Showing 3557 items matching art
Artwork, other (1226) Ceramic (748) Decorative object (667) Drawing (4561) Mixed media (486) Painting (2384) Print (1653) Sculpture (397) Textile (1237) Work on paper (2029)-
Swan Hill Regional Art Gallery
Print, FRAZER, David, Slow Boat, 2016
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Ararat Gallery TAMA
Textile, Joy Smith, Lamb Dancing 2, 2003
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National Wool Museum
Textile - Jumper, Tina Knitwear, 1980-2000
Part of a selection of garments knitted by ‘Tina Knitwear’. Tina Knitwear was a successful made to order knitwear business in Brighton from the mid-1960s to around 2010, run by Assunta and Franco Liburti. This garment was owned and worn frequently by Assunta herself, as part of an ensemble. Daughter Melissa Persi writes: Our parents Assunta (Mum) and Franco (Dad) Liburti ran a successful made to order knitwear business in Brighton from the mid-1960s to around 2010. Assunta was affectionately known to her family as Assuntina, therefore the business was named "Tina Knitwear" after her. Assunta and Franco were born in the beautiful seaside town of Terracina in Italy in 1933 and 1930 respectively. As was so common in Italy in the 1950s, Assunta who was in her late teens and early twenties learnt the intricate skills of machine knitting, dressmaking and pattern making. Franco on the other hand, learnt the building trade with his 2 brothers and specialised in bricklaying and tiling. As was so common after the war, Assunta and Franco yearned for a better life so they decided that they would get engaged and then migrate to Australia to be married and raise their family in Australia, a land of much opportunity which they no longer felt their beloved Italy held for them. Assunta migrated to Australia first in 1957 and later Franco joined her in 1958 where they were married. For the first few years, Franco (also known as Frank) worked as bricklayer /tiler on buildings such as the Robert Menzies building at Monash University in Clayton and various buildings in the Melbourne CBD. Assunta on the other hand put her machine knitting skills to use working in factories doing piece machine knitting for various knitwear companies. The hours were long, the conditions were difficult, and travel was onerous without a car. After their 2 older children were born, it was decided that dad would leave the building trade and they would start their own made to order knitwear business. That way they could work from home and raise their family together. Mum taught dad everything he needed to know so he could operate the knitwear machinery. They purchased COPPO knitting machines from Italy and a Linking machine from Germany. Initially they had a knitwear shopfront in Bay Street Brighton where a store assistant would take the orders and client’s measurements and Assunta would then make the garments from a small workshop in their home. Unfortunately, the assistants were not skilled dressmakers and often measurements and orders were incorrectly taken. Assunta being the perfectionist and highly skilled machinist that she was, decided that she needed to oversee the entire process from meeting the client, to taking their order, right thru to the fittings and completion of the garment. It therefore made sense that they should close the shop front and run their business from their own home in Brighton and hence “Tina Knitwear” was born. Together, for more than 40 years they ran their very respected and successful business and were well known in the Bayside area. They specialised in made to order knitwear for both men and women using mainly pure wool (from Patons, Wangaratta Mills, Japan and Italy) but also lurex and estacel. Over those years, many of their clients became their close friends. It wasn't unusual for clients to come to order garments and then end up in the kitchen chatting over a cup of Italian espresso coffee and homemade biscuits. Some of their clients were especially memorable and became lifelong friends. Mrs Connell was a dear friend of mum’s, each year she would buy tickets for the “Gown of the Year” fashion show. She would insist on taking Assunta and her 2 daughters so that we could see the latest fashions. Then there was their dear friend Ms Griffiths. She had been a Matron nurse at the Queen Victoria Hospital when she met my parents in the 1970s. She returned to live in New Zealand in the 1980s but came back to Melbourne every year to stay for 2 weeks with the sole purpose of visiting my parents (she adored them) and order garments. For those 2 solid weeks, mum and dad would only knit for Ms Griffiths and she would go back to New Zealand with at least 5 or 6 new outfits. I actually think she enjoyed mum’s homemade pasta almost as much as her new clothes! Over the years, my parents learnt to speak English very well given that majority of their clients were not Italian speaking. Their oldest child John born in 1960 learnt to speak English with the help of those clients who were such a big part of our childhood. Mum and dad always went above and beyond to ensure their clients were satisfied. Mum was an absolute perfectionist and it showed in her attention to detail and the quality of their beautiful work. You only need to look at the garments that have stood the test of time or speak to their clients to know that this is true. Their clients would always comment on how well their clothes would last and much of their clients came via word of mouth and recommendations. Occasionally there would be disagreements because mum had found an error in dad's knitting (either a wrong stitch or a sizing mistake mainly) and would ask him to redo a piece, he would argue back saying that it was fine, but we always knew who would win the argument and that the piece would get remade! Similarly, we recall discussions where mum would ask dad to find a particular colour of wool in the garage where the stock was kept. He would try to convince her that they were out of stock of that colour and that the client should choose a different colour. She would insist they had it and then after hours of searching, he would return into the house sheepishly holding the wool! Our childhood is full of beautiful memories of mum and dad always being present, clients coming and going, mum humming her favourite songs as she worked often late into the night and sometimes, we even fell asleep to the hum of the machinery. They put their heart and soul into "Tina Knitwear" and took pride in providing only the best quality garments for their clients. In Italian there is a saying “lei ha le mani d’oro” which literally translated means “she has hands of gold”. Franco enjoyed his work but for Assunta, it was more than just work and there is no better way to describe her skills, passion and dedication to her machine knitting… she truly did have “hands of gold”. We will forever be grateful that our parents’ life journey gave us the opportunity to live in a home filled with creativity, dedication and passion, amazing work ethic and mutual respect, lifelong friendships and a lifetime of love. Forrest green long sleeved crew neck jumper with black horizontal stripes on lower half. Button at the back of neck. knitwear, clothing, italy, migrants, brighton, knitting machine, linking machine, garments, business, family, community -
Australian Lace Guild - Victorian Branch
Textile - Torchon lace
Use: Domestic. Household trimmingBobbin lace insertion -
Flagstaff Hill Maritime Museum and Village
Print - Landscape, Jean Baptiste Camille Corot, Souvenir of a Journey to Coubron, 1908-mid-20th century
Famous French artist Jean Baptiste Camille Corot, 1796-1875, was trained in the classical landscape style. His inspiration came from his travels around France and Italy. He developed a soft poetic or romantic style of work which became very popular. He had the skills to bring'light' into his paintings. The original oil on canvas painting by Corot is held at The National Gallery in the United Kingdom. It is titled 'Souvenir of a Journey to Coubron' and is one of twenty-seven of his works at the Gallery. Corot visited Coubon, east of Paris, many times. In 1873 during his stay there he sketched the scene that became the basis of this painting. This reproduction print was made by The Medici Society Ltd., founded in England 1908. The Society's aim was to make artwork affordable and available to the general public. The name Medici was chosen to honour the support and encouragement given to artists in the 15th century by Lorenzo de' Medici (1449 - 1492), known as Lorenzo the Magnificent, and his family. His profile is on the company's trademark. The Medici Society still produces Fine Art reproduction prints as well as selling original works. The print was framed by Westminster Art Gallery in Camperdown, London. The handwritten text on the back of the artwork adds some background to the artist: Corot was apprenticed to a Draper but changed to his profession at the age of 22 years. When he went from a poor artist to achieving wealth and fame he generously supported his less fortunate fellow artists. Corot found that the light and shade in a natural scene meant more to a landscape painter that what could be learned by following the principles of the academies. Corot was 51 years old before he sold his first picture. He though that he was the only artist that could really paint 'light'. The National Gallery, Victoria, has an original oil on canvas by Corot "the bent tree", created 1856-1860. It is in a similar style to this print "Souvenir of a Journey to Coubron", which was likely to have been painted around the same time.This high quality reproduction print was produced in the early-to-mid 1900;'s. This advancement in technology allowed everyday people to own and enjoy the fine art that was previously only accessible to the wealthy. The print is significant for its association with the famous 19th century artist Jean Baptiste Camille Corot.Print of a painting by Jean Baptiste Camille Corot, depicting a landscape with two buildings amongst trees and a boatman in the marshy foreground. The print is famed in carved timber with a cream matt, behind glass. there is an inscription on bottom right of print and further stamped and handwritten inscriptions of the reverse paper. The is a genuine Medici Society Fine Art reproduction print and was framed by Westminster Art Gallery.Original artwork painted and signed by artist "COROT" White sticker with"32" Reproduction print by the Medici Society, London Stamp "Westminster Art Gallery / 91 CAMBERWELL RD. / CAMBERWELL E.6." Text on Corot's history Underlined statement "GENUINE MEDICI PRINT "flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, jean-baptiste-camille corot, french artist, jean corot, camille corot, print, souvenir of a journey to coubron, coubron, 19th century artist, medici society, reproduction print, westminster art gallery, fine art -
Whitehorse Historical Society Inc.
Textile - Doyley
Oval white cotton doyley with white embroidery. Scalloped edging in button hole stitch.handcrafts, needlework, manchester, table linen -
The 5th/6th Battalion Royal Victoria Regiment Historical Collection
Textile - Mortar Platoon Flag
Flag made to represent Mortar Platoon 1RVR in the late 1970s.This flag was created by the members of Mortar Platoon ( likely 1RVR) in .the late 1970s. It lists the names of the members of the platoon at the time. This item is well provinances Dark red cotton, rectangular flag with white satin pelican carrying two mortar bombs sewn on the obverse in the centre. The Pelican has black sitiching for details and the mortar bombs are oulined in black. The flag has gold coloured trim. "Mortar Platoon" and the names of the platoons members are embroidered in an orange/ gold coloured thread"Mortar Platoon" " John Barber" "Graham Hamilton" "Jeop Damen" " Ron Banks" "Ray Smart" "Tom Johnston TC" "Jim Campion" "Alan Single's" Bob Johnstone ( Johnno)" "Phil Dunk" " John Rees" "Oley Ok" " Rick Grant" " Bob Howe" "Reg Hayes" "Graham Davies"5/6 rvr mortar platoon, 5/6 rvr, 1rvr, army reserve, mortars, flag, 5/6 rvr bhq -
Bendigo Historical Society Inc.
Textile - Polo Shirt
The celebrated EMU CREEK BUSH BAND is a social group, which fosters junior members, has the promotion of authentic Australian Traditional Music as its aim. This is played on acoustic instruments featuring the 'squeezeboxes' i.e. the German system concertinas and button accordions along with fiddle, mandolin or banjo mandolin and whistles. Piano, banjos, guitars, double bass, washboard or lagerphone and drums play rhythm. Based in Central Vitoria. https://www.bendigobushdance.org.au/layout.php?p=1White polo shirt with the logo "The Celebrated Emu Creek Bush Band" printed centre front in blue and yellow. In the centre of the logo is d drawing of the head of an emu with one eye open and one eye closed. Clothing label identifies the manufacturer - Centavic Clothing, For Embroidery and Screen Printing. Includes Phone and Fax numbers. Size XXL.colonial dance, bush dance, old time dance, emu creek bush band, peter ellis collection -
Mont De Lancey
Textile - Doiley
Used for placing food on or ornaments on furniture.A small square ornamental handmade doiley made of white cotton with a large lace patterned border and scalloped edging for use under cakes or ornaments placed on furniture.table linen, lace, cotton, cotton thread, table accessories, soft furnishings -
Wangaratta Art Gallery
Print, Leon Pericles, Ned's Gang Dive on the Great Barrier Reef, unknown
Rural City of Wangaratta CollectionA rectangular print of a comical depiction of the Kelly Gang diving at the Great Barrier Reef, printed in brown and black ink on white paperObverse: AP/ "Ned's Gand Dive on the Great Barrier Reef"/ Leon Pericleswangaratta art gallery, leon pericles, ned kelly, kelly gang -
Gippsland Art Gallery
Print, Schell, Frederic B, Wilson's Promontory, 1886
Purchased, 1984Woodcut print on papergippsland, artwork, permanent collection -
Kew Historical Society Inc
Decorative object - Embroidered Commemorative Doily, 1954
The Fashion & Design 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.Embroidered doily in the shape of Australia commemorating the ‘Royal Visit 1954’. The multicoloured embroidered images used on the include koalas and eucalyptus flowers on a cream fringed ground. doilies - patriotic, doilies - symbolic, soft furnishings, royal visits -
The 5th/6th Battalion Royal Victoria Regiment Historical Collection
Textile - Scarf, 2012
Timor Leste Scarf, blue wool with red black and yellow writing scarf, timor leste -
Kew Historical Society Inc
Decorative object - Wallpaper samples from 'Reno', St John's Parade, 1880-1914
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 is part of the larger design shown in the previous sample (1971.0002.5). It includes a detail of the trellis element from the larger scheme.wallpaper, samuel cocking, reno, st john's parade, kew -
Heidelberg Golf Club
Decorative object - Badge, Heidelberg Golf Club, Monthly medals
Small gold badges/pins awarded as a men's golf prize, donated by Mr Gloster. Gold coloured metal badges on velvet base; with HGC in different scripts. Hook on back "HGC" monthly medal, badges, gloster -
Churchill Island Heritage Farm
Textile - Lace Trim
This is another machine lace made using a thicker crochet-like thread, quite possibly cotton judging by the texture. The geometric pattern has been made in the style of Torchon lace and it gives the appearance of softness and comfort. This lace is quite narrow (1.1cm) and was not made as an insertion lace but as a trim. It was most likely used as a trim on children’s underclothing and bed linen. It may have been used as a trim on a mob cap for a maid or a less senior member of the household. This machine made lace would have been made on a Barmen machine which was developed in Germany in the 1890s and was capable of making perfect copies of Torchon and other simple bobbin laces.The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by three generations of Amess women - Jane, Janet and Unity. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island.Torchon machine lace, coarse crochet like thread. One fairly straight edge with picots. Other edge has clusters of elongated picots at even intervals. Geometric pattern insidechurchill island, lace, janet amess, lace collection, torchon -
Ballaarat Mechanics' Institute (BMI Ballarat)
Print - Photograph by Herb Richmond. ca 1971, Wallace and Lion statues, Ballarat Botanical Gardens
Ballarat HistoryOld semi-gloss printballarat, ballaraat, botanical, gardens, lion, wallace -
Swan Hill Regional Art Gallery
Print, RICARDO, Geoffrey, The Beastliest, 2019
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Gippsland Art Gallery
Print, Salvatore, Maxine, Bad Reality, 2013
Purchased, 2014Two-plate photo-polymer etching on chine colle on papergippsland, artwork, permanent collection -
National Vietnam Veterans Museum (NVVM)
Print, Framed Cartoon, Alan R Reed, 1987 (estimated)
Brown Framed Caricature of Alan R Reed standing against a map of Vietnam in his Flying Uniform with his helmet tucked under his arm. He has completed one hundred combat missions RF 4C AircraftSquadron Leader Alan R Reed 100 Combat missions. RF 4C Aircraftalan reed, framed picture -
The 5th/6th Battalion Royal Victoria Regiment Historical Collection
Decorative object - Trophy, CUP 8th AI BRIGADE
8th AI Brigade Challenge cup won by 32nd BN jan 1918 & Nov 1918Cup won by predecessor unit Large Silver 8th AI Brigade Challenge cup won by 32nd BN jan 1918 & Nov 1918. Silver mark near handle. Top has handle with rams heads and floral garlands. Base has floral garlands & faces. Ornate handles with leaf design.8th AI Brigade Challenge cup won by 32nd BN Jan 1918 & Nov 1918regimental property, trophy, 5/6rvr, bhq, 32bn, 58/32 bn, ww1 -
Flagstaff Hill Maritime Museum and Village
Textile - Pillow Case, Mary Jane Giles (Mrs Harry Giles), Late 19th to Early 20th Century
These pillow cases are are of many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940. The Giles family collection is of social significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it’s establishment. But the Giles collection also gives us today a snapshot into what domestic life was like in early colonial times prior to Federation.Pillow Cases (2), white, with hand knitted lace border. (Giles Collection)Nonewarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, manchester, pillowcases, hand crafted pillowcases, bed linen, giles collection, henry giles, tower hill, warrnambool breakwater, mailor’s flat, wangoom, 19th century household goods, textiles -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Decorative Object - Hat Badge, 13th LHR Dancing Devil Hat Badge, 1916
Dancing Devil hat badge was originally privately comissioned and purchased by members of 13th LHR circa 1916, in recognition that the 13th LHR was nicknamed "The Devils Own" This hat badge was unauthorised but still worn by members of the 13th Light Horse Regiment while on operations on the Western Front.An unauthorised hat badge of the 13th LHR used by members of the Regt while on operations on the Western Front.Brass Hat Badge, dancing devil with pitch fork above wreath with 13 ALH inscibed. Two lugs on rear."13 ALH" inscribed on base of wreathheraldry, badges, devils, aif, western front, light horse regiment -
8th/13th Victorian Mounted Rifles Regimental Collection
Print - VMR officers 2nd contingent
Framed print showing officers of the Second Contingent of Victorian Mounted Rifles to South Africa. The officers are: Colonel Tom Price, Captain Jenkins, Lieutenant Adjutant Lilley, Lieutenants Umphelby, Norton, Bree, Sergeant, Umphelby, Anderson and Kirby, military, south africa, boer war, vmr -
Kew Historical Society Inc
Print, Studley Pk Toll Bridge, July 12 1899
Black and white print photograph of the wooden 'Penny Bridge' at Studley Park. The name was colloquially arrived at as a penny wa the toll one paid to cross the bridge. The copy of the postcard identifies the photographers as McAlpin Bros, Richmond.Reverse: "Studley Pk Toll Bridge / joining Church Street Abbotsford / Penny Bridge"toll bridges -- river yarra, bridges - yarra river -- kew (vic.), penny bridge -
International House, The University of Melbourne
Print, Group of people including Samuel Wadham, Sam Dimmick and Dorothy Wadham [?] eating dinner; includes some students in academic gowns, c.1962
Black and white photograph of Group of people including Samuel Wadham, Sam Dimmick and Dorothy Wadham [?] eating dinner; includes some students in academic gowns -
Churchill Island Heritage Farm
Textile - Lace Trim
This is a very dense machine made lace reminiscent of a Valenciennes style. The folk art style roses and interconnecting six petal flowers are set into quite a dense net ground. The trim appears to have been made on a Pusher machine - although it was only able to make the lace pattern and the net. Any outline had to be filled in later by hand using an embroidering machine. Nottingham stopped making Pusher lace probably in the early 20th century but it continued to be made in France. The Pusher machine was a variation on John Heathcoat’s Bobbinet machine developed by Samuel Clark and James Mart in 1812. It takes its name from the rods which pushed the carriages through the machine. The Jacquard apparatus was adapted to it in 1839. The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by four generations of Amess women. section of lace trim, with very dense valenciennes pattern, small lowers and leaves interwoven with larger motifschurchill island, lace, janet amess lace collection, trim, amess, machine -
Australian Lace Guild - Victorian Branch
Textile - Bedfordshire Maltese Lace, Late 19th or early 20th Century
Use: Domestic. Household trimmingBobbin lace edging. Sample -
Australian Lace Guild - Victorian Branch
Textile - Honiton lace, Early 18th Century
Very fine lace used for costume trimmingBobbin lace edging. Sample -
Gippsland Art Gallery
Print, Pasmore, Victor, By What Geometry…?, 1974
Donated from the estate of Patricia Marie White, 2013Etching on papergippsland, artwork, permanent collection