Showing 5036 items
matching art
Artwork, other (1263)
Ceramic (764)
Decorative object (712)
Drawing (4606)
Mixed media (515)
Painting (2476)
Print (1657)
Sculpture (402)
Textile (1394)
Work on paper (2044)
-
Ararat Gallery TAMA
Textile, Robyn Daw, Speed, 2001
-
Bayside Gallery - Bayside City Council Art & Heritage Collection
Sculpture - bronze, Elizabeth Pressa, Half Moon Bay, 1997
half moon bay, elizabeth presa, child, boat, water, poem, bayside city council, public art, scultpure -
Glenelg Shire Council Cultural Collection
Painting, Noel Jones, Stone Quarry, 1974
NoneView of a quarry. In the centre of the image a conveyor belt runs up from a pile of rubble to a small hut on tall stilts. A conveyor belt runs down from this hut to an orange truck. Below and to either side of the stilted building are two wooden buildings with tin rooves. A stilted tower is depicted in maroon to the left, and another in the distance to the right. Mounds, painting in brown, yeloow, grey and shades of blue run across the centre of the image, below a sky washed with blue and highlighted with orange. Mounted in a decorative matt, in wooden frame with glass.Front: N. W. Jones 74 (lower left, blue paint) Back: 1974 (upper left, pencil) -
Flagstaff Hill Maritime Museum and Village
Textile - Lavender Bag, ca 1910
Small decorative bags containing dried lavender, rose petals and other fragrant flowers and leaves were used to add fragrance to linen and clothing. They were also used to repel insects and help preserve the textile pieces. Fragrant bags were used to freshen the air in rooms and even as a deodorant inside special pockets in ladies' undergarments. In the Words of donor, Betty Stone, … “These crocheted and embroidered articles cover a period of three generations- ie. Sarah (nee Chamberlain) Lees, Ann (nee Lees) Dale, and Daisy Elvena (nee Dale) Welsh. All three were accomplished needlewomen; also, both Sarah Lees (born 1844) and her daughter, Ann (b 1865) crocheted a wide variety of articles for use in their homes. A few examples of these items have survived the years.” It was a tradition for brides to have a 'glory box' containing linen and embroidered articles to take to their new home. Many of the items were made by Daisy, a skilled dressmaker. Daisy began her apprenticeship at two shillings and sixpence per week at Miss A. E. Emery's dressmaking establishment at 150-152 Liebig Street, Warrnambool. Considered to be the leading house of fashion in Warrnambool, Miss Emery employed about eight young women who worked long hours to sew elaborate gowns for clients, including wives of graziers who would attend the race carnivals and social functions in Warrnambool. (NOTE: For additional information please refer to my book Pioneer and Places- A History of Three Warrnambool Pioneering Families ie. Chamberlain, Dale and Lees families)This item is associated with the Warrnambool pioneer families of Chamberlain, Dale and Lees. These families are listed in the Pioneers' Register for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch. The item is significant for its association with a ‘glory box’ or hope chest’, a tradition of single ladies making and collecting a range of linen and other domestic items in preparation for their future marriage. The item is a fine example of early 20th-century needlework and handmade domestic items.Lavender bag, white crocheted squares, back to back, with a border and a swan design incorporated in crochet. 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, lavender bag, fragrant bag, insect repellant -
Glenelg Shire Council Cultural Collection
Painting, J. Trangmar Mayor, n.d
UnknownPortrait of a man in dress uniform (navy blue suit, gold cuffs and epulets, belt and sash, with dress sword hanging in sheath on his left hip). He has white hair and a beard and is looking out of the frame to the upper left. His right elbow is resting on three books on top of a stone plinth. To far left of image is a domed uniform hat with an insignia on the front and a spike on top. Background is a modulating colour field: green/brown on left to darker browns and reds on right. Framed in ornate wooden frame.Front: J. Trangmar Esq. Mayor (brass plate affixed to lower centre front of frame). -
Kew Historical Society Inc
Textile - Household Textile, Sandwich Tray Doily, 1950s
The Fashion & Textiles collections of Kew Historical Society include a number of art or household textiles manufactured or created in the United Kingdom as well as in Australia. As other cultures opened to Australian travellers in the 20th century, members began collecting and donating textiles produced in a number of other countries.Off-white oval embroidered doily with crotcheted lace edging. Bluebird one end, oval floral garland. Possibly Semco kit.Some of the printed design still visible.doilys, household textiles -
Ararat Gallery TAMA
Textile, Julie Montgarrett, Woomelang, 1977
-
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on canvas, Jessie Constance Alicia Traill, Beach scene, early 20th century
This work depicts the coast at Black Rock. Figures in early 20th century outfits are dotted on the oxide rocky outcrops in the foreground and beyond the water the hazy Red Bluff cliff dominates the coast.Impressionismoil on canvasbeach, coast, figures, jessie traill, red bluff, bayside, black rock, bathers, port phillip bay, bay, water -
Federation University Art Collection
Painting - Oil on linen, Moller, Vera, 'Colette' by Vera Moller, 2003
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.Painting art, artwork, vera moller, moller, imaging the apple, fruit -
Federation University Art Collection
Painting - Artwork, Wes Walters, [Nude Study] by Wes Walters, 1987
Wes WALTERS (06 August 1928 - 19 August 2014) Born Mildura, Victoria From 1940 t0 1945 Wes Walters attended the Ballarat High School. He then studied architecture at the Gordon Institute in Geelong, followed by art at the Ballarat School of Mines (a division of the Ballarat School of Mines). During his time at the Ballarat Technical Art School (later Federation University Australia) Walters studied under Neville Bunning and Taylor Kelloch, and was awarded the Ballarat Ladies Art Association Scholarship in 1948. He next moved to Melbourne to work as a commercial artist with the George Patterson advertising agency. Each evening Walters studied life drawing at the Victoria Artists’ Society and taught himself anatomy. Wes Walters excelled in both abstract and realist art. He won the Art Gallery of Ballarat’s Minnie Crouch Prize for watercolour art in 1953 and 1956. He won the prestigious Archibald Prize in 1879 for his portrait of Phillip Adams. 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.Large framed life Drawing in pastel framed behind glass. signed lower right 'Walters '87'wes walters, nude, life drawing, available -
Mission to Seafarers Victoria
Painting - Icon, Untitled, 21 September 1985
Icon painted likely by a seamen, possibly depicting an archangel, was gin to the mission in 1985 by Polish seamen.IsographyThick panel of recycled wood with acrylic painted image of an archangel on one side and painted black on verso with blue painted inscriptionupper left : (indecipherable) Golden HERH; upper centre: WITH COMPLIMENTS / FROM POLISH SEAMEN; lwr right corner date: 1985 . 09. 21 [sic]icon painting, isography, polish, seafarer gifts, hobbies, orthodox, byzantine, archangel, saint, seamen, seafarers -
Mission to Seafarers Victoria
Painting, Ian Parry, Night Time at North Wharf, 1990
Ian Parry (born 1947) is a Melbourne-born artist living in Tasmania, active since 1974 and collected by National and State Collections. He was winner of the 1990 ACTA Maritime art Prize. He also took part in 2006, to the ANL Art Prize organised each year at the Mission since 2003. In his biography on his website: Ian Parry was born into a family of seafaring descent. His extensive career as a respected practising artist and teacher, has uniquely included a fishing fleet apprenticeship and years as a single handed fisherman in Bass Strait. "In the early 70's when I first showed at the renowned Powell St gallery in Melbourne, the paintings were large, abstract, with allusion to the experience of the world of water, sky and land. My visual world has always been permeated with the wet parts of this place and continues to be so to this day. Maritime and geological charts and the daily necessity of plotting a course, appear in paintings where necessary, as a means of getting a schematic representation of the subject into play, trying to free the work from the tyranny of the horizon line but frequently returning. Now-a-days I am returning to abstraction, making paintings that allow me free rein with colour and composition, aiming for a sense of permanence and independence in each work." Maritime ArtLarge moulded gilt wood frame, non glazed painting of shipping, oil on canvasSignature and date bottom right corner: "Parry 89"p & o nedloyd, shipping, melbourne ports, docklands, wharfside, wharves, ian parry, maritime art, acta maritime art prize, artwork-paintings -
Flagstaff Hill Maritime Museum and Village
Ceramic - Floor Tile, Maw & Co, 1862-1869
The floor tile is one of a group of artefacts in the McCulloch Collection that were recovered from the shipwreck Victoria Tower and were donated together. The tile could have been from the ship's cargo or amongst a ship’s fittings. The inscription on the tile is for Maw & Co makers of earthenware encaustic and geometric floor tiles since 1850, when George Maw and his brother Arthur began their first factory in Worcester. In 1862 the company moved to Broseley, Shropshire. The object is now one of the shipwreck artefacts in Flagstaff Hill’s Mc Culloch Collection, which includes items recovered from the wrecks of the Victoria Tower (wrecked in 1869) and Loch Ard (wrecked in 1878). They were salvaged by a diver in the early 1970s from the southwest coast of Victoria. Advanced marine technology had enabled divers to explore the depths of the ocean and gather its treasures before protective legislation was introduced by the Government. The artefacts were donated to Queensland’s Department of Environment and Heritage Protection (EHP) by a passionate shipwreck lover and their locations were verified by Bruce McCulloch. In 2017 the Department repatriated them to Flagstaff Hill where they joined our vast collection of artefacts from Victoria’s Shipwreck Coast. The Victoria Tower: - The three-masted iron clipper ship was built in 1869 in Liverpool, England, as a passenger and cargo ship for the Australian trade. She was named after one of the two towers of the British Houses of Parliament and owned by the White Star line. The Victoria Tower sailed under the command of Captain Kerr from Liverpool towards Melbourne on her maiden voyage. She carried 34 passengers and 16 crew plus a general cargo including bottled beer, slates, iron pipes and hardware. She was almost at her destination when she was wrecked on 17th October 1869 at Point Impossible, west of Thompsons Creek, Breamlea. The shipwreck is a very popular diving site. The artefact has now been repatriated to Victoria and is located at Flagstaff Hill Maritime Village. The artefact is an example of cargo or personal items on board a ship in 1869. It provides a reference point for classifying and dating similar items. The artefact is significant for its association with the clipper ship Victoria Tower, which is listed on the Victorian Heritage Register as S698. The Victoria Tower is recorded as the most intact historic shipwreck accessible between Point Lonsdale and Cape Otway. The Victoria Tower is one of only seven shipwrecks in Victoria that have had more than 100 objects recovered from them reported as a result of the Commonwealth Amnesty held in 1993-94.Ceramic tile, square, with star or compass design.Brown tile has cream design of i-pointed star with a circle in the centre and between, and on the end of, each point. The side profile of the tile shows the division between the top layer and the base, with a groove between the two. The tile was made by MAW & Co. of Broseley, England. The back of the tile has parallel ridges and is embossed with an inscription. It was recovered from the wrecked ship Victoria Tower. Inscribed "MAW & CO BROSELEY" flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum and village, shipwreck coast, great ocean road, shipwreck artefact, wreck dive, mcculloch collection, bruce mcculloch, white star line, victorian heritage register, clipper ship, victoria tower, captain kerr, shipwreck victoria tower, migrant ship 1869, cargo ship 1869, iron clipper, british clipper ship, 1869, cargo imported to australia, tile, floor tile, ceramic tile, compass pattern, star pattern, flooring -
Yarra City Council
Sculpture - Public Art, Anderson Hunt, The Final Siren, 2011
Anderson Hunt vividly remembers the hard-core, hard-working supporters. "I see The Final Siren as a homage to those hard-working Collingwood fans who stood in the outer and barracked their hearts out. Without the hard-core supporters, the club would be nothing. I hope the sculpture gives Collingwood fans a sense of pride; pride that’s like wearing a tight footy jumper with big numbers on the back. I feel honoured to have had the chance to create this sculpture, knowing that what was there beforehand stood for so much.”Victoria Park, the former home of the Collingwood Football Club, was transformed into a major community recreation space in 2011. Yarra City Council and the Australian Government jointly funded the $7.2 million redevelopment of the Abbotsford ground. As part of the redevelopment, Council commissioned multiple works of public art. The intention of these artworks is to recognise the park’s important history and to provide interesting and educational focal points for park. visitors. This work by Anderson Hunt is in place of the original scoreboard which was demolished on 10 February 2011. Anderson Hunt remembers going to Collingwood games as a boy and wondering how the numbers on the scoreboard appeared and disappeared. He remembers being in awe of the size of the scoreboard. “It was like a huge monolith,” he recalls. He remembers a story of how the scoreboard operator, Bob Hill, would change the scores quick as a flash when the Magpies kicked a goal.Large black and white steel sculpture inspired by the form and imagery of the ground’s former scoreboards and clocks. Stylised wing and colours acknowledge the Collingwood Football Clubsport, collingwood football club, afl, history, victoria park, collingwood -
Gippsland Art Gallery
Painting, Markham, Arthur, Ninety Mile Beach, 1983
Purchased, 1983Watercolour on papergippsland, artwork, permanent collection -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on composition board, Clarice Beckett, Sunset across Beaumaris Bay, c.1930-31
oil on composition boardbeaumaris, bay, coast, water, sunset, trees, landscape, clarice beckett, dusk, handrail, beaumaris bay, meldrum school, reflection -
National Wool Museum
Textile - Blanket, Albany Woollen Mills, Albany Woollen Mills blanket, c 1950s
Note from collector: I love the generous size and thickness of Albany blankets and know someone who collects from this Mill only. The colour shades and combinations Albany used are still so gorgeous. From Western Australia. Note from collector - "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from. " Checked blanket, blues and creamAlbany Woollen Mill/Blanket/All Pure Wool/Emblem: A, Albany blanket, blanket fever, wool, albany, albany woollen mills -
Bendigo Historical Society Inc.
Textile - LONG GULLY HISTORY GROUP COLLECTION: LONG GULLY HISTORY GROUP BANNER
Yellow shield shape banner with three loops at the top for hanging on a dowel. Gold braid between the three loops. Different coloured (red stripe, red check, brown pattern, green, blue, floral, multi colour, dark blue, white and pink stripe and khaki) pieces of material cut into the letters of Long Gully History Group are sewn to the yellow background. It has a yellow backing with some filling between the front and the back.bendigo, history, long gully history group, the long gully history group - long gully history group banner -
Gippsland Art Gallery
Painting, Markham, Arthur, Untitled, c.1970s-80s
Donated, 1983Watercolour on paper gippsland, artwork, permanent collection -
Federation University Art Collection
Ceramic, Raku Platter with crackle with copper reduction flash by Peter Corser, c1990
Glazed ceramic platter with crazing.jan feder memorial ceramics collection, peter corser, ceramics -
Federation University Art Collection
Painting - Artwork, David Alexander, [Treed Landscape] by David Alexander, 1981
A framed oil painting depicting an Australian bushscape. Gift of David Alexander, 2013david alexander, art, artist, alexander, landscape, churchill, gippsland campus -
Flagstaff Hill Maritime Museum and Village
Textile - Doily, ca. 1910
This doily is typical of items of household linen in popular use in the 19th and early-to-mid 20th centuries. It was a tradition for brides to have a 'glory box' containing linen and embroidered and crocheted articles to take to their new home. In the Words of donor, Betty Stone, … “These crocheted and embroidered articles cover a period of three generations- ie. Sarah (nee Chamberlain) Lees, Ann (nee Lees) Dale, and Daisy Elvena (nee Dale) Welsh. All three were accomplished needlewomen; also, both Sarah Lees (born 1844) and her daughter, Ann (b 1865) crocheted a wide variety of articles for use in their homes. A few examples of these items have survived the years.” (NOTE: For additional information please refer to my book Pioneer and Places- A History of Three Warrnambool Pioneering Families ie. Chamberlain, Dale and Lees families) This item is associated with families of Chamberlain, Dale and Lees. These families are listed in the "Pioneers' Register" for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch.Doily, round shape, embroidered white fabric centre with crocheted edge. 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, doily, embroidery, needlework, crochet, handmade, craft, manchester, linen, haberdashery -
Vision Australia
Textile - Object, Association for the Blind Celebrity Classic tablecloth
Tablecloth created for use at the Association for the Blind's Celebrity Classic event.White cotton tablecloth with blue writingAssociation for the Blind Celebrity Classicassociation for the blind, advertising -
Federation University Art Collection
Painting - Gouache, 'Melbourne Royal Show' by Nornie Gude, c1935
Nornie GUDE 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 Nornie Gude because she was so advanced in painting. She studied at Ballarat for five years before progressing to Melbourne’s National Gallery of Victoria School. Nornie Gude 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. 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.Framed original poster advertising the Show, and featuring a horse and rider. art, artwork, nornie gude, gude, royal melbourne show, balllarat technical art school, poster, horse, available, alumni -
Latrobe Regional Gallery
Painting, HARRISON, Dr Aunty Eileen b. 1948, Den of Nargun - Spirit Tracks, 2004
Acrylic on paperSigned and dated 'E Harrison 04' in lower left corner of painting. -
Australian Lace Guild - Victorian Branch
Textile - Flemish or Honiton
Valuable old lace was often salvaged to be used again. Here motifs have been reclaimed from an earlier 18th Century lace (probably damaged) and appliqued onto machine made cotton net probably early in the 19th Century. The original motifs are either Flemish or Honiton. Use: as a costume trimmingBobbin lace motifs appliqued onto a machine made net. Edging. -
Bendigo Historical Society Inc.
Painting - NORMAN PENROSE COLLECTION: BORDER PAINTINGS
Artwork. Norman Penrose collection: 2 border paintings. One has black, red and yellow stripes at the top. A spear shaped design with a red spot in the centre. Yellow, green, red and blue squares separated by two black and a white strip and black and yellow stripes at the bottom. The second one has red, white and black stripes at the top. A black, red and green geometric design in the centre and a black stripe at the bottom. The background is unpainted.drawing, print, norman penrose collection, artwork, border paintings -
Clunes Museum
Textile - SILK HANDKERCHIEF
RED SILK EMBROIDERED HANDKERCHIEF, WITH RED SCALLOPED EDGE.SOUVENIR FROM FRANCElocal history, costume accessories, handkerchief, w.w.1 memorabilia, silk handkerchief -
Gippsland Art Gallery
Painting, Jennings, Mavis, Serenity, c.1970s
Donated by the artist, 1976Gouache on papergippsland, artwork, permanent collection -
Federation University Art Collection
Painting - Oil on canvas, Sydney Pern, Waterhole by Sydney Pern
Dr Sydney PERN (c1879- 23 October 1967 ) Sydney Pern was a doctor who practiced in Ballarat. He was a competent artist who also collected Aboriginal artefacts. 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 oil landscape on oil sketching paper.signed lower right 'S. Pern'art, artwork, sydney pern, pern, landscape, available