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Artwork, other (1294)
Ceramic (767)
Decorative object (720)
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Mixed media (529)
Painting (2485)
Print (1666)
Sculpture (407)
Textile (1396)
Work on paper (2094)
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Mont De Lancey
Textile - Tablecloth
Cream tablecloth with large oval floral centre piece. Has four heavily paneled corners and patterned sides. Flowers scattered throughout.tablecloth -
Melbourne Legacy
Sculpture - Sculpture, ceramic, Ceramic Innovations Pty Ltd, RAAFie
A sculpture of an Australian air force man that was produced as a commemorative piece by a Melbourne firm called Ceramic Innovations. It is filled with Tawny Port and is part of a wider set of bar pieces. The three pieces held at Melbourne Legacy are tributes to the three armed forces and are called 'Digger', 'RAAFie' and 'Jack Tar'. They were once in the comradeship room and now stored in the archive. An advertising flyer for 'Digger' shows the RRP was $110 with $5 of each 'Digger' being donated to Legacy Australia.A record that the items were souvenirs as tributes to the three armed forces.Ceramic sculpture of the head of a airforce person that is made as a bottle, with a separate hat, and contains Tawny PortGold inscription under the hat says 'Bullocks Tawny Port. Bar Piece No 14. Produced by Ceramic Innovations Pty Ltd.'souvenir, bottle, sculpture -
Federation University Art Collection
Textile - Artwork, Millicent Reed, 'Wednesday at 10' by Millicent Reed, 2011-2012
Artist's Statement: "Every Wednesday at 10 o'clock in the morning, from the beginning of Winter, 2011 to the end of Autumn, 2012, I photographed the same scene in my Ballarat garden. While the main subject is the weather of the moment, it includes a walnut tree killed in the recent drought, and a deciduous ornamental plum. There are 52 Wednesdays recorded in the tapestry; and 4 frames showing the seasonal changes in the plum tree. The colours bordering each panel are those of deciduous leaves on trees in my garden that week. It is said we only know eternity in the pulse of the moment; and permanence in the cycle of the seasons."Millicent REED Initally training in tapestry from Sara Lindsay at an ATW community class Millicent Reed received a Diploma of Art (Tapestry) from South West TAFE in 2009. Her strength and direction comes from being part of the unbroken continuum of tapestry art from the beginning of recorded time. Similarly, the sameness and difference of time itself has become the focus of all her work. (https://americantapestryalliance.org/exhibitions/tex_ata/down-south-tapestry-in-australia/down-south-exhibitors-biographies/, accesed 03 April 2020)Woven tapestry in eight panels, each with seven images in each panel measured 212.0 x 57.5 cm. weaving, seasons, tapestry, ballarat, weather, millicent reed -
Darebin Art Collection
Painting - Patrick Francis, Patrick Francis, Nicki Minaj, 2015
nicki minaj -
Whitehorse Historical Society Inc.
Textile - Tray Cloth
Large rectangular linen tray cloth. Drawn thread work and hem stitching. Drawn thread in two patterns, both with woven patterns at each corner. All needlework hand done.manchester, table linen -
City of Greater Geelong
Painting - Oil on Canvas, Graeme Cardinal, Beach at Point Lonsdale
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National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Nan’s Spirit Watching over me (Rita Dalton) Cloak, 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future. The white ochre was used to create the feather pattern. White ochre is deeply connected to spirit or ‘murrup’ as we call it in language. The ochre is used on our bodies in ceremonies to paint our body up and is also placed on graves when someone passes. The white ochre is our most sacred connection to our ancestors and is used to celebrate both life and death. I source the white ochre from the You Yangs and only take what I need for ceremony and my painting.White and black feather motif with yellow eye design on outer clock, brown feather motif in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak -
Gippsland Art Gallery
Painting, Markham, Arthur, Untitled, c.1970s-80s
Donated, 1983Ink and watercolour on papergippsland, artwork, permanent collection -
The 5th/6th Battalion Royal Victoria Regiment Historical Collection
Decorative object - Clock, Rhythm
Medium sized clock- Plastic gold & brown battery operated. Date line as well as normal clock face. Diameter 2005/6 rvr -
Wyndham Art Gallery (Wyndham City Council)
Sculpture, Rosemarie Reber, Oopsie Daisey 3, 2011
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Bendigo Historical Society Inc.
Textile - Fabric remnant
A remnant of pin-tucked cotton and crochet lace fabric, cut from another article, cylindrical in shape with machine stitching joining the edges. There are two bands of crochet lace fabric, the lower one with scalloped edging.favaloro, pin-tucks -
Gippsland Art Gallery
Painting, Huntington, Isabel, Composition with Lilliums, c.1970
Donated by the artist, 1970Watercolour on papergippsland, artwork, permanent collection -
Swan Hill Regional Art Gallery
Painting, NEVILLE, Eric, Peter Dickson ploughing, 1998
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Whitehorse Historical Society Inc.
Textile - Doyley
Square white cotton doyley with white embroidery and drawn thread work. Drawn thread border.handcrafts, needlework, manchester, table linen -
Nillumbik Shire Council
Painting, John NIXON, Eltham, 2014
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Geelong Gallery
Sculpture - Some kinds of duration (Cartridge edition), MANGAN, Nicholas, 2011
Concrete and reinforced steel -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Painting - Oil Portrait, J Williams, Lt-Col J F Williams, December 1978
Lt-Col Williams was Commanding Officer of 4/19 Prince of Wales's Light Horse Regiment from 1975 to 1979One of a collection of portraits of former Commanding Officers of the RegimentFramed, self portrait, oil painting of Lt-Col J F Williamsportrait, williams -
Ballarat Heritage Services
Textile, Victoria Hotel, Daylesford, 1900
A hotel in daylesford run by George Brown in 1900.daylesford, victoria hotel, george brown -
City of Greater Geelong
Painting - Pastel, Charles Moodie, Beach Play - Torquay
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Flagstaff Hill Maritime Museum and Village
Textile - Jug Cover, ca 1910
The jug cover was made by overlapping two squares of net fabric and joining them together. The beads on the cover’s border are used to weigh the cover down and keep it on the jug. 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.Jug cover, square shape, net fabric with blue beads along the 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, handmade, craft, manchester, linen, haberdashery, needlework, crochet, jug cover -
Flagstaff Hill Maritime Museum and Village
Painting, Iron S.S. Champion Frank Helpmann Esq. Comr, 1853 or later
Captain Benjamin Francis (Frank) Helpmann was once the owner of the S.S. CHAMPOIN, then owned it in partnership with S. G. Henty. S.S. CHAMPION was an early steamship and one of the first coastal traders to operate between Melbourne and Portland in Victoria from December 1853 until August 1857, when she collided with the S.S. LIRDY BIRD in the open sea off Cape Otway. CHAMPION was returning from Melbourne, and sank with thirty-two people still on board. The thirty others were saved by the LIRDY BIRD (ref. The Story of a Port : Portland, Victoria, by Noel F. Learmonth)This picture Lithograph) is associated with the S.S. Champion, which is listed on the Victorian Heritage Database VHR S110. The wreck of the SS Champion is significant historically as one of Victoria's worst shipwrecks. As an early steamship it played an important part in the development of and communications between the Western district and Melbourne . Although the site has not yet been located it is predicted to be highly significant archaeologically with the potential to yield information about early coastal shipping and the western district passenger and cargo trade. It is significant technically as an example of an early iron screw steamship, and is part of the western district steamship resource including the SS Casino, SS Coramba and SS Julia Percy.Painting. Lithograph of the schooner S S Champion, hand coloured watercolour, in a cedar frame behind glass. Unusual cross member bracing on the corners of the frame (one missing). Title "Iron S.S. Champion Frank Helpmann Esq. Comr" (in script) on bottom of picture.On the bottom of the painting "Iron S.S. Champion" (in printing), "Frank Helpmann Esq. Comr" (in script) shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwrecked artefact, flagstaff hill maritime village, shipwreck coast, warrnambool, lithograph, frank helpmann, henty -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on canvas, Ulrich Stalph, Autumn at Clunes, 1980
Acquired by the Sandringham City Council in 1981 as winner of the acquisitive Inez Hutchison Award, established by the Beaumaris Art Group in 1966. Lenton Parr was the judge.Ulrich Stalph, Autumn at Clunes 1980, oil on canvas, 135 x 100.5 cm. Bayside City Council Art and Heritage Collection. Winner of the Inez Hutchison Award, 1981.clunes, autumn, landscape, rural, trees, ulrich stalph, beaumaris art group, inez hutchison award -
Merri-bek City Council
Painting - Oil on canvas, Graeme Drendel, Happy Families - Timberoo, 1990
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The 5th/6th Battalion Royal Victoria Regiment Historical Collection
Decorative object - 5 Battalion Pipe Banner holder, 5 Battalion Pipe Banner holder
5 Battalion Flag Banner holderA wooden pipe banner holder the length of a drone. At the end is a crest which says in Latin "Nnemome Impune Lacessit" 5 Victorian Scottish Regiment crest which is a lionNnemome Impune Lacessit5 vsr, 5th victorian scottish regiment, 5/6 rvr -
Clunes Museum
Textile - TABLE CENTRE
DONATED TO MUSEUM. DONOR UNKNOWN.CREAM CURTAIN MATRIAL - BOUND WITH GREEN BIAS BINDING HAND EMBROIDERED IN TWO SHADES GREENhandcraft, needlework, curtain material -
Glenelg Shire Council Cultural Collection
Painting, Port Phillip Bay (Sunset), n.d
UnknownScene of two sailing ships on a harbour at sunset. The ship on the left is in full sail, the ship on the right has furled sails. At front left is a flock of gulls and on front right is a figure in a row boat. At centre right is coastline with structures and several small boats. The sky has clouds reflecting the sunset in pink, yellow and indigo. These colours are reflected on the surface of the water. Framed in gilded wooden frame.Front: A.S. Murray (lower left) Port Phillip Bay (Sunset) (brass plate, l. centre of frame) Back: (no inscriptions) Conservation Centre, Melb. label. -
Darebin Art Collection
Painting - Ray Cann, Ray Cann, Gum Trees
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Swan Hill Regional Art Gallery
Painting, JACK, Kenneth William, Gem, 1963
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Whitehorse Historical Society Inc.
Decorative object - Lace edging
Collected by Whitehorse Historical SocietyLength of embroidered lace on a background of cream net. Pattern is of flowers in cream, mauve and deep pink. The lower edge is scalloped in cream. There are trails of cream leaves and flowers entwined around the coloured flowershandcrafts, lacemaking -
Australian Lace Guild - Victorian Branch
Textile - Chrysanthemum lace, 1900-2000
Use: Domestic Bobbin lace mat