Showing 1683 items matching art
Artwork, other (1213) Ceramic (746) Decorative object (661) Drawing (4552) Mixed media (471) Painting (2350) Print (1648) Sculpture (394) Textile (1022) Work on paper (2003)-
Lilydale RSL Sub Branch
Textile - Puttees
Wool PutteesN179-19042 /Made in Australia/ Regimental No./Name -
Mont De Lancey
Decorative object - Hansom Cabriolet Model, Chas W Davis, Unknown
The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a two horse drawn enclosed Hansom Cabriolet replicates the vehicle that enjoyed respect from the public from c.1833 until 1935. A model of a black enclosed coach which is a four wheeled passenger horse drawn vehicle where the driver sits at the front behind the two white horses. It has two large and two smaller gold painted spoked wheels with black rims and gold mudguards on the rear wheels, two gold painted coach lamps, red vinyl padded seating and four open windows with rolled up blinds. There are two doors with a step for easy access into the coach. A long brown wooden shaft separates the horses as well as the necessary horse tack for carriage use to help the driver communicate with the horses. A hand operated brake pad is on the rear wheels. The first Hansom Cabs were clumsy, dangerous awkward vehicles. The drivers were suspected of 'Rude Bohemia'. It took the refinement of Joseph Aloysius Hansom himself to clear airs and remodel the cab to a safe vehicle. It enjoyed respect from c.1833 until 1935. It came in four types.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses, road transport, coaches -
Clunes Museum
Textile - TRAY CLOTH, 1939
White hand crocheted sandwich tray cloth"Clunes Centenary 1839 1939" stitched into patternclunes centenary 1939, tray cloth, crochet -
Churchill Island Heritage Farm
Textile - Lace Trim
This is a very dense machine made lace reminiscent of a Valenciennes style. The folk art style roses and interconnecting six petal flowers are set into quite a dense net ground. The trim appears to have been made on a Pusher machine - although it was only able to make the lace pattern and the net. Any outline had to be filled in later by hand using an embroidering machine. Nottingham stopped making Pusher lace probably in the early 20th century but it continued to be made in France. The Pusher machine was a variation on John Heathcoat’s Bobbinet machine developed by Samuel Clark and James Mart in 1812. It takes its name from the rods which pushed the carriages through the machine. The Jacquard apparatus was adapted to it in 1839. The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by four generations of Amess women. section of lace trim, with very dense valenciennes pattern, small lowers and leaves interwoven with larger motifschurchill island, lace, janet amess lace collection, trim, amess, machine -
Ararat Gallery TAMA
Textile, Merrill Dumbrell, Sampler for Congo
-
Whitehorse Historical Society Inc.
Textile - Doyley
Ecru cotton crochet doyleyhandcrafts, crocheting or crochet work, manchester, furnishings -
Whitehorse Historical Society Inc.
Textile - Lace Piece
Long piece of cotton crochet lacehandcrafts, lacemaking -
Ararat Gallery TAMA
Textile, Frances Burke, Gum Blossom (place mat), c. 1955
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. -
Mission to Seafarers Victoria
Decorative object - Rope knot, Carrick Mat, Late 20th or early 21st C
A carrick mat is a decorative-type of knot with the ends connected together, forming an endless knot. The basic carrick mat made with two passes of rope also forms the central motif in the logo of the International Guild of Knot Tyers.The carrick mat was a much used improvised mat used by many seafarers, especially in the days of sail, as a protective or cushioning pad.Is a flat woven decorative knot of coarse hemp rope. There appear to be two to three lengths of rope in the construction. knots, carrick mat, carrick bend knot -
Flagstaff Hill Maritime Museum and Village
Textile - Cover, Mary Jane Giles (Mrs Harry Giles), Late 19th to Early 20th Century
This furniture cover is one of many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940.The Giles family collection is of social significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it’s establishment. But the Giles collection also gives us today a snapshot into what domestic life was like in early colonial times prior to Federation.Sideboard cover with lace edge on one side only.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sideboard cover, giles collection, henry giles, tower hill, cooramook, mailor’s flat, wangoom, 19th century household goods, textiles -
Numurkah & District Historical Society
Textile - Victorian Railway Guard Hat
Victorian Railway Guard Hat, Navy cloth with black face brim. Has black band around the base of the hat. Red interior lined Metal Badge Guard 401 -
Orbost & District Historical Society
Decorative object - Brooch
These items are from the Temple estate. George Temple (1832-1916) started Temple's store opposite Orbost Post Office. Packed stores to Bendoc area gold fields, also had a store in Cann River. This item is an example of a popular piece of jewelry worn by women in the early 20th century. These brooches were sold in a local store and could have been purchased for a local funeral.Black, bakelite brooch - three small sections form centre of brooch, one is a hexagonal cone-shape with hexagonal dome attached by link to smaller circular polygon attached by link to a smaller flat pentagon. Black mesh in the shape of wings form the backing featuring eight bakelite stars of varying sizes (two smaller stars missing from the assembly). A metal pin is attached to the rear in the form of a clasp.1900s jewellery, bakelite, mourning brooch, george temple, orbost store -
Wodonga & District Historical Society Inc
Decorative object - Gold toned chain from the Sarah Coventry jewellery range, c. 1970s - 1980s
Sarah Coventry Pty. Ltd. was a North American jewellery company that was established in 1949 by the Stuart family as part of Emmons Jewelry, Inc. It began operations in England and Australia in 1968, and in Australia it moved from Carlton in Melbourne to Wodonga in 1969. The premises were originally on High St. in Wodonga, but a new warehouse was built in Melbourne Rd. later in 1969. It was a direct selling jewellery business using a party-plan model similar to Tupperware and Avon. The sales reps or 'Hostesses' were provided with jewellery samples in demonstration kits, which they displayed at jewellery parties in their homes. The designs for jewellery such as brooches, necklaces, earrings, chokers and bracelets were purchased from freelance designers and jewellery manufacturers rather than in-house designers. In 1979 Sarah Coventry Pty. Ltd. in Wodonga was bought by three Australian businessmen, including Wodonga local Jim Sawyer, and continued to sell jewellery under the name "Sargem Pty. Ltd”, for several more years in the 1980s. As part of the Sarah Coventry collection, the gold toned chain has local significance with the decentralised commercial development of regional centres such as Wodonga in NE Victoria, as well as national and international significance from the perspective of social and economic developments for women after World War II. The direct selling party-plan business model Sarah Coventry was based on is also considered the first of its kind for jewellery.Gold toned metal chain with a rhombus-shaped attachment next to the clasp, with the Sarah Coventry mark stamped on it."SARAH / COV" which is thought to be first used in 1953.sarah coventry, jewellery, wodonga, costume jewellery, vintage fashion jewellery, gold chains -
Churchill Island Heritage Farm
Textile - Lace Trim, Section
This piece has been labelled by the Lacemakers Guild as ‘Imitation Valenciennes’which leads one to assume that it is machine made and created to look like a handmade Valenciennes trim 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). It 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 and this section 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 machineChurchill 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. Imitation Valenciennes length of white lace trim.janet amess lace collection, lace, churchill island, amess, machine -
Bendigo Historical Society Inc.
Decorative object - Two small tables
Two small identical wooden tables that are 17 centimetres high, 34 centimetres long and 21 centimetres wide. One is painted green, the other has a clear timber finish. The legs are two and a half centimetre square at the top tapering to one and a half centimetre. Pieces of wood one centimetre by three centimetres secure the legs to the underside of the table. A one centimetre by a half centimetre wooden bead is attached to the underside of the table between the legs and the edge of the table. woodwork, small table -
Flagstaff Hill Maritime Museum and Village
Decorative object - Ornament, 19th century
This fine white unglazed porcelain figurine is one of six donated together. The bisque material was easy to carve and allowed fine detail. Figurine ornaments were popular for table decorations between the mid-18th to early 19th centuries. This ornament was most likely made in Germany, and German manufacturers began to use bisque material to make realistic faces for dolls in the 1850s.The set of six bisque figurines is representative of popular table decorations during the 19th and early 20th centuries.Ornament, fine unglazed white porcelain, carved to represent a woman standing in front of a green vase. flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, bisque, china ornament, white china ornament, german, porcelain, unglazed porcelain, 19th century, 18th century, european ornament, pottery, unglazed pottery, domestic ornament, decoration, table decoration, vase, woman with vase, germany -
Clunes Museum
Textile - KNITTED SAMPLE, INTERKNIT
INTERKNIT WAS INDUSTRY STARTED IN CLUNES AFTER THE GOLDMINING HAD CLOSEDSAMPLE SHOWING 6 DIFFERENT PATTERNS OF KNITTING WITH KNITTED BAND. MOUNTED ON CARDBOARD WITH INTERKNIT HANDWITTEN SIGN.interknit, sample, knitted, wool -
Villa Alba Museum
Decorative object - Curtains: decorative trim, 2 pieces, 1850s-80s
Part of a suite of decorated curtains, DAD-035-00012 lengths of decorative trimming; one piece longer (002-1: 5.4m) than the other (002-2: 4.5m). Basically composed as a long thin sausage of gold-coloured silk satin, stuffed with cotton wool, and twisted with a narrow gold metal woven braid. It forms a soft, loose cord for ornamental draping around the curtains, perhaps on the front of a fancy pelmet (though no pelmet of valance survives). The longer piece (002/1) contains 3 groups of furniture tacks for pinning the cord to enable loose, draped sections. interior decoration, curtain accessories, interior decoration - history -
Ararat Gallery TAMA
Textile, Joy Smith, Geelong Lifesavers, 2007
-
Clunes Museum
Decorative object - DRESS PIN
A BLUE GLASS PIN WITH SILVER DECORATION AND A METAL CLASP ON THE BACK.local history, costume accessories, clothes, jewellry -
Clunes Museum
Decorative object - CROCHET INSERTION
THESE TWO PIECES OF CROCHET CAME FROM THE WORK BASKET.- THE BEGINNINGS OF NEW PROJECTS. MRS D. McLENNAN'S PERSONEL COMMENTS.2 x CREAM CROCHET CENTRE PIECES FOR TEACLOTH, DOYLEY OR BEDSPREAD. .1 SHAPED ROUND MOTIF .2 ONE CORNER INSERTION OF DIFFERENT DESIGN.local history, handcraft, crochet work, handcrafts, crocet -
Gippsland Art Gallery
Textile, Peck, T.P, Lady Charlotte Campbell, Undated
Donated by the artist, 1977Needlework tapestrygippsland, artwork, permanent collection -
Ararat Gallery TAMA
Textile, Richard Goodwin, Air/Past Sample/Future Tense, 1990
-
Bendigo Military Museum
Decorative object - BADGES, 1930s
Items souvenired by Frederick Ernest ADDLEM VX142253. Refer Cat No 432.2 for his service history and 937P. .1) Badge, Japanese, Metal, Rectangular shape with crossed swords, Anchor and chain, centre is a brass star. Rear has Japanese writing and pin clasp .2) Same as abovenumismatics -badges - military, japan -
Bendigo Historical Society Inc.
Textile - T-Shirt
T-Shirt belonged to Donor's son who attended the School.Sky blue Gravel Hill Primary School T-Shirt with printed image in dark blue on the centre front. Image of the school gates and building with a tower. "GRAVEL HILL PRIMARY SCHOOL" printed above the image. Clothing label inside neck band. The T-Shirt is made by Nile, to fit Size 10 - height 140 cm. Made in Australia.gravel hill primary school, school uniform -
Flagstaff Hill Maritime Museum and Village
Textile - Jug Cover, ca 1910
The jug cover has beads on the border, which are used to weigh the cover down and keep it on the jug. 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.” It was a tradition for brides to have a 'glory box' containing linen and embroidered articles to take to their new home. Many of the items were made by Daisy, a skilled dressmaker. Daisy began her apprenticeship at two shillings and sixpence per week at Miss A. E. Emery's dressmaking establishment at 150-152 Liebig Street, Warrnambool. Considered to be the leading house of fashion in Warrnambool, Miss Emery employed about eight young women who worked long hours to sew elaborate gowns for clients, including wives of graziers who would attend the race carnivals and social functions in Warrnambool. (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 significant for its association with a ‘glory box’ or hope chest’, a tradition of single ladies making and collecting a range of linen and other domestic items in preparation for their future marriage. The item is a fine example of early 20th-century needlework and handmade domestic items.Jug Cover, white crocheted square with a Maltese Cross incorporated in the design and green beads on the 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, handmade, craft, manchester, linen, haberdashery, miss a.e. emery dressmaker, needlework, crochet, jug cover, crocheted cover -
The Beechworth Burke Museum
Textile - Banner, c1872
This banner was one of five banners gifted to the Beechworth Chinese community in recognition of their support of the Hospital and Benevolent Asylum in 1875, from the Carnival Committee. These banners had been purchased in China by a social envoy from Beechworth then presented to the Chinese community during the Beechworth Fine Arts Exhibition in May of that same year, by Donald Fiddes, President of the Ovens District Hospital. The Burke Museum's Chinese Collection presents the history of Chinese settlement in Beechworth from 1856 and its involvement in local community affairs in the second half of the 19th century. In settling in the area they formed their own community with distinctive Chinese cultural traditions, forming their own 'camps' with laid out streets, housing a Temple, Chinese Theatre and restaurants, hotels, stores, gambling houses and dwellings. Members of the Chinese community took an active interest in town affairs and were generous donors to the appeal to build the Ovens District Hospital in 1856/7. The vibrant colours and dynamic graphics of the silk embroidered Chinese banners were a highlight of Beechworth Charitable processions that took place in the main street. Two of the Chinese banners were conserved for the Burke Museum in 2006 by Carol Campbell of Phoenix Conservation Services with funding from Victoria’s Heritage Grants. In 2015, with the enormous support of the Copland Foundation and fundraising activities by the Friends of the Bur Museum Committee, conservation of the third banner was undertaken by Artlab Australia in Adelaide.The banners display traditional Chinese textile techniques and are visually beautiful and very rare and are considered of local and national significance, with the potential to be deemed internationally significant.Multi panelled banner with embroidery and applied design motifs on front. The front panels have been constructed using strips of various weaves and colours of silk that have been embroidered or had a design applied prior to the overall construction of the piece. The embroidery is predominantly gold work with both plyed and floss silk threads.beechworth, burke museum, chinese, benevolent asylum, ovens district hospital, beechworth carnival processions, carnival, processions, beechworth chinese community, beechworth fine arts exhibition, donald fiddes -
Stawell Historical Society Inc
Textile - Costume and Accessories
Collection of Five Doylies 3 Round shaped cotton material Centres crochet surrounds all different patternsstawell clothing material -
National Wool Museum
Textile - Quilt, Judith Oke et al, Isolation Quilt, 2020-2021
In 2020 during the period of lockdown due to COVID the National Wool Museum asked their volunteers to make and donate blocks made from a variety of materials found in their homes, for an ISO quilt. The NWM reached out to the patchwork and quilter community to find a local quilter to sew the donated blocks together. The quilt is sewn together and quilted by Judith Oke, 2020-2021. Judith is a local patchwork and quilter and a member of Geelong Patchwork & Quilters Guild. Through the process she was inspired by the tradition of wagga quilts, where bits and pieces are stitched together, sometimes lined with whatever the sewer found available, such as clothing and sacking, to provide warmth. In construction of the finished quilt the challenge was combining 10 inch blocks made from a variety of materials, with uneven sizing. The aim was to combine these very different blocks into a harmonious whole. To this end a light and dark pattern was planned, with the blocks to be sewn onto a blanket. The choice to layer the blocks over each other, rather than sew an even seam was aimed at emphasizing the make do nature of these ISO blocks. Due to the weight of the blanket a decision was made to sew the blocks onto a base before the whole was stitched onto the blanket. The blanket was sourced from NWM donations. The rich, red of the blanket provides a bright, warm background for the colourful squares. Some of the light weight blocks were backed with iron-on interfacing to strengthen them for sewing. The edges of two of the woven squares were blanket stitched with knitting wool. The 10 inch donated blocks/squares were machine sewn to a cotton sheet base, with liberal use of blanket stitching, as the blanket was too heavy to sew the blocks directly onto the blanket. The base with squares was then machine sewn onto the red blanket backing.Various multi coloured and designed patchwork squares sewn onto a red woollen blanket. isolation, covid, quilt, wool -
Charlton RSL Sub Branch
Decorative object - ANZAC Day pins. Assorted collection, Collection of 44 ANZAC Day badges. (Many doubles)
Collection of assorted ANZAC Day badgesVarious