Showing 2309 items matching art
Artwork, other (1213) Ceramic (746) Decorative object (661) Drawing (4552) Mixed media (471) Painting (2350) Print (1648) Sculpture (394) Textile (1022) Work on paper (2003)-
Mont De Lancey
Decorative object - Conestoga Wagon, Mr Chas W Davis, Unknown
The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Canestoga Wagon replicates the vehicle that enjoyed respect from the public during the 1880's. A model of a long covered Conestoga Wagon with two horses, brown and tan. The cream fabric covers curved shaped metal bands and is laced with string around the base to attach it to the wagon.It has a green base, green wooden seat and footrest. There are two wooden barrels attached by wire on one side and the other side has a luggage box. It has two small gold painted spoked wheels with painted black tyres at the front and two larger ones at the back. The forerunner of the Conestoga Wagon had its origin in Europe as a mobile home for shepherds and nomads in the early 1800's. The east coast of America became home to people from all over Western Europe so the old wagon designs were carried to the New World. The wagons were named after a river in Lancaster County Pennsylvania where the Stutz family built them for the western treks of history. Fondly known as the 'Prairie Schooner', the cost in 1840 was $48.00, unpainted spare wheels $8.00, Lawson axles $12.00. They came in 12 and 14 feet beds.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses, drays -
Queenscliffe Maritime Museum
Print - Reproduction print, framed, AV Gregory, Ormus 1887
In 1883 The Orient Steam Navigation Co. Ltd., of London signed a contract with the Government of New South Wales, Australia to carry emigrants from the United Kingdom. The Company would be paid £15 per head for up to four hundred persons and £14 and 10 Shillings for numbers between four and six hundred persons per voyage.A reproduction print of a painting by AV Gregory of the vessel Ormus, 1887. The print is mounted under glass and framed in a dark brown timber frame.rms ormuz, reproduction print -
The Royal Children's Hospital Archives
Decorative object, Silver jug presented to Lady Latham, 1954
Lady Ella Latham was President, Children's hospital Committee of Management, from 1933 to 1954.Silver jug with lid and handle, engraving on side.Presented To Lady Latham, C.B.E By The Senior Medical Staff, Royal Children's Hospital, In Gratitude And Appreciation, 27th May 1954 -
Whitehorse Historical Society Inc.
Decorative object - Doyley
White cotton rectangular doyley edged in blue blanket stitch. Thick embroidery thread is used in flower pattern.manchester, table linen -
Latrobe Regional Gallery
Print, CHADWICK, Lynn b. 1914 England d. 2003 England, Standing Figure, 1969
LithographSigned 'Chadwick 69' in lower right corner of print. Edition 19/150, lower left corner of print. -
National Wool Museum
Print, Chris McClelland, Shearing the Rams – Tuppal Station, 210
Chris was invited to be artist in resident for the historic re-enactment of “Shearing the Rams” at the North Tuppal Station woolshed held on the 4th and 5th June 2010. The celebration attracted record crowds to witness the shearing of the station rams by 72 blade shearers. Over a single weekend in 2010, thousands of people queued for hours to see a piece of Australian history recreated at North Tuppal Station near Tocumwal, NSW. In 1900, Francis Faulkner invested a staggering £4000 to extend his shearing shed on Tuppal Station, making it the biggest in the country. Over the next decade more than three million sheep trod its pine boards and were shorn in its 72 stands. After years of drought and the Great Depression, the property fell into disrepair and the station was split up. When North Tuppal Station was sold to the Atkinson family in 1928, just five of the 72 stands were in operation. In 2010, Sport Shear Australia approached the Atkinson family about holding an event in the historic shearing shed to raise money for a team of Australian shearers to go to the world shearing title in Wales. An army of volunteers restored the T-shaped shed and yards and organised a weekend of events. Over two days, 6,000 sheep were shorn and all 72 stands of the restored North Tuppal shed were brought back to life. A total of 117 shearers shared the boards with 90 wool handlers who skirted 19 fleeces every minute. For a period on each day of this historic weekend, the machines were then silenced, and 72 shearers picked up their old blade shears to recreate past shearing methods. “When they fired up and got the blades out there was deathly silence on the board - you could hear a pin drop because normal shearing you have all the machines and it is quite noisy. Here you could just hear the click, like in the song Click Go the Shears Boys. People had tears in their eyes. It was quite an emotional thing to see that and very proud to be here.” George Falkiner, grandson of Francis FalkinerColoured framed print of shearing scene in the Tuppal station, Ferrrier’s wool press on the left-hand side and station on the top. Print in framed in a light-coloured wooden frame with white coloured matte.Under artwork - In 1891 Tuppal Station, a sum of 176,000 acres threshold, was bought by Mr Fiane Sadlies Falkines, Under the management of his eldest son F.B.S. Falkines, the 72 stand woolshed was build in 1900 and powered by a 16 horsepower steam engine. Sheep were pure Boonoke blood and the average numbers of sheep shorn over nineteen years to 1909 was 152,780. Around 7200 sheep could be shorn daily. The largest clip totalled 3326 baled of greasy and scoured wool and was sold in London. Bottom right corner - Chris McClelland 181/720 Shearing The Rams – Tuppal Station -
City of Whittlesea
Decorative object - Commemorative objects
Council has a number of objects that commemorate various visits and events -
Ararat Gallery TAMA
Decorative object, Mizuhiki, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Latrobe Regional Gallery
Print, MITELMAN, Allan b. 1946 Poland. Arrived Australia 1953, Untitled, 1985
LithographSigned and dated 'Allan Mitelman 1985' lower right corner under printed image. Edition A/P, lower left corner under printed image. -
Geoffrey Kaye Museum of Anaesthetic History
Decorative object - Vase, Selangor Pewter
Small pewter vase with a round base and fluted stem.[hallmark] SELANGOR / PEWTERselangor pewter, corporate gift -
Gippsland Art Gallery
Print, Jack, Kenneth, The Goulburn River, c.1960s
Purchased, 1968Lithograph on papergippsland, artwork, permanent collection -
Numurkah & District Historical Society
Decorative object - Leadlighting
3 rows of rectangular clear glass shapes, with flower design in the centre -
Horsham Regional Art Gallery
Print, Doug CROSTON, Second roundabout, 1976
Gift of Mr Reg Collins, 1982 -
Kew Historical Society Inc
Print - Framed Fashion Plate, History of Fashion - Republic from 1790 to 1792, Republic from 1793 to 1794, c.1878
Framed fashion plate showing the 'History of Fashion' from 1792-94 in France.fashion -- 1790s, fashion - france, fashion plates -
Swan Hill Regional Art Gallery
Print, CANTRILL, Ivor, Man, 2010
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Port Melbourne Historical & Preservation Society
Decorative object - Air vent cover, Huntingfield Hall, Missions to Seamen, Port Melbourne, Harry Norris, Architect, 1936
Casted air vent cover from Huntingfield Hall, Missions to Seamen building, Port Melbournemissions to seamen, architecture, harry a norris -
National Vietnam Veterans Museum (NVVM)
Print, The Battle Of "Long Tan:
In a gold and black frame with glass front is a coloured print of the Battle Of Long Tan, Phuoc Tuy Province, south vietnam on 18th August 1966 with images of soldiers in various poses fighting and casualties. There are four panels below the painting with signatures of Commanders and Platoon Sergeant.This painting was won in a raffle by Mr. Crosby in Buninyong, victoriaframed print, 6 rar, d coy, 10 platoon, 11 platoon, 12 platoon, battle of long tan, phuoc tuy province, lt col h.a. smith, maj g.m. kendall, r.s. buick mm jp, 2lt dave sabben -
Glenelg Shire Council Cultural Collection
Print, Pandora's Box, 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 of abstract chess board with chess pieces and blocks of text. The chess board has abstract shaped squares of red and black. The chess pieces appear in the normal form and as images which have been cut into pieces. The blocks of text are red with black text and refer to controversial events in Portland's history.Front: 5/12 Pandora's Box. P. Tsernjavski '84 Back: 45 -
Swan Hill Regional Art Gallery
Print, HUNTER Philip, Large Plain 7, 2003
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Kew Historical Society Inc
Decorative object - Wallpaper sample from 'Reno', St John's Parade, 1890s
Comparatively few weatherboard houses in Kew survived from the early years of settlement into the second half of the 20th century. One such property was ‘Reno’, which once stood on the east side of St John’s Parade. Its earliest recorded owner was the architect Samuel Cocking who lived there from c.1865 until his death in 1888. The original landholding was bordered by Cotham Road, Glenferrie Road, Wellington Street, and Charles Street. The southern portion of this land included a fine orchard, with many imported trees. The old summer house, at first in the orchard, was later removed to the house garden. The MMBW Detail Plan No.1576 (1904) shows the remaining portion of the original land holding, including a semi-circular pathway at the front, and garden features such as an aviary, a fountain and grotto, and a fernery. None of these are apparent in photographs dating from the 1960s, where the garden, which once included rare plants provided by Baron Von Mueller, surrounds the cottage in a tangled frenzy. Despite a ‘local significance’ classification by the National Trust, the house was demolished in 1977. Wallpaper fragment from ‘Reno’. This small fragment of floral wall paper is a bolder design than the delicately drawn flowers in 1977.0005.1. The flowers in this example were impressionistically created using printing blocks that allowed for different thicknesses of paint to be applied in the hand-blocking process. wallpaper, reno, st john's parade, kew -
Swan Hill Regional Art Gallery
Print, BOWEN, Dean, Country Life, 1995
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Flagstaff Hill Maritime Museum and Village
Decorative object - Sphere, circa 1840
This metal sphere is part of the wooden barque, the Grange, built in 1840. The sphere was recovered from the shipwreck of the Grange in around 1968, 110 years after the Grange was wrecked (see below for further details on the Grange). It is part of the John Chance Collection. THE GRANGE, 1840-1858- The wooden barque ’Grange’ was a three-masted ship built in Scotland in 1840 for international and coastal trade. On March 22, 1858, the Grange set sail from Melbourne under Captain A. Alexander, carrying a cargo of ballast. The barque had left the Heads of Phillip Bay and was heading west along the Victorian coast towards Cape Otway. The ship struck Little Haley’s Reef at Apollo Bay due to a navigational error and was stuck on the rocks. The crew left the ship carrying whatever they could onto the beach. Eventually, the remains of the hull, sails and fittings were salvaged before the wreck of the Grange broke up about a month later. About 110 years later, in 1968, the wreck of the Grange was found by divers from the Underwater Explorers Club of Victoria. They were amazed to find a unique, six to nine pound carronade (type of small cannon) and a cannonball on the site. There have been no other similar carronades recorded. In that same year the anchor of the Grange was recovered by diver John Chance and Mal Brown. The sphere is significant historically as an example of hardware used when building wooden ships in the early to mid-19th century. The sphere is historically significant as an example of the work and trade of blacksmith. The sphere also has significant as it was recovered by John Chance, a diver from the wreck of the Grange in the 1968. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The sphere is historically significant for its association with the 1840s wooden barque, the Grange. The Grange is an historical example of a Scottish built vessel used for international and coastal trader of both cargo and passengers in the mid-19th century. The Grange is an example of an early ship, designed with a wooden hull. It is significant as a ship still available to divers along the south coast of Victoria, for research and education purposes. The Grange is an example of a mid-19th century vessel that carried a weapon of defence onboard. Sphere; thin hollow copper, various shades of brown, dimpled or hammered surface with a sheen, no joins. Base has a small hole and is fitted with a hollow, cylindrical brass collar. The collar had a rim on top, inward curving sides and a narrower rim on the bottom. The sphere looks similar to a bed post knob.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, west coast trader, apollo bay, mid-19th century shipwreck, the grange, scottish barque, little henty reef, captain a alexander, underwater explorers club of victoria, 1840s carronade, vhr 5297, coastal trader, wooden shipwreck, john chance, wooden ship, ship fitting, sphere, knob, bed knob, post decoration -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Print - lithograph, Deborah Tate, Once a week, 2010
Created at Billilla Mansion when Deborah Tate was a Bayside Artist in Residence in 2009-10.Deborah Tate, Once a week 2010, lithograph. Bayside City Council Art and Heritage Collection. Donated by the artist, 2010lithographdeborah tate, lithograph, billilla, billilla mansion, artist in residence, rubbish bin, bayside artist in residence -
Swan Hill Regional Art Gallery
Print, RICARDO, Geoffrey, The Game, 2001
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Gippsland Art Gallery
Print, Unknown Artist, The Aboriginal Mission Station, Ramahyuk, Gipps Land, c.1874
Donated by B. & J. Gurling, 1984Hand-coloured wood engraving on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Waters, Pat, Abduction, 1997
Purchased, 1997Monotype on papergippsland, artwork, permanent collection -
Tatura Irrigation & Wartime Camps Museum
Decorative object - Girl Bavarian Doll, Friedel Dehnel, 1040-1945
Else Oertel and her daughter Else-Lore were interned in Camp 3A from 1940. Her husband was not interned as he was on a business trip to Germany when war broke out. Friedel Dehnel "Tante Fiffi" made the authentic Bavarian doll and clothes. Friedel, wife of Walter Dehnel, arrived as a young woman from Austria, working in the Victorian snowfields as a chef and was a champion skier. She then became a dressmaker for Melbourne society and insisted that she be interned to be with her husband. She made costumes for the internment camp plays and took over her husband's duties as a cook for Camp A when he was locked up for "insubordination". She was deported with her husband back to Germany after the war and cared for her orphaned nephews and nieces in Garmisch-Partenkirchen.Doll dressed in authentic Bavarian costume. Black wool hat trimmed with gold lace and dried flowers. Gold coloured skirt on dress with sash. Bodice is black with traditional embroidery. White long sleeves with lace trim at cuffs. She is holding a basket with dried flowers."Merry Christmas Else-Lore" on baseelse oertel, else lore hukins, friedel dehnel, dressmaker, chef, camp 3 -
Gippsland Art Gallery
Print, Turner, J.M.W. (after), Decline of Carthage, c.1859-78
Purchased, 2013Engraving on papergippsland, artwork, permanent collection -
Horsham Regional Art Gallery
Print, Arthur BOYD, Broken nude and flying figure, 1962-1963
Purchased through the Mack Jost Bequest, 2006 -
Bendigo Art Gallery
Print - Work on paper, Jenny WATSON, The Bottled Memories (1-5) #2, 1988
lu.r; 38/40, u.c; #II , l.r; Jenny Watson 1988work on paper, print, printmaker, printmaking, australian artist, female artist, etching, personal, memory, abstract, bottle