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Artwork, other (1294)
Ceramic (766)
Decorative object (719)
Drawing (4609)
Mixed media (529)
Painting (2485)
Print (1665)
Sculpture (406)
Textile (1396)
Work on paper (2085)
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Glenelg Shire Council Cultural Collection
Print, Ti-Tree, 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 twig with flowers. The twig has green leaves, red buds, and red flowers with yellow centres. The work is printed on cream paper with torn edges.Front: 17/18 (lower left) MD Solly '84 (lower right) (pencil) Back: 40 -
Swan Hill Regional Art Gallery
Print, KOSSATZ, Les, Prizewinner, 1975
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Gippsland Art Gallery
Painting, Smith, Peter James, History of the Gabo Island Lighthouse, 2008
Purchased, 2008Oil and chalk on canvasgippsland, artwork, permanent collection -
Swan Hill Regional Art Gallery
Painting, THORROWGOOD, Vivienne, Windy day, Eltham, unknown
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Glenelg Shire Council Cultural Collection
Print, The Groom, 1983-1984
CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Screenprint of seated male in black suit. Background is a pale pink covered with an ornate orange and dark pink vine-like pattern. This pattern is continued in the man's suit by using two shades of black. No Matt. Wooden and gold frame with glass glazing.Front: Portland Commemorative Print (lower left) (stamp) 1/20. A Gee The Groom (Lower centre) (pencil) John Cain (signature, brown ink) Premier of Victoria (black in stamp) (lower right) Back: (no inscriptions) -
Clunes Museum
Textile - LACE INSERTION
THIS LENGTH OF VERY FINE LACE INSERTION HAS POSSIBLE BEEN UNPICKED FROM ORIGINAL GARMENT TO BE RECYCLEDPIECE OF FINE COTTON LACE INSERTION WITH 2 EYELET HOLES ALONG BOTH EDGES FOR DECORATIVE USE IN DRESSMAKING.local history, handcrafts, dressmaking, lace -
Darebin Art Collection
Painting - Kerry Maher, Kerry Maher, Dog Pool, 2010
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Horsham Regional Art Gallery
Print, Doug CROSTON, Second roundabout, 1976
Gift of Mr Reg Collins, 1982 -
Tatura Irrigation & Wartime Camps Museum
Painting - Painting - Watercolour, Grunewald Konigsee
Done by Leonhard Adamleonhard adam, grunewald konigsee -
National Wool Museum
Textile - 1992 Barcelona Olympic Games Village/Travel Pants, c.1992
About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technichian, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to ‘spot the Aussie’ and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Cream full length trousersolympics, 1992 barcelona olympics, olympic uniforms, trousers, wool, wendy powitt -
Glenelg Shire Council Cultural Collection
Print - Contact Print - Portland Harbour, 1960-1970
Black and white contact print. Image shows Portland Harbour, from Town Hall. Fishermans Breakwater on right. Railway Pier and Ocean Pier on left. Two Steamers in bay and fishing fleet at anchor off Henty Beach. Foundations for 2nd Baths at Henty Beach.portland harbour, fishermans breakwater, railway pier, ocean pier -
Friends of Westgarthtown
Painting, John Borrack, Last Days Ziebells "The Pines" Thomastown
Painted from the home (or front) paddock which ran south to the creek. The paddock was used for the cultivation of lucerne and maize crops in the lower regions while closer to the house where Ainwick Crescent is now situated, it was a burgeoning market garden for the cultivation of all varieties of vegetables. The large pines beyond, sheltered the farmyard on the west of Gardenia Road. That complex can be partly glimpsed on the left of the painting. This is a directly painted watercolour relying on the use of white paper and transparencies to impart a feeling of morning light. The figure is the artist's mother for whom the picture was painted. Provenance: Augusta Borrack (nee Ziebell) Collection, John Borrack CollectionWatercolour painting, depicting Ziebell's Farmhouse from the south (Thomastown and Mernda). Painting is mounted in a gold frame with cream board.Artist signature: John Borrack; Last Days at Ziebells "The Pines" Thomastown, 'Pro mea matre hanc picturan feci (In Memoria)'illustrations, watercolours, john borrack, ziebell, watercolour, painting -
Horsham Regional Art Gallery
Painting, Daisy WOODS, Toadstools, n.d
Gift of the Estate of Richard Gilmour-Smith 2019watercolour on paper -
Darebin Art Collection
Print - Victor Majzner, Images of Tanya (Chapter 9), 2001
screenprint -
Whitehorse Historical Society Inc.
Textile - Toilet bag
Handmade toilet bag. Example of container for personal items. Donated by Heather McNamara - worked by Isobel McNamara.Cotton cream drawstring toilet bag for brush & comb.toilet bag, frush & comb container, cotton, embroidered -
Federation University Art Collection
Painting - Oil on Canvas, 'Jack' by Phil Berry, 2009
Phil BERRY (1963 - ) Born Ballarat Completing a Master of Arts at the University of Ballarat (now Federation) in 2012, he workes as a sessional staff member for the Arts Academy. Artist Phil Berry recalled ‘As a child I spent the majority of my holidays at my uncle and auntie’s. Uncle Jack was a prisoner of War at Changi during World War 2. Repatriated to Australia he was emaciated and clutched his prize possession, an old spoon. Part of his daily life during the extreme hardship of the camp, the spoon was a symbol of his survival, a constant in extreme uncertainty.’ ‘Home again Jack married, started a family and embraced peace. A kind and gentle man, I was fortunate to have known him. The coming of peace had given back what war had nearly taken away.’ This item won the Lucato Peace Prize and is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed painted canvas depicting a spoon. Phil Berry studied at the University of Ballarat Arts Academy (later Federation University) and undertook sessional lecturing at the Arts Academy.art, artwork, berry, phil berry, philip berry, lucato peace prize, prisoner of war, available, spoon, cutlery, war, arts academy, alumni -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on canvas, Margery Boyle, Bathing Boxes, Brighton, c. 1978
bathing box, bathing shed, bathing boxes, brighton, brighton beach, beach, coast, port phillip bay, margery boyle -
National Wool Museum
Textile - Soroptimist Project Quilt, Soroptimist International, 2000
The quilt was made by members of seventeen Soroptimist International clubs across Victoria to celebrate the Year 2000. The quilt squares illustrate some of the projects initiated, funded and supported by Victorian Soroptimists as well as illustrations of broader affiliations and responsibilities, including to the UN. Examples include the S.I.A.M. (Soroptimist International Aids Mediation) project by SI Berwick in Northern Thai villages which established industries and health programs for women and girls as viable alternatives to the sex industry. Revegetation of woodlands, wetlands and cleared land by SI Deakin. Donation of toiletries to women's shelters, police lock ups and church emergency centres in the western suburbs of Melbourne by SI Cut Paw Paw. Founded in 1921, Soroptimist International is a global volunteer movement with a network of around 72,000 club members in 121 countries. Advocating for human rights and gender equality, at the heart of Soroptimist International’s advocacy is its work across seven UN Centres, where UN representatives ensure that the voices of women and girls are heard. Memberships work on grassroots projects that help women and girls achieve their individual and collective potential, realise aspirations and have an equal voice in communities worldwide. It has a flourishing Club in Geelong. The quilt was displayed from 2001 until 2023 in Soroptimist Headquarters Victoria at 383 Toorak Road, South Yarra (Soroptimist House) since touring the State of Victoria in 2000. Soroptimist House has been sold with the funds raised to go to furthering the objectives of Soroptimism.Cream patchwork quilt with 31 squares depicting various scenes and motifs. The Soroptimist logo features in the bottom right corner.quilt, women, soroptimist, victoria, community, clubs, human rights, gender equality, united nations -
Federation University Art Collection
Print, Louise Tomlinson, The Crossing, 1999
Louise TOMLINSON (1964- ) Born Tongala, Victoria In 1980 Louise Tomlinson decided to relocate to Ballarat to study fine artFramed lithograph depicting a man carrying bags through water.LL1/25 Centre "The Crossing" LR Thomlinson '98available, alumni -
Australian Lace Guild - Victorian Branch
Textile - Valenciennes lace, 1750-1800
Use: Domestic. FashionBobbin lace collar -
The 5th/6th Battalion Royal Victoria Regiment Historical Collection
Print - A print of Sutherland Highlanders
A coloured print of The Angel and Sutherland Highlanders -
Gippsland Art Gallery
Print, Sandby, Paul (after), Wenlock Abbey Shropshire, 1778
Purchased, 2013Copper-line engraving on papergippsland, artwork, permanent collection -
Federation University Art Collection
Painting, Andrew Antoniou, State of Play, 2015
Andrew ANTONIOU (B 1951- ) Born London, United Kingdom Arrived Australia c1985 Painter and printmaker Andrew Antoniou completed a Bachelor of Fine Art at the Winchester School of Art and a Master of Art at the Central School of Art, London in 1974. He was awarded an Australian Print Council Commission in 2004 and 2014. 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.Gift of 2020 alumnus, Dr Graeme H Williams OAMFramed watercolour showing children at play.available, children, play -
Swan Hill Regional Art Gallery
Painting, HEFFERNAN, Edward, Thirteenth beach, unknown
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Port Melbourne Historical & Preservation Society
Print - Sandridge Foreshore, H Gritten, c. 1865
Black and white lasercopy from the watercolour drawing in the La Trobe Collection, State Library of Victoria of the 1865 watercolour of the Sandridge foreshorebuilt environment -
Horsham Regional Art Gallery
Sculpture, Jeff THOMSON, Bouquet IV, 2004
Gift of the artist, 2004 -
Wodonga & District Historical Society Inc
Textile - Haeusler Collection White Cotton Doily with Hand Stitched Fringe c.1920s
The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. The textiles in the Haeusler collection belonged to Ilma Margaret Ernestine Haeusler (née Tasker), born in 1900 in Tallangatta. These textiles were handmade by Ilma between 1919 and 1928 for use in the family home during her marriage to Louis Alfred Haeusler (b.1878). Ilma died in childbirth in 1928, leaving one surviving son, John Alfred Lyell (b.1922). This textile is one of the many domestic objects in the Haeusler Collection that represent family and home life in early twentieth century Wodonga. In the nineteenth and early twentieth century prior to the mass production of clothing and textiles, needlework, alongside motherhood, was the defining work of women. Hand sewing and embroidery was central in the everyday lives and domestic roles of women. The item is handmade and unique, with well documented provenance. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history, and women’s history.Hand made white cotton doily with hand stitched cotton fringe c.1919-1928textiles, sewing, handiwork, women's history, domestic, craft, family, wodonga, haeusler collection, haeusler -
Australian Lace Guild - Victorian Branch
Textile - Cluny Lace, Late 19th or early 20th Century
Use: Domestic. Household trimmingBobbin lace edging. Sample -
Kew Historical Society Inc
Textile - Household Textile, Throw, 1910-1950
Used to protect food from flies when laid out for later consumptionSquare white cotton voile throwhousehold textiles -
Darebin Art Collection
Print - Polixeni Papapetrou, Polixeni Papapetrou, The Provider, 2012
photograph