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Artwork, other (1261)
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Whitehorse Historical Society Inc.
Textile - Table Centre, c1940
Made by a Serviceman during war.Rectangular blue suede table centre with scalloped edge. Cut out design and yellow daffodils painted on corner.manchester, table linen -
Tatura Irrigation & Wartime Camps Museum
Painting - Painting - Watercolour, Busun 28.vii.23
Done by Leonhard Adam, internee in Tatura. The North Sea, Germany/busun 28.vii.23, leonhard adam, tatura internee, the north sea germany -
Ringwood and District Historical Society
Mixed media - Video, RDHS Meeting Presentation - "Treasures from the Archives" - Ken Briscoe
Digitised video (335MB). Duration: 24 minutes. Recorded August, 2023 (Video is available for viewing at Ringwood & District Historical Society Archives by appointment)In this talk, Ken Briscoe presents an overview of RDHS activities centred around the sorting and digitising of slides and movies for archival conservation, with examples of a local film found in the archives and a collection of items from the former Ringwood Amateur Photography Club. -
Brighton Historical Society
Textile - Needle book
This item is from the "Barone" Collection. "Barone" (also known as "Seaview") was a stately Brighton home built at 9 Moule Avenue prior to 1855 and demolished in 1986. The house's residents included Edward Elgin Browne (during 1859-72), a Melbourne tea merchant, and the family and descendants of retired Scottish Army captain Archibald Black (during the period 1880-1970). Its neighbors included “St Ninians” owned by the Ward- Cole family, “Seacombe” owned by the Moule family, and the home of James Grahame and his family. The items in the "Barone" collection were largely donated by two of the house's later owners, Mrs Doris Halkyard and Mrs Brian Brandt.A hand painted and hand embroidered cream silk needle book. Date unknown. This cushion features a delicate hand painted floral design, enhanced with highlight embroidery. It also features a silk rope binding around its edges and a cream silk bow. It appears to have enclosed something as it has a button and loop to secure it in half.cushion, barone, seaview, brighton -
Glenelg Shire Council Cultural Collection
Print - Print - Lithographic print of curator's cottage Portland Botanic Gardens, Victoria, 1930-1949
Lithographic print of the curator's cottage in the Portland botanical gardens, full colour, possibly from calendar. Mounted on light brown cardboardBack: 'J.A. STUCHBERY' - black stamp, top right corner -
Kew Historical Society Inc
Print, FGA Barnard, Athenaeum Hall & Kew Town Hall, 1910
This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.A photographic copy of a book plate made for the historian Dorothy Rogers which was first published in the 'Jubilee History of Kew' (1910) by F.G.A. Barnard"Athenaeum built 1860. 1865 purchased & Town Hall built around it. Later a new front was added as in picture - note old lamps - At present under demolition for Safeways Store"athenaeum hall, walpole street, kew town hall, walpole street, dorothy rogers -
Gippsland Art Gallery
Painting, Klix, Fred, Bararrana Gorge Arkaroola, c.1970
Esso Collection of Australian Art. Donated by Esso Australia Pty Ltd, 2018Oil on composition boardgippsland, artwork, permanent collection -
Heidelberg Golf Club
Decorative object - Badge, Heidelberg Golf Club, Ladies' monthly medal 1974, 1974
Small gold badge/pin awarded as a ladies' golf prize. Round metal and enamel badge in velvet presentation case; with female golfer in centre and Heidelberg Golf Club Lower Plenty inscribed around edge. Clasp on back "Heidelberg Golf Club Lower Plenty" on badge; "Dwayne" printed on presentation boxmonthly medal, ladies golf, badges, jeanne bennie -
Glenelg Shire Council Cultural Collection
Print - Linocut - Admella Rescue Series No. 14, Bob Stone, on arrival at Lady Bird some 3 or 4 were in the last stage of existence 'Portland Guardian 15th August 1859', 2009
Part of suite of 16 Linocuts created for an exhibition at the Portland Arts centre for the Admella 150th Festival.Linocut. Fourteenth in a suite of 16 in Admella Rescue Series. Printed in black on white archival paper Depicts a man with a rope around his chest and under his arm pits, being hauled up the side of the 'Lady Bird'. Two members of the Portland life boat also visible, watching procedure from lifeboat.Front: 'Linocut Bob Stone 2009 ... on arrival at Lady Bird some 3 or 4 were in the last stage of existance. Portland Guardian 15th August 1859' - hand written in black ink.admella, portland lifeboat, shipwreck -
The 5th/6th Battalion Royal Victoria Regiment Historical Collection
Print - A print of Sutherland Highlanders
A coloured print of The Angel and Sutherland Highlanders -
Darebin Art Collection
Painting - Andrew Travis, Andrew Travis, Traditional Accounts, 2006
kangaroo, painting -
Gippsland Art Gallery
Print, Durrant, Ivan, Untitled, 1987
Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Screenprint on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Wickham, Stephen, Untitled, 1986
Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Etching on papergippsland, artwork, permanent collection -
Federation University Historical Collection
Decorative object - Rose Bowl, Silcraft, Ballarat Teachers' College Rose Bowl, 1949
This rose bowl was presented to the Ballarat Teachers College by the students of 1949, particularly, Peter Fryar, J McIntosh, J McIntyre and J Holloway as a trophy for the Dimboola Regatta Relay. It was subsequently used to hold '49er' roses for the reunions of the students , the last being their 60th reunion. This three piece vase is made up of 1). a silver bowl with two handles in an art deco style sitting on three feet 2). a green glass vase with a central depression and domed walls which sits into the silver bowl 3). a dome of green glass containing 19 open ended cylinders in which the flowers sit.Engraved into the base - Ballarat Teachers College 1949, Presented to the college by P. Fryar, T. McIntosh, J. Holloway, T. McIntyre, Dimboola Regatta Relay. Stamped into one handle - Silcraft, E.P., N.S, A 1, Melb.rose bowl, vase, silver and glass vase, ballarat teachers college, p fyrar, j mcintosh, j mcintyre, j holloway, peter fryar, ballarat teachers' college, 49ers -
Whitehorse Historical Society Inc.
Painting - Picture
Picture shows the office of Frank Fisher & Co. Auctioneer who had an office and business in Blackburn from about the 1920s. The print was done by his son Bruce.Blackburn historypencil drawn picture of 'Frank Fishers & Co.' Auctioneers office in Blackburn. Black metal frame with pale grey surround. Picture has office building with a figure in doorway. An old car was out the front as well. Picture drawn by his son Bruce Fisherillustrations, pencil -
Clunes Museum
Painting - PAINTING-OIL ON CANVAS, RICHARD FORD
OIL PAINTING OF CLUNES TOWNSHIP BY RICHARD FORD - FRAMED. PAINTING DEPICTS CORNER OF FRASER STREET AND TEMPLETON STREET AND SHOWS THE TOWN HALL, WESLEYAN CHURCH, ST THOMAS AQUINAS CHURCH, AND THE UNION BANK.artwork, richard ford, oil on canvas, churches -
Nillumbik Shire Council
Painting, Clifton PUGH, White Choughs in the Landscape, 1958
Pugh was one of many artists who brought an Australian experience to attention. His landscapes reveal the colour and textures of the natural bush, often with a dramatic emphasis. His reference to the harshness of the bush consistently arises, with angular forms dominating the composition. White Choughs in the Landscape is typical of his representations of the bush as a dynamic environment. White Choughs in the Landscape, 1958, created by Clifton Pugh - a celebrated Australian artist known for his landscapes and portraiture as well as (three-time) winner of Australia’s Archibald Prize. This piece plays a significant role within the Nillumbik Shire Collection due to Pugh’s strong connection to the local land where he settled in Cottle’s Bridge in 1951, purchasing 15 acres and named it Dunmoochin. Artists, potters and others settled at Dunmoochin and formed the Dunmoochin Artists Co-operative in order to collectively protect the land. Numerous renowned artists worked or resided at Dunmoochin including: Rick Amor, Fred Williams, Albert Tucker, Frank Hodgkinson, Mirka Mora, John Olsen, John Percival and John Howley amongst others. Upon his death in 1990 he left an art collection and extensive properties at Dunmoochin to be appreciated and utilised by artists for years to come White Choughs in the Landscape is typical of Pughs' representations of the bush as a dynamic environment. The brittleness and fragility of the landscape is recorded in the surface of the work, where paint is applied in thin layers.Signed 'Clifton Sept. 1958'clifton pugh, dunmoochin, white choughs -
Port Melbourne Historical & Preservation Society
Mixed media - Placard, Anti-amalgamation protests, 1993
Made by the City of Port Melbourne for the demonstrations before and after the forced amalgamation by the Jeff Kennett State Government of the City of Port Melbourne with the Cities of South Melbourne and St Kilda to form the City of Port Phillip. First demonstation was against the City of Melbourne Act which excised 42% of Port Melbourne's rate base (Fishermens Bend) and so laid the groundwork for amalgamation afterwards because Port Melbourne could not survive on the remaining rates. Refer to Pat Grainger, Liana and David ThompsonWhite cardboard attached to a wooden stick with hand lettered anti-amalgamation slogan in black. "Stop This Economic Piracy"public action campaigns, amalgamation, local government - city of port melbourne -
Gippsland Art Gallery
Painting, Pannka, Claude, Ghost Gums, MacDonnell Ranges, c.1950
Donated from the estate of John Leslie OBE, 2017Watercolour on papergippsland, artwork, permanent collection -
Federation University Art Collection
Painting - Mural, [Untitled], c1990
This mural was an community art project for Visual Arts Students. During this era the art students were based at Mt Helen Campus in 'A' Building, and the painting lecturers were Iain Reid and Doug Wright. 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.This work was exhibited in an external situation since it was created. Over the decades sun and weather have taken their toll.art, artwork, mural, students, alumni -
Ararat Gallery TAMA
Textile, Sara Lindsay, Pulse (diptych), 2001-2002
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Bendigo Historical Society Inc.
Textile - FLOUR BAG COLLECTION: GRIMSBY ROLLER MILL, BENDIGO, 1900-1950
Textiles. Calico flour bag printed on one side in red "GRIMSBY ROLLER FLOUR MILLS, STEWART SCOTT & CO CRYSTALS, BENDIGO''. In centre is a crown. Remnants of black cotton stitching along top opening. The two-story section of this mill was built in about 1873 with grinding stones. In 1887 the owners Stewart and Scott purchased new roller machinery and built a four-storey building to house it. The new building was designed by Architects Beebe and Son.textiles, domestic, grimsby roller mill bendigo flour bag -
Darebin Art Collection
Painting - Holly Hunt, 'Market Days', 2022
Holly Hunt is a Melbourne-based artist, working across painting and printmaking. Her work is influenced by her everyday environment and experiences living in the northern suburbs of Melbourne — an area defined by its rich multiculturalism and working-class history. Her work captures and conveys fleeting moments of everyday life, and the diverse neighbourhoods and people that inhabit them. ‘Market Days’ reflects a period in time when Preston Market faced increasing uncertainty due to plans for redevelopment. The unusual presence of the fox symbolises these concerns, echoing the looming threat posed by the development to the market's cultural significance within the community. This scene evokes an element of nostalgia and illustrates the tension between the old and new in our society.preston market -
National Vietnam Veterans Museum (NVVM)
Print, HMAS Hobart
Black plastic framed coloured print of HMAS Hobart passing landprint, hmas hobart -
Flagstaff Hill Maritime Museum and Village
Decorative object - Ornament, ca. 19th century
This fine white unglazed porcelain figurine is one of six donated together, and one of a pair of two children carrying baskets on thei. The bisque material was easy to carve and allowed fine detail. Figurine ornaments were popular for table decorations between the mid-18th to early 19th centuries. This ornament was made in Germany, and German manufacturers began to use bisque material to make realistic faces for dolls in the 1850s.The set of six bisque figurines is representative of popular table decorations during the 19th and early 20th centuries.Fine unglazed white porcelain ornament, carved to represent a girl holding a basket on her back. One of a pair, the other being a boy holding a basket on his back. The hollow basket is a vase. It was made in Germany. "1084" "105" "GERMANY"flagstaff hill, warrnambool, maritime museum, bisque, china ornament, white china ornament, german, porcelain, unglazed porcelain, 19th century, 18th century, european ornament, pottery, unglazed pottery, domestic ornament, decoration, table decoration, germany, girl with basket, vase -
National Vietnam Veterans Museum (NVVM)
Print, Fire Support Base Coral - May 1968
Coloured photo in black wooden frame with brown matt board depicting 3 U.S. Army self-propelled artillery & 3 soldiers in the foreground in a sand bagged defensive position.54GP 3F35 , A-16 (on artillery piece). My Vietnam collection @Fred Bowden; Fire Support Base Coral, May 1968.fire support base - coral -
Ararat Gallery TAMA
Textile, Frances Burke, Spider Orchid (mat), c. 1955
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. -
Federation University Art Collection
Painting, 'Where Shall I Go?' by David McMaster
David McMASTER David was a student at University of Ballarat (now Federation University) Arts Academy when this work was undertaken. In 2007 David McMaster completed a Bachelor of Visual Arts (Fine Arts) Honours at the University of Ballarat Arts Academy, after undertaking a Bachelor of Visual Arts (Fine Arts) at the University of Ballarat Arts Academy from 2004 to 2006, with major studies in Painting, and minor studies in Ceramics and Papermaking. artwork, artist, david mcmaster, abstract, mcmaster -
Wodonga & District Historical Society Inc
Decorative object - Silver toned Dome Shaped Clip on Earrings from the Sarah Coventry Jewellery Range c. 1970s-1980s
Sarah Coventry Pty. Ltd. was a North American jewellery company that was established in 1949 by the Stuart family as part of Emmons Jewelry, Inc. It began operations in England and Australia in 1968, and in Australia it moved from Carlton in Melbourne to Wodonga in 1969. The premises were originally on High St. in Wodonga, but a new warehouse was built in Melbourne Rd. later in 1969. It was a direct selling jewellery business using a party-plan model similar to Tupperware and Avon. The sales reps or 'Hostesses' were provided with jewellery samples in demonstration kits, which they displayed at jewellery parties in their homes. The designs for jewellery such as brooches, necklaces, earrings, chokers and bracelets were purchased from freelance designers and jewellery manufacturers rather than in-house designers. In 1979 Sarah Coventry Pty. Ltd. in Wodonga was bought by three Australian businessmen, including Wodonga local Jim Sawyer, and continued to sell jewellery under the name "Sargem Pty. Ltd”, for several more years in the 1980s. As part of the Sarah Coventry collection, the earrings have local significance with the decentralised commercial development of regional centres such as Wodonga in NE Victoria, as well as national and international significance from the perspective of social and economic developments for women after World War II. The direct selling party-plan business model Sarah Coventry was based on is also considered the first of its kind for jewellery.Silver toned dome Shaped clip on earrings from the Sarah Coventry Jewellery RangeOn back of earring clip: "(c)SARAH COV/PAT PEND". sarah coventry, jewellery, wodonga, costume jewellery, vintage fashion jewellery, earring, earrings, clip on earrings -
Swan Hill Regional Art Gallery
Print, HUNTER Philip, Large Plain 1, 2003