Showing 5673 items matching art
Artwork, other (1252) Ceramic (762) Decorative object (667) Drawing (4564) Mixed media (490) Painting (2391) Print (1646) Sculpture (397) Textile (1239) Work on paper (2040)-
Glenelg Shire Council Cultural Collection
Painting, Whalers Point from Harbour Trust Dock, n.d
Port of Portland CollectionView of harbour and jetties from a dock. Dock is in foreground. A white fishing vessel is berthed at a jetty positioned near the dock. In background is a view of the foreshore with buildings. The water is pale blue with darker blue details. The sky is blue with grey wash depicting clouds near horizon line. Mounted in thick cream canvas mount, framed under glass in wooden gold painted frame.Front: Signature - Ramon Horsfield (lower left) (orange paint). Back: (no inscription)port of portland -
Federation University Art Collection
Painting - Watercolour, Alexander, David, 'Towards Braco Spring', by David Alexander, 1981
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 watercolour depicting a treed landscape.Signed 'D.A. 1981'art, artwork, braco spring, david alexander, watercolour, trees, landscape, available -
Mont De Lancey
Textile - Doily, Unknown
Large white oval shaped doily, with stitched edging. Applique flower cut outs. Has embroidered leaves.doilies, furniture accessories, table linen -
Merri-bek City Council
Painting - Liquid nails and spray enamel on canvas, Brian McKinnon, Scars, 2008
Uncle Brian McKinnon (b. 1957 – d. 2023) was a Geelong-based artist and descendent of the Amangu and Wongai people of Western Australia. He created powerful mixed media works that explore his campaign for Aboriginal rights and his childhood experiences growing up in Western Australia. Scars is a deeply personal and political work that reflects on some of the ways in which Aboriginal people have historically been discriminated against and marginalised because of the colour of their skin and cultural practices. Originally exhibited with two other paintings, it was also made in honour of the artist’s children and their struggle to maintain positive self-esteem. Uncle Brian McKinnon said his children inherited keloids from their ancestors: ‘These keloids look like body scars. In this work, I have placed them in the past and the presence of their ancestors through the act of beautifying the marks, which reflect the landscape and the identity of the person wearing the beautification marks. Although the marks on my children are not so beautiful and they are ostracised because of them, this made me think of racist policies and of course the referendum and when my people were seen for the first time as being human.’ -
Yarra City Council
Sculpture - Public Art, Anderson Hunt, The Final Siren, 2011
Anderson Hunt vividly remembers the hard-core, hard-working supporters. "I see The Final Siren as a homage to those hard-working Collingwood fans who stood in the outer and barracked their hearts out. Without the hard-core supporters, the club would be nothing. I hope the sculpture gives Collingwood fans a sense of pride; pride that’s like wearing a tight footy jumper with big numbers on the back. I feel honoured to have had the chance to create this sculpture, knowing that what was there beforehand stood for so much.”Victoria Park, the former home of the Collingwood Football Club, was transformed into a major community recreation space in 2011. Yarra City Council and the Australian Government jointly funded the $7.2 million redevelopment of the Abbotsford ground. As part of the redevelopment, Council commissioned multiple works of public art. The intention of these artworks is to recognise the park’s important history and to provide interesting and educational focal points for park. visitors. This work by Anderson Hunt is in place of the original scoreboard which was demolished on 10 February 2011. Anderson Hunt remembers going to Collingwood games as a boy and wondering how the numbers on the scoreboard appeared and disappeared. He remembers being in awe of the size of the scoreboard. “It was like a huge monolith,” he recalls. He remembers a story of how the scoreboard operator, Bob Hill, would change the scores quick as a flash when the Magpies kicked a goal.Large black and white steel sculpture inspired by the form and imagery of the ground’s former scoreboards and clocks. Stylised wing and colours acknowledge the Collingwood Football Clubsport, collingwood football club, afl, history, victoria park, collingwood -
Bendigo Military Museum
Painting - PRINT NAVY, FRAMED, c.1939 - 1945
White, light timber frame with glass front. Rectangular coloured print of HMAS Corvette - Bendigo. “HMA Corvette Bendigo For Captain S G Griffith Griffo - from the boys of the Bendigo”illustrations - prints, trades - carpentery, hmas bendigo -
Uniting Church Archives - Synod of Victoria
Print - Photograph, 1951-1953
Born 1893. Died 1967. First parish NYAH, 1922 - 1932 at Geelong Yarra St. 1936 - 1959 professor of theology, Queens College. 1959 retired. Rep to WCC 1937 + 1948 and to World Methodist Con 1937. Presiednt Australian Council of Churches, 1952 - 1953. (See Australian Dict. of Biography entry).Oval black and white, oval, head & shoulders studio photographic print portrait of Rev. G. Calvert Barber in clerical dress. He looking to his left. The print is a page that has been removed from a publication."REV. G. CALVERT BARBER, M.A., B.D., PH.D. PRESIDENT-GENERAL"rev g clavert barber methodist minister, president australian council of churches, rev g calvert barber professor of theology queens college university of melbourne, george calvert barber methodist minister, world council of churches, australian council of churches -
Darebin Art Collection
Painting - Bill Beavan, Bill Beavan, Without His Mate, 1976
ibis -
Australian Lace Guild - Victorian Branch
Textile - Rosaline lace, Late 19th Century
Bobbin made lace with needle made flower centres. Use: Costume trimmingBobbin lace edging. Sample -
Darebin Art Collection
Painting - Aunty Frances Gallagher, Aunty Frances Gallagher, Grazing Kangaroo, 2010
kangaroo, landscape -
National Wool Museum
Textile - Jumper, Tina Knitwear, 1980-2000
Part of a selection of garments knitted by ‘Tina Knitwear’. Tina Knitwear was a successful made to order knitwear business in Brighton from the mid-1960s to around 2010, run by Assunta and Franco Liburti. This garment was owned and worn frequently by Assunta herself, as part of an ensemble. Daughter Melissa Persi writes: Our parents Assunta (Mum) and Franco (Dad) Liburti ran a successful made to order knitwear business in Brighton from the mid-1960s to around 2010. Assunta was affectionately known to her family as Assuntina, therefore the business was named "Tina Knitwear" after her. Assunta and Franco were born in the beautiful seaside town of Terracina in Italy in 1933 and 1930 respectively. As was so common in Italy in the 1950s, Assunta who was in her late teens and early twenties learnt the intricate skills of machine knitting, dressmaking and pattern making. Franco on the other hand, learnt the building trade with his 2 brothers and specialised in bricklaying and tiling. As was so common after the war, Assunta and Franco yearned for a better life so they decided that they would get engaged and then migrate to Australia to be married and raise their family in Australia, a land of much opportunity which they no longer felt their beloved Italy held for them. Assunta migrated to Australia first in 1957 and later Franco joined her in 1958 where they were married. For the first few years, Franco (also known as Frank) worked as bricklayer /tiler on buildings such as the Robert Menzies building at Monash University in Clayton and various buildings in the Melbourne CBD. Assunta on the other hand put her machine knitting skills to use working in factories doing piece machine knitting for various knitwear companies. The hours were long, the conditions were difficult, and travel was onerous without a car. After their 2 older children were born, it was decided that dad would leave the building trade and they would start their own made to order knitwear business. That way they could work from home and raise their family together. Mum taught dad everything he needed to know so he could operate the knitwear machinery. They purchased COPPO knitting machines from Italy and a Linking machine from Germany. Initially they had a knitwear shopfront in Bay Street Brighton where a store assistant would take the orders and client’s measurements and Assunta would then make the garments from a small workshop in their home. Unfortunately, the assistants were not skilled dressmakers and often measurements and orders were incorrectly taken. Assunta being the perfectionist and highly skilled machinist that she was, decided that she needed to oversee the entire process from meeting the client, to taking their order, right thru to the fittings and completion of the garment. It therefore made sense that they should close the shop front and run their business from their own home in Brighton and hence “Tina Knitwear” was born. Together, for more than 40 years they ran their very respected and successful business and were well known in the Bayside area. They specialised in made to order knitwear for both men and women using mainly pure wool (from Patons, Wangaratta Mills, Japan and Italy) but also lurex and estacel. Over those years, many of their clients became their close friends. It wasn't unusual for clients to come to order garments and then end up in the kitchen chatting over a cup of Italian espresso coffee and homemade biscuits. Some of their clients were especially memorable and became lifelong friends. Mrs Connell was a dear friend of mum’s, each year she would buy tickets for the “Gown of the Year” fashion show. She would insist on taking Assunta and her 2 daughters so that we could see the latest fashions. Then there was their dear friend Ms Griffiths. She had been a Matron nurse at the Queen Victoria Hospital when she met my parents in the 1970s. She returned to live in New Zealand in the 1980s but came back to Melbourne every year to stay for 2 weeks with the sole purpose of visiting my parents (she adored them) and order garments. For those 2 solid weeks, mum and dad would only knit for Ms Griffiths and she would go back to New Zealand with at least 5 or 6 new outfits. I actually think she enjoyed mum’s homemade pasta almost as much as her new clothes! Over the years, my parents learnt to speak English very well given that majority of their clients were not Italian speaking. Their oldest child John born in 1960 learnt to speak English with the help of those clients who were such a big part of our childhood. Mum and dad always went above and beyond to ensure their clients were satisfied. Mum was an absolute perfectionist and it showed in her attention to detail and the quality of their beautiful work. You only need to look at the garments that have stood the test of time or speak to their clients to know that this is true. Their clients would always comment on how well their clothes would last and much of their clients came via word of mouth and recommendations. Occasionally there would be disagreements because mum had found an error in dad's knitting (either a wrong stitch or a sizing mistake mainly) and would ask him to redo a piece, he would argue back saying that it was fine, but we always knew who would win the argument and that the piece would get remade! Similarly, we recall discussions where mum would ask dad to find a particular colour of wool in the garage where the stock was kept. He would try to convince her that they were out of stock of that colour and that the client should choose a different colour. She would insist they had it and then after hours of searching, he would return into the house sheepishly holding the wool! Our childhood is full of beautiful memories of mum and dad always being present, clients coming and going, mum humming her favourite songs as she worked often late into the night and sometimes, we even fell asleep to the hum of the machinery. They put their heart and soul into "Tina Knitwear" and took pride in providing only the best quality garments for their clients. In Italian there is a saying “lei ha le mani d’oro” which literally translated means “she has hands of gold”. Franco enjoyed his work but for Assunta, it was more than just work and there is no better way to describe her skills, passion and dedication to her machine knitting… she truly did have “hands of gold”. We will forever be grateful that our parents’ life journey gave us the opportunity to live in a home filled with creativity, dedication and passion, amazing work ethic and mutual respect, lifelong friendships and a lifetime of love. Forrest green long sleeved crew neck jumper with black horizontal stripes on lower half. Button at the back of neck. knitwear, clothing, italy, migrants, brighton, knitting machine, linking machine, garments, business, family, community -
Latrobe Regional Gallery
Print, HOS, Kees. Born 1916, The Hague, Holland, Untitled, Not dated
PrintSigned 'Kees Hos 424' in lower right corner under printed image. -
Ballaarat Mechanics' Institute (BMI Ballarat)
Print - Photograph by Herb Richmond, SS Titanic Memorial Bandstand, Sturt St, Ballarat
Ballarat HistoryOld matte printballarat, ballaraat, titanic, memorial, bandstand -
Swan Hill Regional Art Gallery
Print, WAINBURRANGA, Paddy Fordham, Mun Gruk Gruk Woman, 2003
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The 5th/6th Battalion Royal Victoria Regiment Historical Collection
Print - The Making of Legend, The Making of Legend print
A print of the Making of a Legend print, it depicts the landing at ANZAC Cove on 25th April 1915 -
Wangaratta Art Gallery
Painting, John Colin Angus, Dusk in the Bush, 1988
Rural Council of Wangaratta Collection - Gift of the artist 1989A bush landscape painted in oil using shades of brown, blue, yellow, and green.Obverse: J. Colin Angus/ 88/ (bottom left corner)wangaratta art gallery, j colin angus, john colin angus, painting, landscape -
Latrobe Regional Gallery
Print, KITAJ, Ronald Brooks b.1932 Ohio, United States d. 2007 California, United States, Robert Duncan, 1981
EtchingSigned and edition 'Kitaj 25/150' in bottom right corner under printed image. -
Benalla Art Gallery
Painting, Abram Louis BUVELOT, The Barwon, 1870
Born Morges, Vaud, Switzerland 1814; Arrived Australia: 1865; Died: Victoria 1888ColonialLedger Gift, 1986Sailing boat on river in middle of landscape and sheep are grazing. Gold painted timber frame.Recto: Signed " L Buvelot/ 1870" in brown paint l.r.c of composition; Not titledwaterscape, boat, river, animals, house, colonial, landscape, australian art -
Ararat Gallery TAMA
Textile, Frances Burke, Jungle, 1945
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. -
Gippsland Art Gallery
Print, Kline, Gillian, Spirit of the Bush, 2013
Purchased with the assistance of the Gippsland Art Gallery Society, 2013Two plate colour etching on papergippsland, artwork, permanent collection -
Federation University Art Collection
Painting, 'Through a Dark Glass Darkly' by David Noonan, c1989
David NOONAN (1969- ) Born Ballarat, Victoria. Lives and works Melbourne, Victoria and London, United Kingdom. Leaving secondary school as soon as he could, David Noonan enrolled in a Visual Art Course at the Ballarat School of Mines. He described this time as 'an inspiring time, with every art form covered and treated with passion and rigour.' He studied ceramics, photography, painting and knew that he had to be an artist. (https://art150.unimelb.edu.au/articles/david-noonan-making-art-in-a-dark-and-quiet-place, accessed 17 January 2020). Between 1987 and 1989 David Noonan completed a Bachelor of Fine Art at Ballarat University College, Victoria, Australia (Now Federation University Australia). He undertook Post Graduate Studies at the Victorian College of the Arts, Melbourne in 1991 and 1992. Since 2005 he has been based in London with his work featuring in a number of major international exhibitions of contemporary art, including 'Altermodern', the 2009 Tate Triennial at Tate Britain, London. Producing works in a range of media including painting, photography, film, print-making, collage and sculpture David Noonan's work often evoke the subconscious realm through their fragmented imagery, allusive qualities and complex layering of historical and cultural references. Animals, actors and masked figures are recurring motifs that imbue his works with a magical atmosphere that is suggestive of childhood memories or half-forgotten dreams. ( produced works in a range of media including painting, photography, film, print-making, collage and sculpture. His works often evoke the subconscious realm through their fragmented imagery, allusive qualities and complex layering of historical and cultural references. (https://www.ngv.vic.gov.au/essay/david-noonan-untitled/, accessed 17 January 2020) David Noonan has become known for large-scale monochromatic collages on linen comprised of fabrics which are torn, folded, cut, stitched and combined with silkscreened images. This approach was used to produce his 2018 atmospheric film 'A dark and quiet place'. Noonan is interested in combining art and traditional craft techniques. (https://artgalleryofballarat.com.au/gallery_exhibitions/david-noonan-stagecraft/, accessed 17 January 2020) 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.A large painting on canvas. art, artwork, david noonan, noonan, alumni, oil on canvas, available -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Painting - Portrait, Lt-Col A J McNeilage, 2007
Lt-Col McNeilage was Commanding Officer of 4/19 prince of Wales's Light Horse Regiment from 1989 to 1991One of a collection of portraits of former Commanding Officers of the RegimentFramed oil painting of Lt-Col A J McNeilageportrait, mcneilage -
Gippsland Art Gallery
Painting, Thomas, Matthew, Swatch-Space, 2018
Donated by the artist, 2019Oil on canvasgippsland, artwork, permanent collection -
Federation University Art Collection
Painting - Artwork, ''calm and clear" by leni, 2019
leni (1960s- ) Born Melbourne Wotjobaluk "leni is both a long story and a short life. A Wotjobaluk woman, born in Melbourne in the sixties, adopted into a non-Aboriginal family and raised by true destiny on country in the Wimmera. leni was reunited with her mother and extended family in her late teens. Simple swift sentences with complex challenging undertones. Thus began an ever evolving and endlessly deep cultural and personal exploration which has passionately consumed, confused, enticed and enriched her since. leni’s creativity is inspired strongly by her cross cultural heritage, learnings and loves, failures and fears, passions and dreamings. This artwork has its own determination and authenticity. leni’s work constantly explores concepts of the past and present. leni has exhibited in the Koorie Heritage Trust, The Convent Gallery, Kirret Barreet Gallery, Gallery on Sturt, Tussock Gallery and others. Her work has been commissioned by various organisations, public and private collectors.aboriginal, aboriginal education centre collection -
Gippsland Art Gallery
Painting, Watson, Douglas, The Wrestlers, c.1958-59
Donated by Alexander Thurston Watson through the Australian Government Cultural Gifts Program, 1979Gesso, acrylic and aluminium foil on boardgippsland, artwork, permanent collection -
Gippsland Art Gallery
Painting, Markham, Arthur, Untitled, c.1970s-80s
Donated, 1983Watercolour on paper gippsland, artwork, permanent collection -
Nillumbik Shire Council
Painting, Clifton PUGH, White Choughs in the Landscape, 1958
Pugh was one of many artists who brought an Australian experience to attention. His landscapes reveal the colour and textures of the natural bush, often with a dramatic emphasis. His reference to the harshness of the bush consistently arises, with angular forms dominating the composition. White Choughs in the Landscape is typical of his representations of the bush as a dynamic environment. White Choughs in the Landscape, 1958, created by Clifton Pugh - a celebrated Australian artist known for his landscapes and portraiture as well as (three-time) winner of Australia’s Archibald Prize. This piece plays a significant role within the Nillumbik Shire Collection due to Pugh’s strong connection to the local land where he settled in Cottle’s Bridge in 1951, purchasing 15 acres and named it Dunmoochin. Artists, potters and others settled at Dunmoochin and formed the Dunmoochin Artists Co-operative in order to collectively protect the land. Numerous renowned artists worked or resided at Dunmoochin including: Rick Amor, Fred Williams, Albert Tucker, Frank Hodgkinson, Mirka Mora, John Olsen, John Percival and John Howley amongst others. Upon his death in 1990 he left an art collection and extensive properties at Dunmoochin to be appreciated and utilised by artists for years to come White Choughs in the Landscape is typical of Pughs' representations of the bush as a dynamic environment. The brittleness and fragility of the landscape is recorded in the surface of the work, where paint is applied in thin layers.Signed 'Clifton Sept. 1958'clifton pugh, dunmoochin, white choughs -
Gippsland Art Gallery
Print, Sandby, Paul (after), Battle Abbey in Sussex from Mr Wyndhams, 1780
Purchased, 2013Copper-line engraving on papergippsland, artwork, permanent collection -
Brighton Historical Society
Textile - Cushion cover, Cushion cover (fabric remnant)
This item is from the "Barone" Collection. "Barone" (also known as "Seaview") was a stately Brighton home built at 9 Moule Avenue prior to 1855 and demolished in 1986. The house's residents included Edward Elgin Browne (during 1859-72), a Melbourne tea merchant, and the family and descendants of retired Scottish Army captain Archibald Black (during the period 1880-1970). Its neighbors included “St Ninians” owned by the Ward Cole family, “Seacombe” owned by the Moule family, and the home of James Grahame and his family. The items in the "Barone" collection were largely donated by two of the house's later owners, Mrs Doris Halkyard and Mrs Brian Brandt.A piece of hand painted cream silk velvet believed to be from a cushion cover. Date unknown.barone, seaview, brighton, cushion -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on board, Helen Bassett, The Valley landscape, c.1970
helen bassett, painting, landscape, hills, valley, trees, clouds, sky