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Work on paper (2049)
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Federation University Art Collection
Work on paper - Artwork - watercolour, Karl H. Hofman, 'Sturt Street: The big candleabrum monuments in Ballarat' by Karl H. Hofman, 19/10/2002
Framed watercolour of a Ballarat street scene painted from Lydiard Street North looking towards Craig's Royal Hotel.karl h hofman, ballarat, craig's royal hotel, lamp, burke and wills fountain -
Tatura Irrigation & Wartime Camps Museum
Painting - Painting - Oil, Cesare Vagarini, The Big Tree, 1941
The painting was bought from Cesare Vagarini by Herr Wennagel for "Weihnachten" 1941 (Christmas) for his wife Johanna (Hanno) Wennagel. It was their first Christmas in the Camp. Herr Wennagel made many of the frames for Vagarini's paintings.A large Eucalyptus Tree surrounded by four huts - one on the left, three to the right. Green grass between the huts. A sunflower is growing at the side of the front left hut and a woman wearing a white shirt and blue skirt is seen entering the hut. Two women, one in pink and one in yellow are standing on a pathway between the huts. Clothes hanging on a washing line can be seen behind the tree near the last hut on the right. Bright blue sky and more trees in the background.Vagarini Ctatura, ww2, internment camp, camp 3 -
Moorabbin Air Museum
Work on paper (item) - Bristol 170 (Freighter/Wayfarer), Untitled - sketch of Bristol 170 open nose cargo access area
Bristol Aeroplane Company Ltd -
Greensborough Historical Society
Mixed media - Audio Cassette and Program, Diamond Valley Choral Society, Handel's Messiah, performed by Diamond Valley Choral Society 1983-1993, 14/04/1985
A recording of 'Messiah', an English language oratorio by George Frederic Handel, composed in 1741. The text was compiled from the King James Bible; it contains 3 parts and part 2 ends with the 'Hallelujah' chorus. This performance by the Diamond Valley Choral Society and combined choirs was recorded at St John's Church of England, Heidelberg 14/04/1985 (date on program).1 audio cassette in clear plastic case, planning notes and printed programHandwritten on case: "DVCS 1983-1993 for CD"diamond valley choral society, messiah (oratorio), st john's church of england heidelberg -
Horsham Regional Art Gallery
Painting, Rupert BUNNY, Farm house, n.d
Donated through the Australian Government's Cultural Gifts Program by Mack Jost, 1990 -
National Wool Museum
Textile - Quilt, Mrs Eileen Pattle, Old Harry's Wagga, 1942-50
This traditional wagga blanket was made by Mrs Eileen Pattle between 1942 and 1950. The wagga was used as everyday bedding, as Eileen and her husband had very few possessions. They boarded with a man who they called “Old Harry” in Footscray. Old Harry had recently lost his wife and looked after the young couple well. They could stay with him and use his house as their own, and all that Old Harry asked for in return was for Eileen to cook him one good meal a day. The blanket was given to Mrs Beverley (Bev) Maguire, the daughter of Eileen, when she and her husband went camping one winter. Her husband was a “mad” fisherman and on one trip on which Bev joined him, her father offered the couple his old tent, that had a wall missing, and the wagga. The wagga was much appreciated as when the couple woke in the countryside, it was freezing, and they could see snow through the missing tent wall. From then on, the tent and the wagga were theirs. The wagga saw many more camping trips until the arrival of Bev’s “lovely new lightweight and down filled sleeping bag”. The wagga was made with a “make do, waste not, want not” attitude. The wagga started as an army issued blanket. The front layer has clothing and panels of mismatched material which has been added to over time. This includes an overcoat, two knitted garments, a panel from a skirt, and a panel from Old Harry’s Trousers. It also includes a man’s sleeveless knitted vest, and a knitted pram blanket. This is all stitched together with string, and the odd button. Bev said she would love to unpick the quilt to see what else is hiding inside but has resisted the urge to do so. All these layers have made the blanket incredibly warm, and heavy. The wagga has been within Bev’s family since creation and comes into the National Wool Museum Collection after serving the family well. It was used to keep everyone warm when not camping over many a winter’s night. Beverley is now getting on in years and donated the Wagga to the National Wool Museum in 2021. Her family referred to the wagga as a “collection of rags”, indicating to her that they did not wish to inherit the blanket. The wagga started as an army issue blanket. It has been made by stitching the khaki army blanket onto a hessian rear. The front layer has clothing and panels of mismatched material. This includes an overcoat, two knitted garments, a panel from a skirt, and a panel from Old Harry’s Trousers. It also includes a man’s sleeveless knitted vest, and a knitted pram blanket. This is all stitched together with string, and the odd button. It is thought that other materials are hiding within the layers of this wagga, however, uncovering these layers would involve unpicking the quilt. The wagga is 1360 x 1880mm, sized to suit a double bed. It is a heavy blanket, originating from all its panels of mismatched reused clothing. The wagga is well worn but has lasted almost 80 years. It has holes that have been lovingly re-stitched.wagga, quilt, upcycle -
Federation University Art Collection
Work on paper - Artwork - Printmaking, 'Paddle Steamer Gem' by Kenneth Jack, 1963
Framed limited edition 4 plate lithograph. Donated through the Australian Gifts Programme by Katherine Littlewood.gem, paddlesteamer, printmaking, kenneth jack, available -
Horsham Regional Art Gallery
Painting, Frederick McCUBBIN, Hampton foreshore, n.d
Gift of Mack Jost, 1989 -
Moorabbin Air Museum
Mixed media (Item) - DeHavilland D.H.50 collection, DeHavilland D.H.50
Unclear -
Federation University Art Collection
Painting - Artwork, Jeff Woodger, 'View Near Clunes' by Jeff Woodger, 2008
Jeff WOODGER Born Bendigo, Victoria Jeff studied art at La Trobe University in 1986, and a Graduate Diploma in teaching in 1989. He worked as a teacher from 1990 to 1998. In 1994 Jeff was awarded a Master of Arts from La Trobe University. He then studied at the prestigious Slade School, London and the National Gallery of Art in Washington D.C. Jeff Woodger completed a Doctor of Philosophy (Fine Art) at University of Ballarat (now Federation University) in 2006. This work was part of the exhibition assessment for this study. Jeff Woodger has lived and worked in Japan regularly since 1994. His passion is to paint post romantic landscapes in the classical style which are deeply inspired by many of the seventeenth century greats such as Claude Lorraine and Salvator Rosa. 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.art, artwork, clunes, landscape, artist, jeff woodger, alumni -
Federation University Art Collection
Painting - Watercolour and pastel on paper, S. Jarvis, 'Still Life With Lantern' by Sue Jarvis, 1976
Framed still life featuring a bowl of apples, a saucepan and a lamp. Gift of Dr David Alexander, 2013art, artist, jarvis, lantern, sue jarvis, artwork -
Wangaratta Art Gallery
Textile, Mohsen Meysami, Between the Devil and the Deep Blue Sea, 2017
“Between the devil and the deep blue sea!” is a special work to me for different reasons. It was my first experience ever working with textile, and it was my first major artwork that I made and exhibited in Australia. I moved to Australia in 2011 and lived in Perth for 5 years before I moved to Melbourne in 2016. I didn’t have a chance to make many artworks when I was living in Perth and it was mainly because I needed to work full time in order to afford the living costs. Melbourne was totally different though. I moved to Melbourne after I was awarded Australian Postgraduate Award (APA) to study my PhD at RMIT University. This was a fantastic opportunity for me, not only because it helped me financially, but also because it gave me the opportunity to develop my practice and research experience. Being new in Australia and Melbourne though, I needed to familiarise myself with the art community in Australia and find ways that I can introduce myself and present my art. I knew that exhibiting in Australia will be challenging and I thought I can start with looking for opportunities like group shows and awards. The Wangaratta Contemporary Textile Award was the very first one that I applied for and it was definitely a great starting point for me. It gave me the confidence to look for other opportunities and that my decision for working with the material and methods that I had no previous working experience with, was a right one. Between the devil and the deep blue sea! is about a dilemma. A dilemma where on one side there is all the memories of the past, home, family, and friends. Everything that was once a life and now is only a memory. There is the threat of death, terrorism and violence and there is no hope for a better future. On the other side, there is a better chance for staying alive, but there is nothing clear about the future. Where you go and what you will be called; A terrorist? Or someone that is there to take the jobs and money!? We are watching the news and seeing tragic accidents happening all over the world every day, but what makes us indifferent to the suffering of others was something that I became interested to learn more about it. From the beginning of my project, I was interested in discovering more about the notion of indifference and that came from my own position as an observer. I am an Iranian living in Australia. On the one hand, I am observing wars and conflicts in the Middle-East from a distance and on the other hand, from not much a distance! I am living in Australia with a great distance from the Middle-East in terms of the geographical distance and the differences in socio-political situations. On the other hand, and despite Iran’s current safe situation, there is no guarantee for a stable peace in the future. Being not here nor there, I am an observer who won’t be in peace in peaceful Australia, and can’t feel the depth of the pain for people living in war-torn countries such as Syria and Iraq. The indifference phenomena can be studied from different disciplines, however, there can not be a simple and unique explanation for its cause. Regardless of different explanations for the causes of the indifference, what I am most interested in is to explore the ways I can show the “indifference” itself. For this, I seek to focus on my simple interpretation of the phenomena, which in my mind is “seeing tragedy, not tragic.” In other words, whether the indifference is caused by information overload, or distance from the sufferer for example, people don’t feel the pain and can’t understand the conditions others in pain are experiencing. Based on this explanation, the focus of my artworks is to depict and highlight the contradiction between the pain and the indifference. In my art practice, I often use colourful and attractive materials in combination with a visual language that reference to the aftermath of tragic events of wars, to provide a symbolic representation of indifference in the form of an artwork. This is my artistic approach in explaining the notion of “indifference”, that can illustrate my ideas around “seeing tragedy, not tragic”. to give voice to my own concerns and position as an Iranian artist, I am interested in utilising visual elements from traditional arts of Persia and the Middle-East. In selecting rugs and fabrics that I use in my artworks, the weaving quality is not my concern. Moving beyond this, I am looking for features which express and underpin concepts such as antiquity, resistance, simplicity, and peace which sit in stark contrast to the terrorising and militant image of Middle Eastern people portrayed by the mainstream media. Nowruz (Persian New Year) 21 March marks the Persian New Year and the first day of spring in Iranian calendar. It’s the time of the year when all Iranians and many other Farsi speaking nationalities (Afghans, Tajiks, etc.) celebrate together. My wife and I are planning a trip to Iran for the new year holidays and it would be our first time to celebrate the new year with family and friends in Iran since 2011. It is believed that Nowruz has a long history of around 3,000 years and is rooted in Zoroastrianism, an ancient Persian religion that predates both Christianity and Islam. Every year Iranians celebrate this very special event at different times and it’s because the exact time of the new year depends on the exact calculation of when the length of the day and the night are equal. There are many things about the Persian new year to be excited about and sitting around the Haft-Seen table (7sin) with family is with no doubt the most exciting one. Haft-Seen is a set of seven symbolic elements beginning with ‘S’ in Farsi that Iranians arrange them together to decorate a table that family sit around and celebrate the beginning of the new year. The most common items found in Haft-seen decoration are: Sabzeh: Wheat, barley, mung bean or lentil sprouts growing in a dish, Samanu: Sweet pudding made from wheat germ, Senjed: Dried Persian olive. Seer: Garlic Seeb: Apple Somāq: Sumac Serkeh: Vinegar Sekkeh: Coin that symbolise health, wealth, abundance, etc.Wangaratta Art Gallery Collection, Acquired with the assistance of Robert Salzer Foundation.A used Persian Rug that has had a motif of two heads and an explosion hand-stitched onto it.mohsen meysami, textile, rug -
University of Melbourne, Burnley Campus Archives
Painting - Paintings
2 paintings in watercolour of similar scenes."three" handwritten on both copies. -
University of Melbourne, Burnley Campus Archives
Work on paper (item) - Garden Design, Hassel, Visualisation 02
It is called 'Visualisation 2' so was likely part of a set. burnley horticultural college, roof garden, garden design -
Greensborough Historical Society
Mixed media - Folder containing photographs and disc, Family photos of Chapman and Stock families, 1860o
A collection of photos of the Chapman and Stock families of Greensborough and Lower Plenty.Photos and letters have been digitised by Peter Blackbourn as part of his family history research.Compact Disc. Contains 95 images of Chapman, Stock, Blackbourn and Barnett families dating from late 19th century through the 20th century. Also printed copies of photographs.Greensborough and Lower Plenty photos from Chapman and Stock familiespeter blackbourn, chapman family, stock family lower plenty, chapman stock family -
National Wool Museum
Textile - Beanie, 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. 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. Teal knitted ribbed beanie with gathered crown.knitwear, clothing, italy, migrants, brighton, knitting machine, linking machine, garments, business, family, community -
Moorabbin Air Museum
Mixed media (Item) - Australian Defence Industry Advertisement Disc - Defence Material Organisation Selected Publications, Defence Industry: Defence Material Organisation, Selected Publications
Disc contains the following select publications from representatives of Australian defence industries: Doing Business with Defence - June 2004; On Target - Edition 41 [the Defence Materiel Organisation's official magazine]; Defence Materiel Organisation Regional Offices (DMOROs) -
Swan Hill Regional Art Gallery
Painting, GLEGHORN, Thomas, Landscape and Coast, No. 2, 1965
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Horsham Regional Art Gallery
Painting, Len ANNOIS, MacDonnell Ranges, 1964
Gift of Mack Jost, 1986 -
Gippsland Art Gallery
Work on Paper, Gaffy, Michael Owen, Portrait of Fairlie Kermode, 1999
Donated by Fairlie Kermode through Matthew & Angela Thomas, 2016Charcoal on papergippsland, artwork, permanent collection -
Thompson's Foundry Band Inc. (Castlemaine)
Work on paper - Sheet Music for Brass Band, Henry Round et al, Bellini, Circa 1880
This piece was arranged by Henry Round, founder of the of Wright and Round Music Publishers which was then known as the Liverpool Brass Band & Military Journal. The piece is a selection of Vincezo Bellini's work (1801-1835). The featured works include: Il pirata, Beatrice di Tenda, La sonnambula and I puritani21 A4 parts for Brass Band This piece was arranged by Henry Round, founder of the of Wright and Round Music Publishers which was then known as the Liverpool Brass Band & Military Journal. The piece is a selection of Vincezo Bellini's work (1801-1835). The featured works include: Il pirata, Beatrice di Tenda, La sonnambula and I puritaninon-fictionThis piece was arranged by Henry Round, founder of the of Wright and Round Music Publishers which was then known as the Liverpool Brass Band & Military Journal. The piece is a selection of Vincezo Bellini's work (1801-1835). The featured works include: Il pirata, Beatrice di Tenda, La sonnambula and I puritanihenry round, wright and round music publishers, liverpool brass band & military journal, vincezo bellini, italian opera, sonnabbula, puritani, il pirata, beatrice di tenda, sgt a v lee -
Kew Historical Society Inc
Textile - Household Textile, Doily, Mid 20th Century
It was common for ladies to embroider household textiles in the early 20th century. These could be made from purchased kits or pattern books. They may form part of a trousseau Circular white cotton doily. With applied lace.household textiles, doilys -
Gippsland Art Gallery
Painting, Maggoire, Lyn, Friends, 1976
Purchased, 1976Oil on canvasgippsland, artwork, permanent collection -
Eltham District Historical Society Inc
Work on paper (item) - Photograph, 2 Metery Road, Eltham South
Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. Concrete footings are poured. The house had a concrete floor. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February and April 2020. ".. the block was big.. Building the house was slow going. The plans had to be discussed, then drawn up, finance found, council permits obtained and labourers engaged. " This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, eltham south, 2 metery road, alistair knox, bow and arrow, footings, concrete, concrete mixer -
Benalla Art Gallery
Painting, Marie TUCK, Girl resting, Not dated
Born: Mt Torrens, South Australia, Australia 1872; Died: 1947ImpressionismLedger Gift, 1988Figure in blue dress lying on grass under trees reading. Gold painted frame.Recto: Signed "M.Tuck" in brown paint l.r.c of composition; Not dated; Not titledlandscape, figure, reading, trees, blossom, spring, australian art -
Gippsland Art Gallery
Painting, Fitzpatrick, Samuel Charles, Port Albert, 1976
Donated by the artist, 1983Watercolour on papergippsland, artwork, permanent collection -
Castlemaine Art Museum
Painting, Walter Withers, Untitled Landscape, 1896-1914
Gift of Mrs Reid, 1930 -
Darebin Art Collection
Painting - Phyllis Faldon, Phyllis Faldon, Solitude, Reverie and Rapture, 2010-2012
triptych -
Horsham Regional Art Gallery
Painting, Travis WEBBER, Untitled, n.d
Victoria Anderson Bequest, 1992oil on board -
Darebin Art Collection
Work on paper - Mary Hammond, Mary Hammond, Untitled (Couple with Trolley) '89, 1989
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.