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Artwork, other (1263)
Ceramic (764)
Decorative object (712)
Drawing (4606)
Mixed media (515)
Painting (2476)
Print (1657)
Sculpture (402)
Textile (1394)
Work on paper (2044)
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Castlemaine Art Museum
Painting, Arthur Streeton, Blue Hydrangeas, 1900-1943
Gift of Burnell Family in memory of John G. Burnell and his wife Adele, 1989 -
National Vietnam Veterans Museum (NVVM)
Print, Mourning Soldier
Framed print of a soldier sitting on a rock with many montage of patches representing South Vietnamese Units. Print is of Statue Behind Cementry walls Bien Hoa.Mourning Soldier presented to HMAS Sydney & VLSV Association on 27th May 2018 by Footscray RSL ARVN Veteransprint, mourning soldier, south vietnamese units -
Swan Hill Regional Art Gallery
Print, SANKEY, Olga, Forked tongue, 2007
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Ballarat Tramway Museum
Painting - Framed Painting, Alan Dixon, "Oil Painting of Horse Drawn Tram", 2012
Has a strong association with the artist and demonstrates activities the Ballarat Tramway MuseumFramed painting - wooden frame - black and gold colour of Horse Tram No. 1 in Wendouree Parade, titled "Oil Painting of Horse Drawn Tram", fitted with a plastic gold engraved sign "Oil Painting of Horse Drawn Tram / painted and donated by Edna Stephens". Framed with a white card back and brown plastic tape - with metal hanging wire framed by Macarthur Framework and Gallery 1008 Sturt St Ballarat. See Inscriptions for note on artist.On rear in ink "Edna Stephens painted 2012 / Horse Drawn Tram Lake Wendouree Ballarat"trams, tramways, wendouree parade, painting, art work -
Gippsland Art Gallery
Painting, Paterson, Jim, Bonsai, 2008
Donated by the artist, 2014Acrylic on linengippsland, artwork, permanent collection -
Clunes Museum
Textile - TRAY CLOTH
JOINED LINEN FABRIC WITH THREE SIDES CROCHET IN ONE PATTERN, THIRD SIDE DIFFERENT PATTERN.local history, manchester, table linen, -
Ararat Gallery TAMA
Painting, Wilma Tabacco, Mirrabella, 1994
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National Vietnam Veterans Museum (NVVM)
Print, OOW MANOUVERS
A black and white laminated etching of two escorts ships at sea. Numbers on ships are 53 and 50. At the top of the etching reads "Vietnam Escorts Limited Edition Series. At the bottom right hand side is the No:001Bottom left hand of the etching is Randall Wilson 1998etching, cerberus collection, vietnam escorts limited edition series -
Horsham Regional Art Gallery
Painting, Gwendda SMITH, The old blacksmith's shop, 1983
Gift of the City of Horsham Lions Club, 1983watercolour on paper -
Glenelg Shire Council Cultural Collection
Print, Mary Macqueen, Giraffe II, 1969
Art CollectionThe picture depicts a giraffe's neck sloping from the bottom right corner progressing into a giraffe's head at the top left. The background is plain, except for a yellow streak across the giraffe's neck close to the bottom. It is a front-view of the giraffe. Wood frame, thin white mount and glass.Front: 1/10 Giraffe 11 Mary MacQueen 69 (lower left centre, lead pencil) Back: Mary MacQueen "Giraffe 11" (1969) Litho (Bottom right, rectangle piece of white paper, printed) -
National Vietnam Veterans Museum (NVVM)
Print, The Vung Tau Ferry - About The Painting
Single page article on a painting (not included) called The Vung Tau Ferry and About the artist pictured. Article refers to HMAS Sydney and the 22 trips it made to South Vietnam in 1968 carrying troops and cargo.the vung tau ferry -
Latrobe Regional Gallery
Print, ORTON, Alison, Fossil Landscape 1999, 1999
Coloured LinocutSigned and dated 'A. ORTON 1999' in lower right corner under printed image. Titled 'Fossil Landscape' centred under print. Edition in lower left corner under printed image - illegible. -
Gippsland Art Gallery
Painting, Markham, Arthur, Untitled, Undated
Donated from the estate of the artist, 1990Watercolour on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Painting, Markham, Arthur, Untitled, c.1970s-80s
Donated, 1983Watercolour on papergippsland, artwork, permanent collection -
Darebin Art Collection
Painting - Stephen Armstrong, Stephen Armstrong, Bundoora Homestead II, 2007
bundoora homestead, queen anne style, federation -
Wodonga & District Historical Society Inc
Textile - Haeusler Collection Handmade Broderie Anglaise Doily c.1920s
The Wodonga Historical Society collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. The textiles in the Haeusler collection belonged to Ilma Margaret Ernestine Haeusler (née Tasker), born in 1900 in Tallangatta. These textiles were handmade by Ilma between 1919 and 1928 for use in the family home during her marriage to Louis Alfred Haeusler (b.1878). Ilma died in childbirth in 1928, leaving one surviving son, John Alfred Lyell (b.1922). This doily is one of several domestic objects in the Haeusler Collection that represent family and home life in early twentieth century Wodonga. It was made using the broderie anglaise needlework technique that incorporates embroidery, cutwork and needle lace. This technique originated in sixteenth century Europe and became popular in England in the nineteenth century. In the nineteenth and early twentieth century prior to the mass production of clothing and textiles, needlework, alongside motherhood, was the defining work of women. Hand sewing and embroidery was central in the everyday lives and domestic roles of women. The item is handmade and unique, with well documented provenance. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history, and women’s history.A handmade white broderie anglaise doily c.1920sneedlework, textiles, sewing, handiwork, women's history, domestic, craft, family -
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. -
Glenelg Shire Council Cultural Collection
Print - Contact Print - Stereoscopic. Portland, 1960-1979
Sheet of 3 pairs of stereoscopic contact prints from glass plate negatives. Top: Two ladies about to exit gates of Botanic Gardens. Middle: Small cottage, front verandah, tin roof, 2 stone chimneys. Bottom: View of large city. Two story building with clock tower. -
Swan Hill Regional Art Gallery
Print, ROBINSON, John, Crossing Capricorn, 1989
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Ballarat Clarendon College
Sculpture - Pendant, 1900s
Item purchased on eBay 2016. Belonged to Terry Pepperell (dec 2013), an avid school badge collector and an expert in school memorabilia. This pendant was possibly designed by Terry. Terry was a past President of the Numismatic Association of Victoria and a medal designer in his own right. His significant private collection of school memorabilia was auctioned after his death. This piece was purchased by James McLachlan-Troup and sold to the school via eBay. No particular significance to the school apart from its creative use of school memorabilia. Small enamel Ballarat College crest on a Stokes pendant backing with linkterry-pepperell -
Vision Australia
Textile - Object, Association for the Blind cap
A large sized cap produced for the Association for the Blind.Blue cap with 'Association for the Blind' in navy writing and green on underside of front visor.association for the blind, advertising -
Orbost & District Historical Society
Painting, Cameron, Nell (Miss), 1890's - 1900's
Painted by Miss Nell cameron, daughter James and Jean (nee Moffat) Cameron.This painting has aesthetic significance and shows the skill and craftmanship of the women of the early settler families.A piece of rectangular tin curled on each end. Painted green background with white roses, yellow stamens and green and brown leaves.MRcameron-nell painting art tin -
Federation University Art Collection
Painting - Oil on board, Neville Bunning, [Portrait of a Girl] by Neville Bunning
Neville Bunning taught Sculpture and ceramics at the Ballarat Technical Art School, a division of the Ballarat School of mines, from 1945 until 1964. During that time he formed the Ballarat Artist's Society, a group that sponsored art and invited modernist artists to visit Ballarat to speak to students and the public. Bunning wrote a weekly column in 'The Courier', where his insightful comments made readers aware of significant trends in art. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Portrait of a girl in yellow. artwork, art, neville bunning, girl, child, bunning, available, portrait -
Geelong Gallery
Print - Lukuyn Apudthama, ROPEYARN, Teho, 2017
Colour vinylcut -
Stawell Historical Society Inc
Textile - Costume and Accessories, c1910
Two White Doylies. One round with white linen design worked butterflies. One fine linen hand worked in pale pink flowers on edge.stawell clothing material -
Federation University Art Collection
Painting - Watercolour and Ink, 'The Firebird' by Neville Bunning
Neville BUNNING (1902-1990) Born Rockhampton Neville Bunning taught Sculpture and Ceramics at the Ballarat Technical Art School between 1945 and 1964. During that time he started the Ballarat Artists's Society, a group tat sponsored art and invited modernist artists to visit Ballarat to speak to students and the public. Bunning wrote a weekly rt column in 'The Courier' where his insightful comments made readers aware of significant trends in Art. 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 bird in flight.art, artwork, neville bunning, watercolour, ballarat artists society, ballarat school of mines, available, rooster, bird, animal -
Lauriston Girls’ School (incorporating Lauriston Museum and Gallery)
Painting, Portrait of Miss Elizabeth Kirkhope Headmistress 1901-1933
Painted by Robert Hoffman, a refugee who came to Australia prior to World War II. He was known to Mavis McCarty, the Lauriston art teacher. He went to the USA after the war and died soon after. Size 1100mm x 840mm. This portrait is part of the Record Series 74. Permanent/Semi-Permanent Displayed Works.Oil Painting of Miss Elizabeth Kirkhope Headmistress 1931-1956Miss Elizabeth Kirkhope Headmistress 1931-1956 -
Australian Lace Guild - Victorian Branch
Textile - Point d'Angleterre, 1760-1780
Use: Domestic. Household trimmingBobbin motifs appliqued onto machine net -
Kew Historical Society Inc
Print, Rose Stereograph Company, Sacred Heart Church, Kew, Vic, Twentieth Century
The history of the church goes back to 1872 when Jesuits purchased land in Walpole Street. By 1875 Archbishop Gould had laid a foundation stone on 14 February for a school. Early services for local Catholics were held in Richmond, Collingwood and later Hawthorn. By 1899 the land for the current church was purchased after a donation by Mr James Crotty of 3,000.00. The foundation stone was laid on 15 December 1918 by Archbishop Mannix. The dimensions of the church were to be 139 feet long by 77 feet wide with seating for 850 people. The cost of construction was 15,000.00. (Source: www.churchhistories.net.au )Sacred Heart Church, Kew, Vic., circa 1920-54. Photographic print of a Rose Stereograph Co. postcard in the State Library of Victoria collection.Inscription: The Rose Series P. 13053, Sacred Heart Church, Kew, Vic." Annotation in pencil: "KH-5. Foundation Stone laid 1918, completed 1921."churches -- kew (vic.), sacred heart church -- cotham road -- kew (vic.), catholic churches -- melbourne (vic.) -
Swan Hill Regional Art Gallery
Painting, TODD, Richard, Art history ruined my life, 1989