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Artwork, other (1294)
Ceramic (767)
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Mixed media (529)
Painting (2485)
Print (1666)
Sculpture (407)
Textile (1396)
Work on paper (2094)
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Gippsland Art Gallery
Painting, Majzner, Victor, The Great Shuffle, 1972
Donated by Georges Australia Ltd, from the Georges Art Prize, 1973Acrylic, Canvasgippsland, artwork, permanent collection -
Ararat Gallery TAMA
Textile, Frances Burke, Bird and Tree, c. 1940
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. -
Ararat Gallery TAMA
Textile, Joy Smith, Kangaroos with Purses, 1999
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Federation University Art Collection
Painting - Artwork - Painting, Alexandra Langley Hall, 2013
alexandra langley hall, animals, available -
Whitehorse Historical Society Inc.
Textile - Doyley
Ecru cotton crochet doyleyhandcrafts, crocheting or crochet work, manchester, furnishings -
National Vietnam Veterans Museum (NVVM)
Print, Plane Guard
A coloured print of HMAS Perth escorting HMAS Melbourne at sea. Bottom right hand is the signature of Peter Blenkinsopp 1993. At the bottom of the print reads from an original iol painting by Peter Blenkinsopp.print, hmas perth, hmas melbourne, cerberus collection -
Swan Hill Regional Art Gallery
Painting, CLARKE, Gwen, Wild dogs, 1986
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Federation University Art Collection
Print - Printmaking - Lithograph, Tulloch, David, 'Great Meeting of Gold Diggers Dec 15th 1851' by Thomas Ham, 1852
One of the first large goldfield meetings was at Castlemaine in 1851. After the extraordinary success of the Mt Alexander Diggings the Government issued a proclamation, raising the licence fee from thirty shillings to three pounds. As soon as these intentions became known a public meeting of miners was held. For miles around work ceased, with diggers travelling as far as Bendigo to attend the meeting. It is estimated that around 18,000 people attended the meeting. The notes with the engraving state The trees in this locality are chiefly Stringybark; some of them are peeled of their covering, as many persons prefer erecting bark huts to living in a comfortless tent. The various groups, and costumes of the men, are characteristic of our gold digging community. 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.Colour lithograph of a meeting of diggers at a meeting in Mt Alexander. The meeting was the result of goldfields agitations against the license fee. lower centre "Great Meeting of Gold Diggers Dec 15th 1851" lower left side "Drawn By D. Tulloch" lower right side "Engraved by Thomas Ham"art, artwork, ham, thomas ham, tulloch, castlemaine, goldfields agitation, printmaking, edition, coloured lithograph, david tulloch, gold pan, shovel, wheelbarrow, waggon, bark hut, ring barked tree, gold mining -
Gippsland Art Gallery
Print, Le Barbier, Jean-Jacques, Vue de la Grande Glaciere, au Grunelwald, c.1770
Donated by Simon Gregg, 2013Copper line engraving on papergippsland, artwork, permanent collection -
Australian Lace Guild - Victorian Branch
Textile - Cluny Lace, Late 19th or early 20th Century
Use: Domestic. Household trimmingBobbin lace edging. Sample -
Gippsland Art Gallery
Painting, Sumner, Alan, Captive Horses, 1952
Donated from the estate of the artist, 1995Oil on canvas on boardgippsland, artwork, permanent collection -
Federation University Art Collection
Painting - Artwork, David Alexander, [Landscape] by David Alexander
Framed landscape paintingSigned lower right by artist 'D. Alexander'. david alexander, landscape, artwork, artist, available -
Glenelg Shire Council Cultural Collection
Print - Label, n.d
Two apple box labels, white heavy paper, red and blue print. 'PORTLAND APPLES GROWN AND PACKED BY W.H. HANN & SONS' -
Horsham Regional Art Gallery
Painting, Murray WALKER, Near Silverband Falls (Grampians), 2006
Purchased through the Horsham Art Gallery Trust Fund, 2006oil on canvaswimmera related -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on linen, Stieg Persson, Duck and quail eggs, Italian herbs, 2015
With a career spanning over 30 years as a painter, Stieg Persson is a well known figure within the Australian and international art world. Persson’s work is celebrated for his distinct (yet eclectic) style, which consists of elements associated with abstraction, figuration and decorative art, as well as the artist’s deeply intellectual interrogation of Australian culture and society. In this work titled, Duck and quail eggs, Italian herbs, Persson reflects on contemporary parallels in changes of taste and the desire for decadence as a political and social drive. Inspired by Brighton’s iconic Church and Bay Streets, the artist addresses the social currency of luxury and high-end cuisine by depicting rococo style blackboards which offer the latest in fine dining, alcohol, exercise classes, skin treatments and lavish linens. Persson is presenting a subtle critique of the contemporary obsession with food; as contemporary society places greater significance on the connoisseurship of eating, it does so in lieu of engagement with culture as it is traditionally conceived (music, theatre, literature and art).oil on linenstieg persson, brighton, signage, graffiti, food, chalkboard, bayside, painting -
Gippsland Art Gallery
Print, Waters, Pat, Crucified Trees, 1992
Purchased, 1993Procion dye print on papergippsland, artwork, permanent collection -
Geelong Gallery
Painting - Graveyard scene / the beauty and sadness of bones, BENYNON, Kate, 2014-15
Synthetic polymer paint on canvas -
Darebin Art Collection
Painting - Len Pawlek, Len Pawlek, Summer, Eildon, 1988
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Geelong Naval and Maritime Museum
Ceramic - Pot Fragment
The fragments of pot were found in 20 meters of water off of the South Channel Light, Port Phillip Bay. They are believed to be from the ship 'Hurricane' that sank in the vicinity on April 22,1864. The Hurricane was a three-masted iron ship, weighing 1198/979 tons. Built on the Clyde, Scotland in 1853. Lbd 214.9 x 30.7 x 20 ft. It was one of the first large iron sailing ships built for the Australian trade during the gold rush, and one of the fastest clippers on the Australian run. Her maiden voyage from Glasgow to Melbourne with 256 passengers took eighty-seven days, and the return to London eighty-three days. In 1856 she was converted to an auxiliary screw vessel and continued in the Australian trade until lost. Under Captain D.H. Johnston (former master of the Lightning), inward bound from Liverpool with 2000 tons of general cargo and 19 passengers, grazed a rock entering Port Phillip, sank off Arthurs seat, 21 April 1869. Passengers and crew transferred to the tug Titan. The wreck was relatively intact until the late 1960s, when it was blasted by Ports and Harbours engineers who considered it to be a navigational hazard, spreading wreckage over a wide area. Despite this, the stern of the ship still stands about three metres above the sand. The wreck of the "Hurricane" in Port Phillip Bay and the accompanying story of the nearby lighthouse, the South Channel Pile Light, tell the story of early shipping within Port Phillip Bay, pre federation. 3 pieces of encrusted pot fragment all roughly A5 paper sizeshipwreck, port phillip bay, ship hurricane, south channel light -
Clunes Museum
Painting - PAINTINGS, David Williams
Images of; Horse Trough & Wagon Residence 94 Bailey Street Former Presbytery St. Thomas Aquinas Former Clunes Free Library Residence 25 Camp Street Monument 100 years of gold Clunes in Melb Monument Former butcher's shop Fraser Street Residence & shops 41-43 Fraser Street Clunes School of Mines Clunes War Memorial Residence 32 Leslie St Clunes Former suspension bridge Former St Paul's Vicarage 42 Service Street Former Police Office Former Police residence Portable Lock Up Former Dow Residence 9 Hill St Former Hall & Fire Station 2 Hill St St Paul's timber Church hall St Paul's Church Masonic Lodge 23 Service St St Paul's Pulpit Masonic Lodge interior Everhard cordial bottles Scythes in Clunes Museum Ascot Blacksmith shop Former Ascot hotel MIA Hall Ascot The Coghill Monument Former Methodist Church Coghills Creek Clunes Cemetery Chapel Maiden Hill Homestead shearing shed Beckworth Court stables Beckworth Cour shearer's quarters Former School Evansford Glengower Outbuilding Amerst Former Mortuary 46-50 Fraser Street Wood fired heater Beckworth court farm shed Gold mine trolley Servant's bells Maiden Hill cow bail Former South Clunes school 29 George Street 70 Fraser Street Former Post Office "Allowah" Clunes Street Ascot "Homestead" Beackwith Court "The Meat House" Beckwith Court "Shearing Sheds" Beckwith Court Evansford Community Hall 54 watercolours remaining from the 2003 exhibition held at Clunes, all unframed, depicting Clunes and surrounds architecture and streetscapes.watercolour, 2003 exhibition -
Ararat Gallery TAMA
Textile, Kate Derum, In the Heat of the Moment, 1998
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Federation University Art Collection
Ceramic, Peter WIlson / Rosemont Pottery, [Vessel] by Peter Wilson, c1993
Peter WILSON Peter Wilson maintains a ceramic practice at Rosemont Pottery in Bathurst, NSW, as well as working as a senior lecturer in the Faculty of Education at the Charles Sturt University Bathurst Campus. He trained at Macquarie University, obtaining a Bachelor of Arts in 1976, and has been making reduced stoneware and tableware and exhibiting ceramics since 1980. Wilson writes extensively about ceramics and obtained a Graduate Diploma of Arts (Visual Arts) from Monash University Gippsland in 1993, a Master of Creative Arts from Wollongong University in 1995 and a Doctor of Creative Arts from the University of Western Sydney in 2003. Work may be marked with an incised 'Peter Wilson' or 'Wilson'.Spherical ceramic formjan feder memorial ceramics collection, peter wilson, alumni -
Australian Lace Guild - Victorian Branch
Textile - Honiton lace, Second half 19th century
Good quality dress front/plastron. Fashion itemBobbin lace - Dress front -
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 cream lace used for demonstration purposeshandcrafts, lacemaking -
Flagstaff Hill Maritime Museum and Village
Print - Vessel - Sailing Ship, A.V. Gregory, ca. 1899-1922
This photograph is a print from an original painting by the Australian marine artist A V Gregory (1867-1957), also known as Arthur Victor Gregory. Gregory lived and worked in South Melbourne. He took over the Gregory Studio owned by his father, George Frederick Gregory, painting actively between 1899 and 1932. He usually signed his works as ‘A V Gregory’. Some of his original works have been sold for thousands of dollars. The four-masted iron barque 'Rowena' was built in 1883 by Barclay, Curle & Co. of Glasgow as the 'Cluny Castle', and renamed about 1890 as 'Rowena' by owners Rowena Ship Co.. After consequent owners, the ship was converted to a hulk in 1922 at Port Adelaide. The detailed image of the vessel depicted in this print shows one of the many sail and steam vessels painted by the renowned Victorian marine artist A V Gregory, whose original works are highly valued today by marine collectors.Photograph of a print, black and white, mounted onto card. It depicts the four-masted iron barque ship 'Rowena', originally named 'Cluny Castle'. The original painting was by marine artist A V Gregory.Painted on bow "ROWENA"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, photograph, photograph of rowena, gregory, cluny castle, a v gregory, rowena, iron baque, rowena ship co., barclay, curle & co, glasgow -
Castlemaine Art Museum
Painting, Carl Hampel, Near Geelong, 1875-1926
Gift of J.T. Tweddle, 1926 -
Kew Historical Society Inc
Print, Post Office and Police Court Kew, 1907-1915
The Kew Historical Society's postcard collection includes views of Kew, Melbourne and Greater Melbourne as well as those including overseas scenes sent or received from Europe or the Middle East. They date from the 1890s to the 2000s. These postcards may or may not include the name of the publisher or printer. A number of the cards were published as parts of popular series. A way of dating early postcards is to identify whether the reverse was divided by a central line which became the norm after 1902 in the United Kingdom. However, other postcards produced after this date do not always conform to this print layout.An enlargement of an original postcard in the collection, created for the purposes of exhibition, depicting the Kew Post Office and Court House (built 1888) on the corner of High Street and Cotham Road. In front of the Post Office is a large Moreton Bay Fig tree. The later Kew War Memorial (opened 1925) necessitated the removal of the tree and the relaocation of the Queen Victoria Jubilee Fountain. kew court house, kew post office -
Glenelg Shire Council Cultural Collection
Print, Portland Its All On Your Plate, 1983-1984
CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint which features: a pink plate with a fish, abalone and flower sitting on it; a silver spoon with a rose sitting on it; and a white vessel with a rose painted on it. Background is pink with various patterns and text "it's all on your plate at PORTLAND".Front: (no inscriptions) Back: 29 -
Australian Lace Guild - Victorian Branch
Textile - Flemish Lace, Second half 17th century
This piece of lace has at some time been cut up and re-grounded. It would originally have been used as a fashion item such as a flounce.Bobbin lace. Irregular shaped piece -
Swan Hill Regional Art Gallery
Painting, INGPEN, Robert Roger, Lincoln's place, unknown