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Ararat Gallery TAMA
Textile, Diana Wood Conroy, What must I do now?, 2013
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Swan Hill Regional Art Gallery
Painting, COLEMAN, Rosemary, Icarus flees the crowd, 1991
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Federation University Art Collection
Painting, Searle, Ken, 'Ballarat' by Ken Searle, 1998
Ken SEARLE (1951- ) Born Sydney, New South Wales Ken Searle worked on this commission through 1997 and 1998. Further works and sketches relating to this commission are held by the Art Gallery of Ballarat. Searle is a self-taught artist who first exhibited his paintings and drawings in the mid-1970s and is known for large, and often whimsical, paintings, of suburban and industrial areas in several Australian cities. From 1998 to 2001 Searle worked as a consultant at the school in the Aboriginal community of Papunya, Central Australia. 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 highlighting the artist's favoured aspects of Ballarat. Interested with scenes of suburbia for over twenty years, Ballarat is his first portrayal of a whole city. Searle’s view of Ballarat presents a deliberately untidy city seen from a number of viewpoints. Local scenes are portrayed no matter how pretty or garish, the subject matter providing a snap shot in time. Funded through the Commissions Program of the Visual Arts/Craft Fund, 1998 art, artwork, ken searle, ballarat -
Whitehorse Historical Society Inc.
Textile - Embroidered doiley
The doiley was worked by Betty Harrison, wife of Don Harrison. It is a sample of cutwork embroidery. The doiley was worked and when finished the pattern was cut out, leaving the centre uncutThe doiley is a part of a handcraft kit sold by Fautleys fancy work shops, and Needlework shops. Needle work such as embroidery was a very popular social activity during that era.Unfinished piece of cutwork in shape of oblong doiley. Brown cotton thread has been worked to shape star-shaped flowers at each end as well as the bordersFautley's Linen-Weft 5 x 11 No. 1863handcrafts, embroidery -
Melbourne Legacy
Painting - Portrait, Sir Stanley Savige, K.B.E., C.B., D.S.O., M.C., E.D, 1946
A portrait of Stanley Savige, the founder of Legacy, by Ernest Buckmaster. It was presented to Melbourne Legacy in the late 1940s by the 24th Battalion. Ernest William Buckmaster was an Australian artist born in Victoria. He won the Archibald Prize in 1932 with a portrait of Sir William Irvine. He also served as an Australian war artist during World War II. A newspaper article at the time said it had been an entrant in the Archibald Prize (see item 00364).It indicates the high esteem in which Sir Stanley Savige was held by the Australian public for both his war service, and for founding Legacy, for him to be commemorated in a portrait at Legacy House by an accomplished artist.Colour oil painting of Sir Stanley Savige by Buckmaster.stan savige, portrait -
Gippsland Art Gallery
Painting, Jarvis, Sue, Mechanics Institute Rosedale, 1987
Purchased, 1987Watercolour on papergippsland, artwork, permanent collection -
Glenelg Shire Council Cultural Collection
Painting - Portrait, Catherine Millar, n.d
Gilt framed oil painting of Catherine Millar, wife of Hugh Millar. Seated in wooden chair, left hand holding chair arm, right hand on her lap. Mrs Millar is wearing a dark, fitted long sleeved jacket with V-neck, over long sleeved white blouse with an oval brooch at neck. Her hair is long, brown, parted in middle and caught up in a roll either side of her head.portrait, portrait painting, oil on canvas -
Australian Lace Guild - Victorian Branch
Textile - Nanduti lace
Use: DomesticNeedle weaving lace table runner -
Swan Hill Regional Art Gallery
Painting, DENNIS, Margery, Rainforest (understorey), 1991
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Port Melbourne Historical & Preservation Society
Painting - Courthouse, Port Melbourne, watercolour by SM, 1985
One of ten framed watercolour paintings of Port Melbourne buildings by 'S.M.' c 1985: Courthouse, Port Melbournebuilt environment - civic, built environment - commercial, piers and wharves - town pier, arts and entertainment - visual arts, tony hill, mcclusky and associates - solicitors, painting -
Gippsland Art Gallery
Painting, French, Euan, Untitled, 1946
Donated from the estate of John Leslie OBE, 2017Watercolour on papergippsland, artwork, permanent collection -
Ararat Gallery TAMA
Textile, Marie Cook, Open Sesame, Grampians
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Gippsland Art Gallery
Painting, Dridan, David, Grey Range and Jackson Creek, c.1982
Esso Collection of Australian Art. Donated by Esso Australia Pty Ltd, 2018Acrylic, Boardgippsland, artwork, permanent collection -
Tatura Irrigation & Wartime Camps Museum
Painting - Painting - Watercolour, Toorak Road, South Yarra, Sept 12-14, 1943
By Leonhard Adamleonhard adam, toorak road south yarra -
Flagstaff Hill Maritime Museum and Village
Painting - Oil painting, John Dollery, The Chase, c. 1980s
This painting shows a historic depiction of Australian whalers in action at sea, and shows the scale of man to whale. Whaling was one of the first industries in early Victoria. John Dollery was born in London in 1933. As a child he loved to draw and was a frequent visitor to the National and Tate Galleries. In 1957 Dollery came to Australia, settling in Queensland in 1965. After receiving a prize in a drawing exhibition, he began painting in oils, and is entirely self-taught. Whilst in Queensland he painted most of his canvases strictly from life and in 1977 he moved to Melbourne where he established himself as a full-time artist. John was very interested in Australia’s history, and most of his work represents this theme. Many of his pieces are in collections both in Australia and overseas. Dollery’s daughter is also an artist and has exhibited both her father's and her own works together in an exhibition 'Now and Then, Father and Daughter'.The painting is a significant work by artist John Dollery. Its subject of whaling shows an early Australian industry and shows the scale of man to whale. The decorative frame is appropriate for the era in which the scene would have taken place.Painting in oil on canvas, in gilt carved timber frame. Seascape, depicting a whale hunt. A spouting whale is behind a whale boat with six whalers aboard. A tall ship with seamen aboard is behind the whale. Two other tall ships and another whale boat are in background. An embossed plaque in bottom centre of lower frame has inscription.. Artist is J. Dollery. Stamped on the sticker “John Dollery / ARTIST / Crown Lot 16 The Esplanade Corinella, Victoria 3984 / Telephone: (056) 78 0644 “ Hand written on sticker “THE CHASE $xxx” Embossed in the wooden frame “30 / ART / Specturm” Signed “J DOLLERY”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, whales, whaling, industry, whale oil, blubber, john dollery, the chase, corinella, historic art work, australian art work, australian historic artwork -
Bendigo Historical Society Inc.
Textile - Bedspread
Fine white linen bedspread embroidered at one end, which would fold back over the pillow of a single bed. Top of bedspread has a lace border 10 cm deep on three sides. Embroidery and cut work decorates this fold-back section. Hemmed on remaining sides.linen, bedspread, favaloro collection -
Whitehorse Historical Society Inc.
Textile - Handkerchief
Child's cotton handkerchief with green border. Centre has an illustration of a queen and child kneeling. Words of a poem at base.Little girl ------ as big as my side. (poem printed in other information)costume accessories, children's -
Australian Lace Guild - Victorian Branch
Textile - Honiton lace, 1850-1900
Use: Domestic. FashionBobbin lace cuffs -
Glenelg Shire Council Cultural Collection
Painting, Gardens Cottage Portland 1857, 1967
CEMA Art collectionThe painting depicts a blue stone building with green door. On either side of the door is a window and there is a chimney at either end of the roof. The side of the house closest to the viewer is overgrown with vegetation which extends up to and covers the chimney. To the right of the building is a green fence with a leaf-less tree behind. To the left of the building is a smaller green fence with several green trees behind. The work has a plain wooden frame with a mount and glass.Front: Gardens Cottage Portland 1857 Ruth Denny 1967 (black, handwritten) Back: Sticker: DEANS MU 8291 FOR FRAMING 346 LT. COLLINS ST., MELB. NO. 20438 Yellow sticker: 3033 -
Stawell Historical Society Inc
Textile - Costume and Accessories, c1916
Embroided Cushion Cover. Square Frilled edge. White work embroidery button closing.stawell clothing material -
Swan Hill Regional Art Gallery
Painting, SMITH, Eric John, Endangered image, 1989
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National Wool Museum
Painting, Dr Deanne Gilson, Yaluk, Beek, Murrup (Water, Country, Spirit), 2016
My name is Deanne Gilson and I am a proud Wadawurrung woman living on my ancestral Country around Ballarat in Victoria. My practise aims to highlight and bring back traditional women’s symbols and ceremonial practises that reference the lived experience of my ancestors. By reviving traditional marks found on artefacts and women’s business, I am forming links with past ancestral knowledge so that is not lost and continues for the future generations. My art practice relies heavily on the use of symbols and form as a metaphor for the body. I have worked as a full-time artist for over thirty-five years. Many artworks tell stories of the spiritual aspects of culture and myths. Dreaming and Songlines, further creating a yarning space, bring the gap towards reconciliation and healing for my people and others through shared sharing stories. A main focus of my art practice tells the birthing tree and scar tree stories and how Wadawurrung women have evolved and survived, since before and after colonisation. The old symbols find new life, connecting to the contemporary ones, further connecting us all to this Country we all call home.Yaluk, Beep, Murrup, meaning Water, Country, Spirit, incorporates the traditional mark of the wave pattern (often found on wooden shields) used by my ancestors, along with the basalt plains across Wadawurrung Country. By depicting the interaction between the Water and Country, I use ancestral knowledges that are not seen but intuitive to myself, while juxtaposing them against the ancestral stone circle knowledges, embedded with the DNA of our stories. The ochre is reclaimed as real, it is marni-beek, meaning Country, in particular the white ceremonial ochre, often seen on the painted-up figure and used today to reconnect back to our ancestral memory. Reclaiming what was lost through colonisation, but still present in our Dreaming that flows on today through the water spirit. Country has no time limits and water connects to our bodies, which are made up of water. We as a clan, are still here today, living and being on Country, our ancestral spirits live on through us. The original painting is a contemporary account of using ochre to reclaim ancestral knowledge and to be part of the ceremony that is yaluk, beep, murrup. wadawurrung, deanne gilson, water, country, spirit, first nations art -
Tatura Irrigation & Wartime Camps Museum
Painting - Painting - Water Colour, Hut 45 Tatura Camp 1
Herman Bernhard SCHMIDT e was a foundry owner in Queensland. He was interned and sent to Gaythorne internment camp for 6 months and then sent to Tatura Camp 1 until 1946 when he was released.Coloured water colour painting of a hut, number 45 on side, power pole behind hut. coloured section in front of hut. Framed in a light coloured wood and under glass. label on back "Donated by the Gunther Schmidt Family Trust" (son of Herman Bernhard Schmidt - Tatura WW2) March 2023herman bernhard schmidt, queensland foundry owner, camp 1 tatura, gunther schmidt trust, gaythorne camp queensland -
Bendigo Historical Society Inc.
Textile - VELVET AND MIXED FABRIC PATCHWORK CUSHION, 1940's
Textiles. Diamond shaped pieces-five X 3.5 cm pieces of velvet, and mixed fabrics in shades and patterns of brown, cream, blue,russet and green. Crushed velvet backing in mid brown colour. Some evidence that the insert has been embroidered(Possibly a recycled cushion). Some diamond shapes are severely worn, while two are completely missing.textiles, domestic, velvet and mixed fabric cushion -
Darebin Art Collection
Painting - Erif Vincent, Erif Vincent, Community Centre Emerging from the Past, 2010
larundel -
Port Fairy Historical Society Museum and Archives
Mixed media - Model, Port Fairy Historical Society, Early 1970's
This model was part of a panorama of 11 pieces designed from an almanac in the 1892 Port Fairy Gazette. The Panorama was used in a Historical Display in the historical society rooms in Bank Street but displays the more modern use when the building became the property of the Port Fairy Historical SocietyThis Panorama was part of an eleven piece Panorama of the Streetscape of Port Fairy in 1982. Made by a local resident.Small handmade model of a shop front from the 1892 almanac.In glass display box. Filled with furniture and display cases as it was in the early 1970`sBuilt 1889 Purchased Port Fairy Historical Society as their headquarters Members Welcome Now open Windows "Port Fairy Historical Society" This is model of 24 Bank Street First Museum 1977-1992panorama, model, almanac, historical society, bank street, mewkill -
Ararat Gallery TAMA
Textile, Frances Burke, The Hunter (place mat), 1950-1955
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. -
Darebin Art Collection
Mixed media - Louise Grant, Louise Grant, Helmeted Honey Eater, 2004
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Warrnambool and District Historical Society Inc.
Mixed media - Calendar, P L Phillips & Co, 1919, 1919
Mr P L Phillips operated a general store in Liebig Street in the early part of the 20th Century. He was a highly regarded member of the community. He was community minded and promoted support for local industry, advertising his locally made or sourced products. He and his wife were involved in the Congregational church and music. He was mentioned in The Warrnambool Standard as arranging an Honour Roll for the Aboriginal soldiers who fought in WW1, with two losing their lives. The Nestle Company has been a long established business and major employer in Warrnambool (Dennington) since the early 20th century until it was purchased by Fonterra around 2000. The significance of this item lies in the connection of a large company with a strong presence in Warrnambool, and a small business combining to promote a patriotic theme which would have been very important in the days proceeding the First World War. Light white card with details enclosed within a light grey frame and text. Nestle Milk is in large text across the top, above a coloured picture depicting soldier and sailor in uniform in oval with kangaroo and emu in gold. A brown bulldog stands above in front of the Australian flag and on top of the Union Jack. Nestle product advertising is on both sides of this picture. Calendar details are at the bottom with P.L. Phillips & Co details in the centre. Metal strip along top and bottom.Cloth tag at top. Defence not Defiance at base of picture. Molly Wicking in black ink at bottom of calendar. With compliments P.L. Phillips & Co Grocers & P Liebig Street Warrnambool. Provision Merchants, Phone 237.warrnambool, p.l. phillips, grocer, provision merchant, nestle warrnambool, nestle dennington, calendar 1919 -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Mixed Media - Compact Disc, Family Tree Magazine, Family Tree 1871 Census, 2011c
Free discs from Family Tree Magazine includes census for Lancashire, East Anglia, Gloucestershire, Worchershire, Stropshire, Lancashiregenealogy