Showing 4648 items
matching art
Artwork, other (1261)
Ceramic (764)
Decorative object (708)
Drawing (4606)
Mixed media (515)
Painting (2476)
Print (1657)
Sculpture (402)
Textile (1393)
Work on paper (2041)
-
Ringwood RSL Sub-Branch
Mixed media - Assorted items, Badges and pictures
-
Moorabbin Air Museum
Mixed media - CAC Calibration of the test cell, CAC F/A 18 test cell in Australia opening speech notes
-
Gippsland Art Gallery
Painting, Markham, Arthur, Untitled, c.1970s-80s
Donated, 1983Watercolour on papergippsland, artwork, permanent collection -
Glenelg Shire Council Cultural Collection
Painting, A.S. Murray, Scene on the River Murray, n.d
Art collection Previously located in History HouseThe painting depicts a large body of water surrounded by tree-covered riverbank. Depicted in shades of blue and grey, the water features patches of brown and blue which illustrate the reflections of riverbank trees. In the foreground to the left of the water is a large tree which extends up to cover the top left skyline of the work. Featured in the background is a dense patch of trees completed in shades of blue. To the right of the water is a dense patch of trees completed in shades of brown and black. These trees reach into a purple and blue cloud-filled sky. The work has a gilded ornate frame with cardboard and gold mount and exposed canvas.Front: A.S. Murray Plaque attached to frame: SCENE on the RIVER MURRAY Back: (no inscriptions) -
Gippsland Art Gallery
Painting, Madden, Peter, Boisdale - Fertile Plain, 1982
Acquired from the Shire of Maffra through Council Amalgamations, 1994Oil on boardgippsland, artwork, permanent collection -
Horsham Regional Art Gallery
Print, Nicholas CHEVALIER, London Chartered Bank, Australia, 1862
Gift of Mack Jost, 1983steel engraving on paper -
Gippsland Art Gallery
Print, Prout, John Skinner (after), Valley of the Goulbourn, Victoria, c.1873
Gift of Ted and Gina Gregg, 2012Hand-coloured steel engraving on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Mixed Media, Unknown Artist, Wayung Puppet, Undated
Donated by Mr & Mrs J. Wilson, 1978Gold leaf and ink on buffalo hide and horngippsland, artwork, permanent collection -
Mission to Seafarers Victoria
Print - Framed print, Francois Cogne, Sandridge from Hobson's Bay 1863, 1863
Busy port of Melbourne and Sandridge beachfront where the Bethel church was built on the Custom House land.Medium size framed print francois cogne (1829-1883), hobson's bay, sandridge, williamstown, bethel church, reverend kerr johnston, 1812-1887, customs house, artwork-paintings -
Gippsland Art Gallery
Painting, Slavik, Danica, Creating a Mood, 1983
Purchased, 1983Oil on cotton canvasgippsland, artwork, permanent collection -
Port Melbourne Historical & Preservation Society
Mixed media - Placard, Anti-amalgamation protests, 1993
Made by the City of Port Melbourne for the demonstrations before and after the forced amalgamation by the Jeff Kennett State Government of the City of Port Melbourne with the Cities of South Melbourne and St Kilda to form the City of Port Phillip. First demonstation was against the City of Melbourne Act which excised 42% of Port Melbourne's rate base (Fishermens Bend) and so laid the groundwork for amalgamation afterwards because Port Melbourne could not survive on the remaining rates. Refer to Pat Grainger, Liana and David ThompsonWhite cardboard attached to a wooden stick with hand lettered anti-amalgamation slogan in black. "Government Action Without Proper Thoughtt"public action campaigns, amalgamation, local government - city of port melbourne -
Kew Historical Society Inc
Print, Sands & Kenny, Dights Mill, 1856
"In 1839 John Dight purchased Melbourne block 88, which included 26 acres of land along the Yarra River for £481 at the Port Phillip land sales held in Sydney. Dight was already in the business of flour milling and had a mill near Campbell Town in New South Wales called ‘Ceres’. In April 1840, he notified his customers through The Sydney Herald that he was leaving to go to Port Phillip. The first steam powered flour mill was constructed in Melbourne in 1841. Dight built his water powered mill, soon after, from bricks bought over from Tasmania. Dight used the river to power his mill: Water flowed along an inlet channel to turn an undershot water wheel. In order to regulate flow or to ensure flow for times when river levels were low, Dight constructed a rough stone weir." (Melbourne Water)Dights Mill. Reproduction of a book plate from an original wood engraving, showing Dights Mill and Falls on the River Yarra. The image was originally published in Sands & Kenny, Melbourne & Sydney.Annotation on reverse: "Dights Flour".dights mill, yarra river -
Gippsland Art Gallery
Print, Senbergs, Jan, Love the Stage, 1970
Purchased, 1972Screenprint on papergippsland, artwork, permanent collection -
Darebin Art Collection
Painting - Frank Harding, Frank Harding, Our Golden Years, 1975
landscape -
Castlemaine Art Museum
Painting, J.J. Hilder, Brisbane River, 1909
Gift of R.D. Elliot, 1927 -
Gippsland Art Gallery
Print, Schell, Frederic B, Log Tramway, Gippsland, c.1886
Donated by Simon Gregg, 2013Hand-coloured woodcut print on papergippsland, artwork, permanent collection -
Federation University Art Collection
Painting, Lyn Cooke, 'Rainforest Home' by Lynne Cooke
Lyn COOKE An artist specialising in wildlife, Lyn Cooke draws from the rich heritage of wildlife art in Australia beginning with the natural history illustrations of John William Lewin and John and Elizabeth Gould. Her aim is to accurately depict the natural environment and this is reflected in her highly detailed paintings. 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.Framed painting of a frog in landscape.Signed lrs 'L. Cooke'art, artwork, lyn cooke, frog, available, rainforest -
Flagstaff Hill Maritime Museum and Village
Painting - Oil painting, W. Langley-Taylor, Cape Schank [Schanck], Late 19th to early 20th century
This painting is one of a pair of large paintings by W. Langley-Taylor in our collection. Currently, no further information has been found about the artist but research is ongoing. The subjects of these paintings are seascapes of notable areas of the coast on each side of Port Phillip Bay, south of Melbourne, Victoria. The subject of this painting is Cape Schanck, Victoria, which is on the east side of Port Phillip Bay. It includes the Cape Schanck Lighthouse and its Flagstaff. The Cape Schanck Lighthouse was built in 1859 and is the second of Victoria’s coastal lights. It is 21 metres tall and made from limestone. Unusually, its stairway is made from stone rather than wrought iron. Gilded tours are available to explain its use and significance to visitors. The lighthouse keepers at Cape Schanck kept records of the ships that sailed past them along Bass Strait; ship’s names, direction, time and date and so on. The details would also be passed on to shipping agencies, Harbour Masters and newspapers, which published Arrivals and Departures into and out of shipping ports such as Port Phillip Bay and the Port of Melbourne. INSCRIPTIONS “Mrs M Irby” (and on the Eagle Rock, Warrnambool, painting “980/Regency”) The inscription “Mrs M Irby” is on the back of both paintings but the significance of the inscription has not yet been discovered. Perhaps she was connected with the ship or shipping company “Irby”. A ship named “Irby”, built in Merseyside, Liverpool in 1881 by R & J Evans, Birkenhead. It was a four-masted iron ship built for the White Star Line. Henry Wilson Hewitt bought her in 1882, then later she was owned by Chadwick & Pritchard. In 1888 she was registered under the Irby Ship Co. Ltd. (trading as J. Joyce) in Liverpool. In 1912 Galgate Co. Ltd owned her. She traded between London, England and Australia, and is recorded as being in Melbourne and Hobart. In 1919 the Irby was destroyed by a mine when on her way to England. Or perhaps her name and the inscription in pencil “980/Regency” on the Eagle Rock Warrnambool, painting could be a delivery address for the paintings, perhaps an apartment in a hotel. NOTE: The artist’s spelling of the title “Cape Schank, Vic.” is incorrect. The location in this painting is named Cape Schanck. This painting is significant geographically for its representation of the coastal scenery of Victoria, Australia. It is also significant as one of a pair of paintings of seascape, one at sites each side of Port Phillip Bay. The painting is significant historically as an example of late 19th and early 20th methods and materials used to construct a painting’s frame. Painting oil on board in a dark wooden frame, portrait orientation. Seascape of coast with cliffs, lighthouse and flagstaff, flying birds, high waves breaking onto rocks, blue sky with clouds. The title is painted on lower left corner and the Victorian artist, W. Langley-Taylor, has signed his name on lower right. The inscription on back is handwritten script in red crayon or thick red pencil. The board is held in place inside the timber frame with small, dark metal tacks around all sides. Metal eyes join the wire to the frame. Small round, dark metal nail heads are dispersed around the frame and there is a change of colour on both the board and the wood of the frame. Painted on front “W.LANGLEY-TAYLOR.” and “CAPE SCHANK, VIC.” [NOTE: correct spelling is Schanck] Handwritten on back “Mrs. M. Irby” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, painting, oil painting, cape schanck painting, w. langley-taylor, wall decoration, seascape of victoria's coast, art, mrs m irby, victoria's coast, pair of paintings -
City of Whittlesea Art Collection
Painting - Gouache on paper, Mandy Nicholson, Djerri (Grub)
Born in Healesville, Many Nicholson is a Wurundjeri-willam (Wurundjeri-baluk patriline) artist and Traditional Custodian of Melbourne and surrounds. Mandy also has connections to the Dja Dja wurrung and Ngurai illam wurrung language groups of the Central/Eastern Kulin Nation on her fathers side and German on her mothers.wurundjeri, aboriginal, kulin -
City of Whittlesea Art Collection
Painting - Acrylic and ink on board, Pavel Wojtech, Land Makes Offer
-
Nillumbik Shire Council
Painting, Paul KALEMBA, Leaving Isolation, 2020
Leaving Isolation is play on words; a pun. It is a joke shared with new imaginary friends found while living alone, in isolation. Processing emotions, sanitising theories, engaging in shadow play; these works show individual native leaves that resemble expressive faces collected on permitted daily walks. 30 small, 15 x 21 cm still life studies in ink and watercolour are hung to reference a calendar month during COVID-19. The work considers the nature of ecology in the anthropocene while confronting emergent psychological myth-scapes during Lockdown.Commissioned by Nillumbik Shire Council as part of the Art in the Time of Covid project which invited artists to create artworks that reflect the pandemic and the artists' personal experiences of it. -
Wangaratta Art Gallery
Painting, Patricia Moran, Chrysanthemums, 1986
Moran was an Australian realist artist who specialised in floral works in oil. She was highly regarded for her skills as an artist as well as her ability to share her knowledge of painting. realismRural City of Wangaratta Collection, Wangaratta Art Prize Grand Winner 1986.A still life oil painting of pink and white chrysanthemums arranged in a glass vase with rounded gum leaves which has been placed on top of a round dinning table which has been covered in a white tablecloth.Obverse: P. Moran/ (bottom right corner) WANGARATTA ART SHOW/ GRAND WINNER 1986/ (plaque mounted on frame)wangaratta art gallery, patricia moran, still life, flowers, chrysanthemums, painting -
Queenscliffe Maritime Museum
Print - Reproduction print, framed, AV Gregory, Ormus 1887
In 1883 The Orient Steam Navigation Co. Ltd., of London signed a contract with the Government of New South Wales, Australia to carry emigrants from the United Kingdom. The Company would be paid £15 per head for up to four hundred persons and £14 and 10 Shillings for numbers between four and six hundred persons per voyage.A reproduction print of a painting by AV Gregory of the vessel Ormus, 1887. The print is mounted under glass and framed in a dark brown timber frame.rms ormuz, reproduction print -
Federation University Art Collection
Painting - Artwork - Painting, 'Portrait of Vice - Chancellor Professor Kerry O. Cox' by Peter Churcher, 2006
Peter CHURCHER (28 February 1964- ) Born Brisbane, Australia 2006 moved to Barcelona, Spain After studying Music at Trinity College, London Peter Churcher completed a Bachelor of Fine Arts (Painting) at Victoria College (know Deakin University) in 1991. He is now considered one of Australia's leading figurative painters. Peter Churcher's work was represented in the prestigious Archibald Prize on nine occasions. In 2002 Peter Churcher was commissioned as an Australian War Artist documenting the Royal Australian Navy and the Royal Australian Air Force enduring the Australian involvement in the coalition war against terrorism. His works are held in many Australian collections. Professor Kerry O. Cox was Vice Chancellor at the University of Ballarat from 2001 - 2005. 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. Framed academic portrait of Vice Chancellor Professor Kerry Cox art, artwork, portrait, academic portrait, peter churcher, kerry cox, vice chancellor, academic regalia -
Moorabbin Air Museum
Mixed media (Item) - Raytheon T-6B Texan II Advertisement Photo Disc, Raytheon Aircraft Company T6-B World Tour 2005
-
Gippsland Art Gallery
Print, Webber, John (after), A View of the Town and Harbour of St Peter and St Paul, in Kamtschatka, 1779
Donated by Charles Nodrum, 2019Engraving on papergippsland, artwork, permanent collection -
Nillumbik Shire Council
Painting, John NIXON, Eltham, 2014
-
Flagstaff Hill Maritime Museum and Village
Painting - Maritime painting, C. W. Veale, Loch Ard, c. 1978
This painting is believed to have been created by an amateur artist C W Veale of Colac, who established an early bus service in about 1923, known at the time as the Blue Bus Service, which operated from Colac. This service was available for special trips within the Colac region. The Blue Bus Service became very popular with travellers to Lorne via the Deans Marsh Road. The label on the back of the painting comments on whether the ship would be in full sail at the time of the wreck. History of the Loch Ard: The Loch Ard got its name from "Loch Ard" a loch that lies to the west of Aberfoyle, and the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curle & Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen, and candles, as well as a heavier load of railway irons, cement, lead, and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold their position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as Loch Ard Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy that had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost families in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce, and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the Loch Ard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of Loch Ard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Loch Ard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register.The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collection's objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history.Painting in brown-stained wooden frame. Depicts three-masted vessel 'Loch Ard' in full sail on moderate seas. Ship has figurehead, figures on board, and a Union Jack flag on red background. Ship's hull is black with white stripe, and is red on waterline. Ship's name is on hull. Artist C. W. Veale, painted in 1978, signed on bottom right. Label on back of painting has typed description of the Loch Ard and a comment.Signature "C W Veale / 1978" Text on hull "LOCH ARD" Label on back; " "LOCH ARD" / The clipper ship Loch Ard was wrecked on the 1st June 1878. / Of 54 people on board only two survived : Eva Carmichael and Tom Pearce. / Pearce became hero of the wreck for saving Miss Carmichael. / This picture shows the Loch Ard in full sail in moderate seas. / When approaching Cape Otway from the west, she would be in rough water and would presumably not be in full sail."flagstaff hill maritime museum, colac bus services, blue bus service, cw veale, loch ard paintings, loch ard, veale, warrnambool, great ocean road, eva carmichael, tom pearce, thomas pearce, cape otway, cargo ship 1878 -
Gippsland Art Gallery
Print, Unknown Artist, Swing-Bridge, Latrobe River, near Sale, c.1883
Donated by Colin & Val Johnson, 1984Wood engraving on papergippsland, artwork, permanent collection -
Moorabbin Air Museum
Mixed media - CAC Aircraft production in Australia and New Zealand includes 1980 article on history of Australian aircraft industry, CAC History of aircraft production in Australia and New Zealand