Showing 4027 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)-
Whitehorse Historical Society Inc.
Textile - Doyley
Square doyley cut work embroidery - hand embroidery around edge.handcrafts, needlework -
Gippsland Art Gallery
Painting, Lillicrapp, Maisie, Rosedale Cutting, 1987
Purchased, 1987Acrylic, Boardgippsland, artwork, permanent collection -
Otway Districts Historical Society
Textile - Quilt, Mrs Perkins, empty, c. 1903
The Otways Quilt is believed to have originated with the Perkins family, landholders in the Beech Forest area. Some of the names or initials on the quilt have been tentatively identified with other farmimg families in the same district.A rectangular quilt hand embroidered in white on 20 square panels, with the names or initlals of settlers in the Otway district, and surrounded with an edging of floral embroidery. It is made of polished cotton backed with cotton sheeting.quilt, beech forest, otway, needlework, perkins -
Whitehorse Historical Society Inc.
Textile - A pair of Slipper uppers
Uppers for mans slippers in black velvet with hand embroidered daisy pattern in flossette thread.costume, male footwear -
Bendigo Art Gallery
Sculpture, UNKNOWN, Psyche, unknown
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Federation University Art Collection
Painting, Pauline O'Shannessy-Dowling, 'Tree (V)' by Pauline O'Shannessy-Dowling, 05/2005
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.Abstract painting on stretched canvas featuring the colours pink, grey and silver. School of Business Services Art CollectionVerso: Pauline O'Shannesy-Dowling May 2005 "Tree" (V) Mixed media on canvas 30 cm x 40 cmart, artwork, o'shannessy-dowling, pauline o'shannessy-dowling, available, tafe business collection -
Flagstaff Hill Maritime Museum and Village
Painting - Vessel - Steamship, Mike McCrea (artist), ca 1985
This is one of a pair of paintings by artist Mike McCrea, created when he was in Warrnambool in 1985. The painting was framed and sold by Patana Galleries, Paton Place, Manly Vale, NSW. It was later purchased by athe company of Master Mariners of Australia and who donated the pair to Flagstaff Hill. The pair of paintings are significant for their association with steamships and the Master Mariners of Australia group. The paintings represent a time in local history when many steamships were sailing the coast and transporting passengers and goods.Painting; timber framed oil painting with the image of a cargo steamship off the coast of Warrnambool. Artist is Mike McCrea. Framed by Patana Galleries, Manly Vale, NSW. Hand written, "Red. No. 390 A" Sticker "61"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, painting, mic mccrea, patana galleries, master mariners of australia, steamship -
National Vietnam Veterans Museum (NVVM)
Painting, River Scene
A framed coloured Asian style painting with boats along a river and small shacks along the enbackment. There is a signature bottom right corner but no readable.painting -
Whitehorse Historical Society Inc.
Textile - Handkerchief
White lawn handkerchief with deep lace border.costume accessories, female -
Ararat Gallery TAMA
Textile, Julie Montgarrett, Exhibition poster
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Gippsland Art Gallery
Textile, Dyer, Tony, Confined to the Foreshore (Stage 3), 1980
Purchased with the assistance of the Crafts Board of the Australia Council, 1980Batik textile on woodgippsland, artwork, permanent collection -
National Wool Museum
Textile - Hand Knitted Glove - in progress, 1930s
Hand knitted glove, finer than possible with machine knitting. Still has knitting needles, which provide further context for how fine the knitting is. Knitted by Pat Bell's mother Agnes May Elliot c.1930. Honourable mention in the Victorian Centenary Empire knitting competition [see 8336].Hand knitted green glove in progress with knitting needles attached. -
Whitehorse Historical Society Inc.
Textile - Doyley
Small round doyley made of filet lacehandcrafts, lacemaking -
Federation University Art Collection
Painting - Watercolour and pastel on paper, S. Jarvis, 'Still Life With Lantern' by Sue Jarvis, 1976
Framed still life featuring a bowl of apples, a saucepan and a lamp. Gift of Dr David Alexander, 2013art, artist, jarvis, lantern, sue jarvis, artwork -
Ararat Gallery TAMA
Textile, Merrill Dumbrell, Congo
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Federation University Art Collection
Painting, Diana Nikkelson, 'My Family, My Life Goes On' by Diana Nikkelson
Diana NIKKELSON (c1943-30 December 2022) Diana Nikkelson is a Ballarat-based Gunditjmara elder. Her grandfather was Watchobaluk. A part of the stolen generation, Diana Nikkelson was one of 10 children, and she had nine children of her own. A founding member of the Ballarat and District Aboriginal Co-operative in the late-70s, Diana Nikkelson was a board director for 16 years and chair for six years. She worked on the Bunjil the Eagle installation at the Koorie Playground at Lake Wendouree, and designed the goanna which was etched into the paving along Police Lane in 2006, and has painted murals across Ballarat. This item is part of the Federation University Art Collection. The Art Collection features over 000 works and was listed as a 'Ballarat Treasure' in 2007.AboriginalThis work by Ballarat-based Gunditjmara elder Diana Nikkelson was commissioned by the University of Ballarat (later Federation University) for use on the Aboriginal Employment Strategy brochure. The central figures in this painting represent the artist and the fathers of her children. The outer groups are Diana Nikkelson’s children and their families. art, artwork, diana nikkelson, aboriginal, dreaming, nikkelson, gunditjmara, aboriginal employment strategy -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on canvas on board, Charles Douglas Richardson, Cottage on the hill (sunset), c.1908
oil on canvas on boardlandscape, sunset, hill, cottage, charles douglas richardson, cd richardson, c douglas richardson, farm, fence, cloud -
Brimbank City Council Art Collection
Sculpture, Sex Lesson, Unknown
Modern ArtCarcanti, Nino. Sex Lesson. n.d, sculpture, Brimbank City Council, BrimbankSculpturenino carcanti -
Ararat Gallery TAMA
Textile, Frances Burke, Mosaic, c. 1962
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. -
National Wool Museum
Textile - Skirt, 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. 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. Red ribbed skirt with elastic waistband.knitwear, clothing, italy, migrants, brighton, knitting machine, linking machine, garments, business, family, community -
Bendigo Art Gallery
Painting, Emma Minnie Boyd, Afternoon Tea, 1888
Signed and dated, l.r. corner, red oil "EMB" in monogram, "21/4/88" -
Australian Lace Guild - Victorian Branch
Textile - Valenciennes lace, c 1880
This fine linen pillow slip was made in Austria about 1880. The insertion of French Valenciennes lace is of about the same date, being 5.0 cms wide and having a round ground. The border frill is also of French Valenciennes lace being a little earlier around 1850, it is 16 cms wide and has a square ground. The pillow slip was made especially for the mother of a first grandchild.Pillow slip with Valenciennes lace insertion and border -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on canvas, Andrew McLean, Black table still life, c. 1979
Acquired by the Sandringham City Council in 1979 as winner of the acquisitive Inez Hutchison Award, established by the Beaumaris Art Group in 1966.Andrew McLean, Black table still life c. 1979, oil on canvas, 101 x 101 cm. Bayside City Council Art and Heritage Collection. Purchased 1979.table, still life, painting, painting materials, brushes -
Brimbank City Council Art Collection
Textile - Towel, Embroidery, Untitled, Unknown
Folk ArtKlym, Krystyna Klym,Blue Flower Design, n.d, Cotton embroidery, Brimbank City Council Art Collection, BrimbankEmbroidered cotton fabrickrystyna klym, eastern europe, embroidery -
Bendigo Historical Society Inc.
Textile - Tray cloth
A cream coloured square silk tray cloth with a 3.5cm machine hemmed border.favaloro, silk tray cloth -
Clunes Museum
Painting - OIL PAINTING, AUDREY CRAWFORD
OIL PAINTING OF A BANK BUILDING IN A BROWN WOODEN FRAME WRITING ON TOP OF THE BUILDING "GOLD OFFICE BANK AUSTRALIA"ON BACK PRINTED: "VANGUARD i CANVAS PANEL SIZE 8X10 ARTIST (IN INK) AUDREY CRAWFORD - DATE ILLEGIBLE"audrey crawford, joice patterson, oelpainting -
Whitehorse Historical Society Inc.
Textile - Doyley
White oval cotton doyley with deep border of silk crochet. Embroidered in white.manchester, table linen, handcrafts, needlework -
Geelong Gallery
Painting - A breezy day off Point Henry, WITHERS, Walter, 1901
Oil on canvas -
Gippsland Art Gallery
Sculpture, Wood, Victor, Rose Bowl, Undated
Donated by the artist, 1968Metal, Silvergippsland, artwork, permanent collection -
Swan Hill Regional Art Gallery
Painting, YAXLEY, William, Newdegate cave, 2000