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Artwork, other (1294)
Ceramic (767)
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Whitehorse Historical Society Inc.
Textile - Tablecloth, 1950s
Embroidered by donor - from Weldon's pattern.Cream linen square tablecloth. Cream and brown cotton one inch. Decorative 2cm Drawn threadwork around edge.domestic items, table setting -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Bundjil the Eagle Creator Spirit Cloak, 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). Bunjil the eagle used to be a man called Karringalabil. As a man he created the first man and woman out of bark from the sacred manna gum tree and clay from the river bed. He created the plants, animals, mountains, waterways, sky and under Country. After which he turned himself into an eagle. He has two wives, Kunuwarra the black swan sisters. After he completed all of creation he flew up into the sky at Lal Lal Falls and he now watched over us as a star in the night sky and as an eagle by day.Brown, red and white tone feather motif with yellow eye design on outer clock, red and black diamond and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak -
Bialik College
Textile - Rabbi and children tapestry 1981
Created in 1981A framed tapestry showing a rabbi and young boys studying.Label is indistinct, but states: from Mr & Mrs J ---- Tapestry by Mrs ---Eutzerstudying, judaism, bialik college, 1980s -
Gippsland Art Gallery
Textile, Sale Community College, Regrowth, 1984
Donated by the artists, 1984Wool weavinggippsland, artwork, permanent collection -
Ararat Gallery TAMA
Textile, Frances Burke, Pacifica, 1954
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. -
National Wool Museum
Textile - Blanket, Onkaparinga Woollen Mill Company, 1960s
Collector says: I adore these bright blankets with their labels depicting summer times. For most blanketeers, the Laconia Mexicana is a bit of a holy grail - for the label just as much as the blanket. Laconia made the Mexicana in 1964 and I suspect the Waverley and Onkaparinga came afterwards.Collector says: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from.Queen sized checked blanket, red, blue, orange, yellow. An Onkaparinga 100% pure wool production. In emblem: Made in Australia. Name tag sewn below label: R M. Shiltonwool, blanket, blanket fever, onkapringa -
Bendigo Historical Society Inc.
Textile - SUGAR-BAG WAIST APRON, 1930-40's
Textiles. A delightful Depression or Wartime, home made item. Cut in a wedge shape, with a bottle green nylon fabric, waistband, extending to become the tires at the wearers back. The green nylon also forms a one inch (2.4 cm) border along the sides, and extending to a 1.5 cm border on the reverse. This binds the hession to prevent fraying. Two wedge shaped pockets are also bound on three sides, and tucked into the side edge bindings at each side of the apron. 5.5 cm from the top of each pocket is a 1.5 cm band of drawn threadwork, interlaced to form a pattern with green wool. This drawn thread pattern is repeated 3.5 cm above the lower edge. The lower edge is stabilised with a row of blanket stitch in green wool, and a 3 cm fringe of the hession fabric. Two small 1 cm pleats shape the apron at the waistband.textiles, domestic, sugar-bag waist apron -
Churchill Island Heritage Farm
Textile - Lace Trim, Section
This is an interesting insertion piece with machine made copies of bobbin made ‘spiders’ which could be highlighted by ribbon insertion. The eyelets are placed so that the inserted ribbon covers the plain areas and is highlighting the decorative spiders and the fagoted edging would be revealed. This would be another lovely embellishment for baby’s clothes and accessories such as cradle trim, pillows and pram coverings. It would also be highly suitable for the clothing, undergarments and bed linen of children.The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by four generations of Amess women.Machine embroidered section of lace trim with recurrent geometric motifsjanet amess lace collection, lace, churchill island, amess, machine, embroidery -
Kew Historical Society Inc
Textile - Lace trim, Unknown, 1930s
Lace trim from a 1930s wedding dress.lace -
Kilmore Historical Society
Textile - Right Shoe sole, Leather shoe sole
Right leather sole. Skin side polished. Flesh side mechanically skivedNil -
Whitehorse Historical Society Inc.
Textile - Cream Silk Handkerchief
A silk cream handkerchief with 4cm wide hem and embroidered 'H' in corner decorated with leaves and eyelets in cream.costume accessories, male -
Federation University Historical Collection
Sculpture - Metalwork, Bird
This work was possibly made in the trade school under the direction of Ken Skull, Metal sculpture of a bird, with wings splayed and standing on a branchsculpture, bird -
Bendigo Historical Society Inc.
Textile - FLOUR BAG COLLECTION: PARSONS BROS OATMEAL, 1900-1950
Textiles. Calico bag printed on both sides with red, white and yellow, ''PARSONS The Original FLAKED Oatmeal 7 LBS NET.Delious Porridge with only ten minutes boiling''. Parsons Bros & Co, Pty., Ltd., Melbourne, Sydney, Brisbane and Fremantle. Centre picture within a red circle of an upright Lion holding a yellow wheat sheaf beside a set of scales. Brothers Leonard and George Parsons left England for Australia following the discovery of gold. In 1861 the Uncle Tobys Company was born, originally under the name of Parsons Bros.textiles, domestic, parson bros calico flour bag -
Australian Lace Guild - Victorian Branch
Textile - Crochet
Double tiered Jabot with crochet edging -
Latrobe Regional Gallery
Sculpture, GUNN, Mandy arr. Australia 1966, [W]RAPT, 2012-2013
Recycled paper shopping bags and wrappings on cardboard construction -
City of Ballarat
Sculpture - Public Artwork, Inge King, Grand Arch by Inge King, 2001
Grand Arch is a five-metre by five-metre steel sculpture by Inge King placed as the centrepiece of Alfred Deakin Place, part of a redevelopment in conjunction with the State Government, City of Ballarat, University of Ballarat and Art Gallery of Ballarat. Grand Arch is representative of King's sophisticated style of abstraction that reflected animal and plant forms through to planets and the cosmos. King was a German-born Australian sculptor who created many significant public commissions including the well-loved Forward Surge (1974) at the Arts Centre, Melbourne. She was at the forefront of the development of non-figurative sculpture in Australia and held more than 26 solo exhibitions and participated in more than 60 group exhibitions in Australia, New Zealand, London and New York over almost 70 years as a practicing artist. The artwork is of artistic significance to the people of BallaratLarge steel sculpture painted matt blackgrand arch, inge king, australian modernism -
Federation University Art Collection
Textile - Wool sewing on hessian, Hyland, Paula, 'Fairies in the Fog' by Paula Hyland, 1994
Paula HYLAND Paula Hyland graduated with a Diploma of Embroidery at RMIT in 1981. 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.Framed portrait in wool sewn on hessian. art, artwork, paula hyland, hyland, textiles -
National Wool Museum
Textile - Blanket, Laconia Woollen Mills, 1930s
Collector says: I'm intrigued to know why this 1930s & 1940s fashion of blanket - with panels of stripes on each end - only came in the colours of pink, baby blue and mint. Over the years I gathered many 'panel' blankets with labels from over a dozen different mills and yet they are all in these 3 colours only.Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Double sized blanket with mint stripes Made Expressly for Mark Foy's Ltd/Sydney/The Laconia Blanket/Guaranteed Odorless and Free From Filling/Made in Australiablanket, blanket fever, wool, laconia mills -
Darebin Art Collection
Sculpture - Yhonnie Scarce, Yhonnie Scarce, N0000, N2359, N2351, N2402, 2013
glass -
Flagstaff Hill Maritime Museum and Village
Textile - Doily
Linen doily with orange crochet with spoke stitched scalloped edges.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, doily, doiley, doyly, doyley, haberdashery, manchester, linen, decorative napkin -
Ararat Gallery TAMA
Textile, Marie Cook, Open Sesame, Grampians
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Australian Lace Guild - Victorian Branch
Textile - Torchon lace, 1970-2000
Use: Domestic. FashionBobbin lace handkerchief -
Wangaratta Art Gallery
Textile, Tim Gresham, Resonance in Ochre, 2012
Wangaratta Art Gallery Collection. Acquired with the assistance of The Robert Salzer Foundation.A small hand-woven tapestry featuring a jagged line pattern in shades of blue on a ochre coloured background.tim gresham, tapestry, weaving -
Ararat Gallery TAMA
Textile, Sara Lindsay, Cinnamon and Ticking #9, 2008
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Ararat Gallery TAMA
Textile, Annemieke Mein, A Shovel of Soil, 1982
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Mont De Lancey
Textile - Doiley, Unknown
Doilies are small ornamental mats, as of cotton, embroidery, lace, paper or plastic, often placed under cakes, sandwiches etc, on a plate. They were also used as a protection for ornaments placed on furniture to protect it from scratches.Large white cotton oval shaped doiley, with stitched edging. Applique flower cut outs.It has embroidered leaves.doileys, furniture accessories, table linen, soft furnishings -
Glenelg Shire Council Cultural Collection
Sculpture - Sculpture - Ship's Wooden Figurehead, n.d
Part of the collection purchased by the City of Portland from Kurtze's museum. Brendon Kurtze believed it was from the 'Constant', but the wreck was later proven to be the 'Regia' by V.A.S.Wooden painted figurehead believed to be from the barque 'Regia' (built 1835). Painted white female with floral wreath in hair, holding a scroll in both hands, sash over right shoulder, diamond-shaped object on ribbon around neck, beaded necklace, dress with puffed short sleeves, bare arms, hair set in curls and a bun on the back of head. Figurehead is torso only. Inspection suggests that it has been cut from the wreck or from the rest of the figurehead's body.Front: (no inscriptions) Back: (no inscriptions) -
Bendigo Historical Society Inc.
Textile - MACRAME MANTLE PELMET
Macrame pelmet for a mantlepiece made of string in a very intricate pattern.handcrafts, macrame, pelmet -
Whitehorse Historical Society Inc.
Textile - Supper cloth
White cotton supper cloth with white embroidered with a wide band of drawthread with needle embroidery at corners. Embroidery has raise pattern,handcrafts, needlework, manchester, table linen -
Whitehorse Historical Society Inc.
Textile - Doyley
Oblong doiley. Crocheted in cream cotton threaddomestic items, ornaments / decorative