottery" After serving in the Royal Air Force from 1954 to 1977 he undertook and later, teacher training, then bought the “Penderleath Pottery”, St Ives, Cornwall in 1977 from Anthony Richards and renamed it the “Cripplesease Pottery.” Bill made a wide range of domestic stoneware. He built up the pottery into a successful business, eventually selling in 1981 and migrating to Australia with his wife Sue. In Melbourne, Bill Longley made and sold pottery at weekend markets, as well as helping Robert Gordon (June Dyson’s son) set up his Pakenham pottery, which Gordon started in 1979. Bill Longley worked as an advisor and thrower with Robert Gorndon for some time." Bill retired in the late 1980s to Daylesford Works may be marked with an impressed 'Bill Longley, Australia'.Blue Vessel by Bill Longleyaustralian studio ceramics, bill longley, pottery, ceramics -
Latrobe Regional Gallery
Print, BLACKMAN, Charles b. 1928 Sydney d. 2018 Sydney, Orpheus - Phoenix, Not dated
LithographSigned 'Charles Blackman' to lower right corner under printed image. Title 'Orpheus - Phoenix' centred under print. Edition A/P, lower left corner under printed image. -
Swan Hill Regional Art Gallery
Painting, CROOKE, Ray, New Guinea landscape, 1971
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National Vietnam Veterans Museum (NVVM)
Painting, Bluebell In Action, C.1972
Water colour painting in gold frame and cream matt. The painting depicts a centurion tank, an armoured personnel carrier, two Huey Helicopters and a Chinock Helicopter. There are two army personnel on top of the APC, one behind the tank one walking towards the tank and a couple to the right.Two more centurion lie to right of picture.APC.Blue Bell in Action Signed K.C. Mc Fadyen 72painting, centurion tank, armoured personnel carrier, hueycobra (helicopter) -
Flagstaff Hill Maritime Museum and Village
Ceramic - Teapot, Josiah Wedgwood & Sons Ltd, 1890
Josiah Wedgwood (1730–95), came from an established family of potters and trained with his elder brother. He was in partnership with the leading potter Thomas Whieldon from 1754 until 1759 when a new green ceramic glaze he had developed encouraged him to start a new business on his own. Relatives leased him the Ivy House in Burslem, Stoke-on-Trent, and his marriage to Sarah Wedgwood, a distant cousin with a sizeable dowry, helped him launch his new venture. After an extensive and systematic program of experiment Wedgwood in 1765 created a new variety of creamware, a fine glazed earthenware, which was the main body used for his table wares thereafter. After he supplied Queen Charlotte with a tea set for twelve the same year, she gave official permission to call it "Queen's Ware" (from 1767). This new form, perfected as white pearlware (from 1780), sold extremely well across Europe, and to America. It had the additional advantage of being relatively light, saving on transport costs and import tariffs in foreign markets. Wedgwood developed several further industrial innovations for his company, notably a way of measuring kiln temperatures accurately, and several new ceramic bodies including the "dry-body" Stoneware, "black basalt" (by 1769), cane ware, and jasperware (the 1770s), all designed to be sold unglazed, like "biscuit porcelain". In the later 19th century the company returned to being a leader in the design and technical innovation, as well as continuing to make many of the older styles. Despite increasing local competition in its export markets, the business continued to flourish in the 19th and early 20th centuries, remaining in the hands of the Wedgwood family, but after World War II it began to contract, along with the rest of the English pottery industry. After buying several other Staffordshire ceramics companies, in 1987 Wedgwood merged with Waterford Crystal to create Waterford Wedgwood plc, an Ireland-based luxury brands group. After a 2009 purchase by KPS Capital Partners, a New York-based private equity firm. Wedgwood has always been associated with fine china, porcelain, and luxury accessories, the entrepreneur Josiah Wedgwood rapidly became successful and was soon one of the largest manufacturers of Staffordshire pottery. Wedgwood is a significant pottery manufacturer as the company is especially associated with the "dry-bodied" (unglazed) stoneware Jasperware in contrasting colours, and in particular that in "Wedgwood blue" and white that has become a trademark. Teapot and lid, Wedgwood blue Jasperware with white patternImpressed name Wedgewood and date letter "S" = 1890flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, teapot, wedgewood blue, wedgewood teapot, tea pot, kitchen ware, josiah wedgwood, staffordshire potteries -
Gippsland Art Gallery
Painting, Wood, Daisy, Early Nancies, c.1970
Donated by Angus & Jenny Stewart, 1990Watercolour and ink on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Schell, Frederic B, Log Tramway, Gippsland, c.1886
Donated by Simon Gregg, 2013Hand-coloured woodcut print on papergippsland, artwork, permanent collection -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Print - etching, Vicki Couzens, Paint the Country, 2010
As part of the redevelopment of the Indigenous Coastal Trails, this work was commissioned by Bayside City Council as one of four prints produced in a limited edition of ten. This etching was produced in response to stories of the Boon wurrung people as written by Carolyn Briggs, Boon wurrung elder.Vicki Couzens, Paint the Country 2010, etching, 19.5 x 28 cm. Bayside City Council Art and Heritage Collection. Commissioned 2010.etchingetching, vicki couzens, country, indigenous coastal trail, bayside, carolyn briggs -
Ballarat Heritage Services
Painting - Artwork - Painting, Arthur Lindsay, [Landscape] by Arthur Lindsay
Arthur LINDSAY (1912-1990) Born Melbourne Arthur Lindsay studied informally under Rupert Bunny, and John Munro in 1933, and held his first Exhibition in 1938, with Peter Cox, at Riddell Galleries. In 1939, he left Australia to tour Japan, but stayed on, accepting a position with a publishing company in Hong Kong. He served with the Hong Kong Medical Corp during World War Two and was interned at Pootung Camp, Shanghai, from 1941 – 45. He held an exhibition of his internment paintings in Melbourne in 1946. Lindsay returned to Hong Kong after the War, and supervised an Advertising Agency in Singapore, Kuala Lumpar, and Bangkok. In the 1950’s he travelled to Europe, United Kingdom, Spain and France. Returning to Australia Lindsay moved to Castlemaine in 1969. A Retrospective of his Art was held at Castlemaine Art Gallery in 1991.Watercolour landscapearthur lindsay, watercolour, landscape, artist -
National Vietnam Veterans Museum (NVVM)
Painting, Search And Destroy Mission
an original painting of two soldiers and a tank in front of a building that has been destroyed. Lots of grass and trees also in the paintingpainting, vietnam lest we forget, soldiers -
Dandenong/Cranbourne RSL Sub Branch
Painting - Oil Painting HMAS Tobruk
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Glenelg Shire Council Cultural Collection
Painting, Gardens Cottage Portland 1857, 1967
CEMA Art collectionThe painting depicts a blue stone building with green door. On either side of the door is a window and there is a chimney at either end of the roof. The side of the house closest to the viewer is overgrown with vegetation which extends up to and covers the chimney. To the right of the building is a green fence with a leaf-less tree behind. To the left of the building is a smaller green fence with several green trees behind. The work has a plain wooden frame with a mount and glass.Front: Gardens Cottage Portland 1857 Ruth Denny 1967 (black, handwritten) Back: Sticker: DEANS MU 8291 FOR FRAMING 346 LT. COLLINS ST., MELB. NO. 20438 Yellow sticker: 3033