Showing 6550 items matching art
Artwork, other (1241) Ceramic (748) Decorative object (667) Drawing (4563) Mixed media (488) Painting (2388) Print (1653) Sculpture (397) Textile (1237) Work on paper (2040)-
Australian Lace Guild - Victorian Branch
Textile - Crochet lace
Use: Domestic: Household trimmingCrochet lace edging -
Darebin Art Collection
Painting - Bill Coleman, Bill Coleman, Dissidents (Demonstration Outside Town Hall), c.1970
protest, demonstration -
Federation University Art Collection
Work on paper - Etching, Graeme Drendel, Strong Girl by Graeme Drendel
Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sansom who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. As a prolific user of sketchbooks Graeme Drendel records close observations, which often inform his paintings. Graeme Drendel is a regular finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize, and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. This work is one of a substantial body of limited edition prints donated by the artist to Federation University in 2022 covering work from Graeme Drendel's earliest years as a student, through to more recent etchings. A etching of a woman with hair braids.graeme drendel, printmaking -
Gippsland Art Gallery
Work on Paper, De Quincey, Elizabeth, Ivanhoe, 1982
Purchased, 1983Ink and wash on papergippsland, artwork, permanent collection -
Melbourne Legacy
Work on paper, The Mummy, 194
A watercolour portrait of an unknown prisoner of war. Presumed to be from Changi Prison as it was stored with sheet music believed to be come with the 'Changi violin' donated by the family of Roy Arnel. It was on display in 2nd floor function room with hand written sheet music until 2024. The reverse of the portrait is text of page 5 from a prisoner of war rule book. It has holes that appear to have made been by a pest.A record of life in a POW camp.A watercolour of the head of a man from Changi prison.Handwritten in pencil, top right is a partial date '31st Ja__'; bottom left 'The Mummy : PA van Dijk' and an indistinct signature. On reverse handwritten pencil notations to the text.changi prison, pow -
Lauriston Girls’ School (incorporating Lauriston Museum and Gallery)
Painting, Portrait of Miss Gladys Davies Headmistress 1956-1972
Painted by June Mendoza AO. An Old Lauistonian (1939), June painted this portrait in 1972. An globally acclaimed portrait artist, her works include Queen Elizabeth and other members of the royal family, Prime Ministers and a range of politicians, sports people, military officers and celebrities. This portrait is part of the Record Series 74. Permanent/Semi-Permanent Displayed Works.Oil Portrait of Miss Gladys Davies Headmistress Miss Gladys Davies Headmistress 1956-1972 -
Federation University Art Collection
Work on paper - Artwork, Antoinetta Covino-Beehre, 'Shadow of the Night' by Antoinetta Covino-Beehre
This work was exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection. 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.lls '2/36' lc 'Shadow of the Night' lrs ''Antoinetta Covino-Beehre'artist, artwork, antoinetta cravino-beehre, printmaking, parallel prints -
Darebin Art Collection
Painting - Sid Cross, Sid Cross, Blue Moon Over Reservoir, 2013
reservoir -
Federation University Art Collection
Work on paper - Booplate, Joshua Brady, 'Ex Libris' by Joshua Brady
The Keith Wingrove Trust conducts a competition among Australian artists, graphic designers and students for the production of Ex Libris Bookplates. The competition is called The Australian Bookplate Design Award. The purpose of the competition is to increase interest in and to attract publicity to the artistic value of bookplates. Although the competition is referred to as 'Australian' there is a category of award open to International artists. This bookplate was part of the 2013 Australian Bookplate Award. Gift of the Keith Wingrove Memorial Trust, 2015 Framed original bookplate featuring a brown creature. artist, artwork, keith wingrove memorial trust, bookplate, josh brady, framed bookplate, available -
Bendigo Military Museum
Work on paper - MUSIC SHEET, Sam Fox Publishing Co, "Farewell Australia" Words and music, 1939-45
It appears to be music for Australians sailing away to war. Words and music by Ella Denmead (Copyright). Sung by Pte Frank Burns.This is a large sheet of heavy duty paper, folded once to form a sort of booklet. The front cover is blue. The writing shows as white on the blue background. In the centre is a drawing of a steam ship sailing to the horizon. The ship shows two funnels. A cannon on the quarter deck and 4 twin A.A. guns can be seen in the image. There are figures on the stern. In the bottom left is a jetty with vague figures crowded on it. Front right corner shows a black and white portrait of an Australian Soldier. On the rear is a small music piece called "Polly".ww2, music, song sheets -
Federation University Historical Collection
Sculpture - Plaster Drawing Prop, Cast of Woman's Head
The Ballarat Technical Art School boasted a well-stocked Antique Room replete with plaster copies of classical, Renaissance and Gothic sculptural examples, which were used as drawing props by students. The school inherited some casts from its predecessor institutions, and further consignments were purchased during the 1920s, including full length, bust and relief figures, as well as dozens of ornamental and architectural casts. Unfortunately, much of the collection was lost or destroyed in the late 1950s. This is one of the few surviving pieces, with TAFE students reportedly drawing from it into the twenty-first century. It was removed to the University's Historical Collection in 2012.White plaster cast of a woman with closed eyes. The cast is hollow, with an opening at the back. There is a metal wire at the back so it can hang on the wall.ballarat technical art school, ballarat school of mines, art, drawing, plaster, drawing the human figure from cast, drawing from the antique -
Federation University Art Collection
Work on paper - Artwork - Printmaking, (Nude seated facing left with robe on second chair, on shag rug), by John Brack, c1982
Framed, limited edition lithograph. Originally produced to be bound in a book by private press publisher Tate Adams. The suite of lithographs for the book was started by John Brack in September 1981 and finished and published in December 1982. The book was launched with a series of original conte drawings, from which the lithographs were based, in Realities Galleries, Melbourne. As such a high cost of production was involved in the binding of the book, only fifteen copies were originally bound for exhibition and sale at the show. Subsequent to this approximately another thirty copies were bound, making a total finished edition of fewer than fifty copies, far less than the anticipated 200. A number of the 50 hors commerce editions have been sold as individual plates through auctions and galleries. A number of sheets were recently discovered through the estate of Brack’s art dealer Rudy Komon, from which this book has been bound. This work is from Rudy Koman's estate.john brack, printmaking, available -
Dandenong/Cranbourne RSL Sub Branch
Painting - POWs Bathing
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Federation University Art Collection
Work on paper - Artwork - Printmaking, Jack, Kenneth, 'Papuan Village' by Kenneth Jack, 1962
Framed seven colour serigraph of a Papuan village. Donated through the Australian Gifts Programme by Katherine Littlewood.papua, papua new guinea, village, printmaking, kenneth jack -
Ringwood RSL Sub-Branch
Work on paper - Photograph HMAS Curlew
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Stawell Historical Society Inc
Textile - Costume and Accessories, c1920
Crochet Tablecloth Edging, Australian Motifs. Worked in Kookaburra, Lyrebird, emu, kangaroo, lizards. Three part finish. Association M Brame.stawell clothing material -
Gippsland Art Gallery
Painting, Payne, Harold T, Roses, 1981
Purchased, 1982Watercolour on papergippsland, artwork, permanent collection -
Bendigo Military Museum
Painting - PAINTING PRINTS WW1, Post WW1
CF Reg No 2533.26, 2539.3, 2540.9, 2542.8Reproductions of paintings held at Australian War Memorial, Canberra depicting after battle of WWI.Individual descriptions of paintings handwritten on back.illustrations-reproductions, military history - army -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on canvas, Jessie Constance Alicia Traill, Beach scene, early 20th century
This work depicts the coast at Black Rock. Figures in early 20th century outfits are dotted on the oxide rocky outcrops in the foreground and beyond the water the hazy Red Bluff cliff dominates the coast.Impressionismoil on canvasbeach, coast, figures, jessie traill, red bluff, bayside, black rock, bathers, port phillip bay, bay, water -
Greensborough Historical Society
Painting - Portrait, William Dargie, Queen Elizabeth II, 1954
Colour print of a portrait of Queen Elizabeth II wearing the "wattle" dress, by William Dargie, painted for the Royal Tour of Australia 1954, with explanatory leaflet.Copy of colour portrait, with explanatory leaflet, in cardboard folderroyal tour of australia 1954, queen elizabeth ii, william dargie, royal family -
Bendigo Military Museum
Work on paper - LETTER & CERTIFICATE OF DISCHARGE, (.1) Dec 3 1947, (.2) 18.6.1946
Items relate to Reginald Charles Allardice CMF and RAAF. Refer cat No 3627.5 for his service history.(.1) Letter to R C Allardice registered post No 13758 re the forwarding of his discharge certificate from the A.M.F dated Dec 3 1947. (.2) Certificate of discharge No 169934 re R C Allardice V40236 from the CMF. Details are in black ink, double sided with details re his service.(.1) Signed by “M.C.Langslow”discharge from the raaf world war 2 -
Federation University Art Collection
Work on paper - Artwork - Bookplate, Mirka Mora
After a quiet period, interest in bookplates in Australia began to increase in the early 1970s, Entrepreneurial art and book collectors such as Edwin Jewell and others commissioned multiple bookplate designs from a range of well known fine artists. At a 1997 meeting in Melbourne of the Ephemera Society of Australia Edwin Jewell and others announced the formation of the Australian Bookplate Society. The society was instrumental in promoting the art of the bookplate through establishment of the Australian Bookplate Design competition. The competition includes a design award for secondary schools students. Signed Irena Sibley lower right below imagebookplate, printmaking, australian bookplate design award, keith wingrove memorial trust, mirka mora -
Ararat Gallery TAMA
Textile, Frances Burke, Zen, c. 1965
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
Painting - Mary Hammond, Mary Hammond, Not Many Left, ANZAC Day, 2007
Preston Market, Saturday late is part of a series of paintings and sketches that were included in Mary Hammond’s solo exhibition, Coming and Going, held at Bundoora Homestead Art Centre in 2010. The exhibition, a major retrospective of Hammond’s work from the mid-1970s-2009, focussed on her everyday depiction of people in Northcote and Preston, particularly along High Street, Northcote where she had a studio for a few years, and the Preston Market, primarily during the 1980s and 1990s. -
Gippsland Art Gallery
Painting, Johnston, Margaret, View from the Gable End, Mount Wellington, 1980
Purchased, 1980Watercolour on papergippsland, artwork, permanent collection -
Flagstaff Hill Maritime Museum and Village
Textile - Doily, c. 1910
This pair of diolies 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; Pair of two (2), each doily is round with scalloped edges with crochet trim. The white cloth is embroidered with orange, yellow and brown flowers with green stems and lace fringe. They are 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, haberdashery -
Glenelg Shire Council Cultural Collection
Painting, Scene on the River Murray, n.d
Art Collection Previously located in History HouseThe painting depicts a body of water with two large trees in the foreground. The two trees are situated on the left side of the riverbank which extends across the foreground of the work. The trees extend beyond the borders of the work with only a few branches visible at the top of the work. To the right of the trees, on the surfaceof the water, is a boat with a large white sail. The river bed continues on the left and right sides of the work and is covered with brown trees. The background features a distant view of the riverbank covered in blue trees. The work has a gilded ornate frame with cardboard and gilded mount and glass.Front: A.S. Murray plaque attached to frame: SCENE on the RIVER MURRAY Back: W. HAMER __________Street, Ballarat -
Swan Hill Regional Art Gallery
Work on paper, ANTONIOU, Andrew, Internal Navigation, 2012
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Federation University Art Collection
Painting - Artwork, Taylor, [Jenny???], [Untitled]
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.Abstract painting If you can provide information on this artist or artwork please use the email link below. art, artwork, abstract, horsham campus art collection, taylor -
Churchill Island Heritage Farm
Textile - Lace Piece
This is an example of machine made Torchon lace which is the simplest form of bobbin lace and is also known as Beggars lace; the Dutch call it Stropkant. The thread used is thicker than embroidered laces and was originally worked with linen thread but is now made of cotton. Due to it being relatively less expensive than other laces and its softness, Torchon lace was used mainly by the middle classes as an insert on nightcaps and nightgowns and as a trim on bed linen as well as undergarments. Torchon is usually the first type of lace that a lace maker learns, but since at least the earliest 20th century commercial quantities have been made by machine and were virtually indistinguishable from those that were handmade. This example would have been made on a Barmen machine which was developed in the 1890s in Germany from a braiding machine. Its bobbins imitate the movement of the bobbins of a handmade lace maker and it makes perfect copies of Torchon and the simpler hand-made laces. It can only make one width at a time and does not have the pattern potential of the Leavers machine.The Amess family owned Churchill Island from 1872 to 1929length of lace, machine made, geometric design with two selvaged edges, repeat motif of ovals surrounded by crosses.churchill island, lace, janet amess lace collection, amess, torchon