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Artwork, other (1302)
Ceramic (767)
Decorative object (719)
Drawing (4609)
Mixed media (531)
Painting (2485)
Print (1666)
Sculpture (407)
Textile (1397)
Work on paper (2093)
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Federation University Art Collection
Painting - Watercolour on paper, [Landscapes] by Neville Bunning
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 landscape by Neville Bunning.art, artwork, neville bunning, landscape, available -
Wangaratta Art Gallery
Painting, Ross Paterson, Morning, near Euroa, 1985
Rural City of Wangaratta Collection. Wangaratta Art Show Grand Winner 1985.A landscape of a pastoral scene, painted in oil using shades o green, brown, blue, and yellow.R Paterson '85/ (bottom right corner) - GRAND WINNER 1985 -/ WANGARATTA ART SHOW/ (plaque mounted on frame)wangaratta art gallery, ross paterson, landscape, painting pastoral -
Moorabbin Air Museum
Mixed media (Collection) - Westland Wapiti collection, Westland Wapiti
Unclear, possibly Westland or RAAFPhotographs, articles, specifications and technical documents on Westland Wapiti biplane -
Darebin Art Collection
Painting - Keith Martin, Keith Martin, Northcote Town Hall, 1908, 1988
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Gippsland Art Gallery
Print, Turner, J.M.W. (after), Heysham and Cumberland Mountains, c.1859-78
Purchased, 2013Engraving on papergippsland, artwork, permanent collection -
Latrobe Regional Gallery
Painting, Gippsland Twilight 54, 2011
Oil on linen-gippsland, view, twilight, suburban, sky -
Port Melbourne Historical & Preservation Society
Mixed media - Display, protest against closure of Port Melbourne railway line, Kerry Martin, 1987
The picket group formed St Patricks' Day 1987 at Graham station as the first earthworks began for closing the railway.They were confronted by police who used physical force to break the picket. The picket continued at Bridge and Evans for 3 months.Three large yellow sheets with photos of the Port Melbourne Pickets and police officers. 17th or 18th of March 1987. A display, also incorporating a news article about picket Nell Thackray and the protest against closure of Australia's oldest steam passenger railway.police, public action campaigns, transport - railways, port melbourne pickets, neil thackray, bayside project -
Beechworth RSL Sub-Branch
Print - Plate Identification Vehicle
This plate was designed to slide into the brackets of a military vehicle for purpose of signifying which regiment was operating it. Square metal plate with regiment sticker. The sticker has one gold horizontal stripe between two green horizontal stripes and features an image of the English Crown above an image of a kangaroo jumping in-front of two crossed swords. brakets, vehicle plate, regiment -
Churchill Island Heritage Farm
Textile - Lace Trim
This is quite a fine and dainty trim which appears to have been made with a fine linen thread or cotton combined with another fibre, possibly silk or rayon. It has been made by machine in the Valenciennes style as one can see from the diamond shaped ground. Handmade Valenciennes bobbin lace was very costly and time consuming to produce. One pair of ruffles costing £160 would take a lace maker ten months of fifteen hour days to create. Valenciennes was a lace making town on the French- Flemish border and in 1780 had 4000 lace makers but due to the revolution of 1789 the number was reduced to 250. It was initially Flemish but was claimed by the French however the centre for Valenciennes lace eventually diverted back to Ghent and Ypres in Belgium. Valenciennes lace was simpler to produce than Mechlin lace, and was never used for expensive garments. Instead it was applied to bed linen, lingerie, and the fichu (a woman's scarf wrapped over the shoulders and fastened in front).This lace was favoured by Queen Victoria, the Empress Eugenie and others as a trim on undergarments. The basic undergarments were stays, shift (smock, chemise or shirt), petticoat and drawers although drawers were not in general use until the mid-19th century when the tendency of the crinoline to become airborne or to tilt itself at embarrassing angles made a covering garment for the nether regions essential. Drawers were just two cylinders for the legs, joined at the waist with the lower ends frilled or trimmed with lace. Due to its lightness and neatness Valenciennes was favoured although very expensive. Centres in both France and Belgium were soon producing a neat copy. This specimen is one of the wide variety of machine imitations which were made, some so exact as to be almost undetectable. The best was the Barmen form which used linen thread. Only one width could be made at a time so it was much more expensive than that made on the large Leavers machine. Churchill Island has a large lace collection, which was added to by three successive generations of the Amess family - Jane, Janet, and Unity. The Amess family owned Churchill Island from 1872 to 1929. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island. The examples of lace are notable for their variety, and provide representative examples of techniques from the late nineteenth to the early twentieth centuries. Length of lace trim of Valenciennes lace with diamond shape ground.janet amess lace collection, lace, churchill island, trim, machine -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on linen, Rob McHaffie, A little bit more foliage should block out the Empire State bastard next door, 2016
oil on linenpainting, buildings, mother, baby, plants, apartments, rob mchaffie, high rise, parquetry, neighbourhood, foliage -
Glenelg Shire Council Cultural Collection
Painting, Untitled (Lake), 1990
Scene of a lagoon. The lagoon is in lower third of image, in blue and green. The shore is edged with trees, some dead and some with lots of green foliage. Top third depicts a deep blue sky, highlighted in some areas with white. Mounted in cream matt, framed under glass in wooden frame with gold edging.Front: McL 90 (lower right) (white paint) Back: (no inscriptions) -
Whitehorse Historical Society Inc.
Textile - Tea Towel
White linen tea towel with design of kneeling girl in yellow swimming costume holding red basket.Fast Colours.manchester, work cloths -
Federation University Art Collection
Textile - Tapestry, 'Diggers' by David Larwill and woven by the Victorian Tapestry Workshop, 2004
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.A large tapestry woven from the artwork 'Diggers' by David Larwill. art, artwork, david larwill, victorian tapestry workshop, weaving, textiles -
Ararat Gallery TAMA
Textile, Lucas Grogan, The Universe Quilt, 2013
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Gippsland Art Gallery
Print, Rees, Lloyd, Northwood Point, Lane Cove River, 1978
Donated from the estate of Patricia Marie White, 2013Soft-ground etching on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Painting, Jennings, Mavis, Architecture, c.1970s
Donated by Mr Stuart Ashton and Mrs Jean Ashton, Maffra, 1989Oil and collage on boardgippsland, artwork, permanent collection -
Gippsland Art Gallery
Painting, Johnson, Colin, Early Morning Puddles - Sale Station, 1983
Commissioned, 1983Pen and wash on watercolour boardgippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Joyce (Cowman), Val, Nambrok House, c.1950s
Donated from the estate of John Leslie OBE, 2017Acrylic on canvasboardgippsland, artwork, permanent collection -
Ringwood and District Historical Society
Mixed media, Ringwood CWA at Eastern Foothills Group Creative Arts exhibition in 2019
Kindly scanned from Ringwood Branch archival collection -
Glenelg Shire Council Cultural Collection
Print, Klaus Zimmer, On Dulce Jubilo, 1970
NoneSilver circle with embossed square in centre. Rectangular silver shape with patterning, gold rectangular framing in upper half of image. Two orange thin panels on lower half of image. Mounted in marbled cream matt and timber frame.Front: Series 24/1 (lower left) "On Dulce Jubilo" (lower centre) K. Zimmer '70 (lower right) (pencil) Back: (no inscriptions) -
Ararat Gallery TAMA
Mixed media, David Green, Where Do Beetles Come From?, 1983
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Ringwood and District Historical Society
Mixed media, Ringwood CWA Branch's history, craft and thank you to Judy Normand, outgoing Foothills Group President in 2017
Kindly scanned from Ringwood Branch archival collection -
Bendigo Art Gallery
Painting, Franz Hochmann, A Horse Market in a German Village, 1884
Signed and dated, l.r., brown oil "Franz Hochmann. Munchen 84". -
Benalla Art Gallery
Painting, David DAVIES, Port of Melbourne, Not dated
Born: Ballarat, Victoria, Australia 1864; Lived and worked: France and England 1890-1893, England, Wales, France 1897-1939; Died: Looe, Cornwall, England 1939VictorianGift of Mrs E.E. Ledger, 1976Harbour scene with large ships, smoke, a wharf, water and a grey sky. Gold brushed timber frame.Recto: Signed "Davies" in brown oil in l.r.c of composition; Not dated; Not tiltedpainting, seascape, ships, boats, smoke, industrial, dock -
Flagstaff Hill Maritime Museum and Village
Textile - Doily, c. 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 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 a fine example of early 20th-century needlework.Doily, Ovate in shape. White fabric embroidered with a brown bowl with blue and pink flowers and trimmed 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 -
Swan Hill Regional Art Gallery
Print, SANTRY, John, The comedienne, unknown
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Glenelg Shire Council Cultural Collection
Print, Albert Henry Fullwood, Portland Victoria, c. 1886
Scene of Portland Harbour. View includes people walking on beaches, jetties, morred boats (some with sails, some without). Upper centre of image shows a town, with a church to the right. To the left centre is a planned garden with people promenading. In foreground is empty land with a few seagulls. A train track enters the image on bottom centre. Print is predominantly in shades of blue, grey and brown. Framed, no glass.Front: A. H. Fullwood Back: (no insciptions)print, portland harbour -
Gippsland Art Gallery
Print, Turner, J.M.W. (after), St. Agatha's Abbey, Easby, c.1859-78
Purchased, 2013Engraving on papergippsland, artwork, permanent collection -
Ararat Gallery TAMA
Textile, Frances Burke, Staccato, c.1962
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. -
Darebin Art Collection
Print - Yosl Bergner, Yosl Bergner, Hello, Unknown
Yosl Berger’s attraction is not just as a great humanist, this near centurion artist believes in the constancy of work which produces a continual evolution of a full and prolific artistic practice. Berger also lends service to each day when he opens up his Tel Aviv studio to create – even at 95 years of age he still considers himself as a student of the world