Showing 3621 items matching art
Artwork, other (1219) Ceramic (747) Decorative object (665) Drawing (4559) Mixed media (471) Painting (2383) Print (1653) Sculpture (397) Textile (1238) Work on paper (2028)-
Swan Hill Regional Art Gallery
Painting, SIBLEY, Andrew, Portrait of Judy Cassab, 1991
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Australian Lace Guild - Victorian Branch
Textile - Filet Lace - Lacis
Use: Domestic. Household trimmingA darned lace edging. Sample -
Ararat Gallery TAMA
Textile, Frances Burke, Crete, 1948
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
Painting, Maas, Marise, Shady, 2003
Donated by Marielle Soni through the Australian Government Cultural Gifts Program, 2016Oil on canvasgippsland, artwork, permanent collection -
Mont De Lancey
Painting
Painting by Miss M. Matheson (later Mrs. H.T. Sebire).Painting on a wood panel, of red poppies and yellow daisies with a cream background.paintings, artworks -
Kew Historical Society Inc
Textile - Circular shot silk throw or shawl, Nineteenth Century
The Fashion & Design collection of Kew Historical Society includes examples of textiles dating from the 18th, 19th and 20th centuries. Some of the textiles, were used as items of clothing, others as items of household decoration, or simply as travel souvenirs. These textiles were created both domestically and internationally. Predictably with the growth of an ethnically and culturally more diverse community in Kew after the Second World War, textiles, clothing and objects in the collection inevitably reflected this diversity. Rust coloured oval, pure silk throw or shawl. The fabric is very fine and decorative rather than functional. There are no joins in the fabric as it is made of one piece. Its cultural provenance is unclear.table cloths, table covers, shawls, throws -
Horsham Regional Art Gallery
Painting, Jessie TRAILL, Digging the bank, n.d
Donated through the Australian Government's Cultural Gifts Program by Mack Jost, 1995oil on canvas -
Wyndham Art Gallery (Wyndham City Council)
Painting, Angela Comben, Werribee South, unknown
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Glenelg Shire Council Cultural Collection
Painting, Untitled (Portland Port), c. 1990
Project to interconnect NSW, Victoria and SA power grid officially opened 30 March 1990. Painting one of several commissioned to mark the link up. Presented to Cr. Bob Menzel at Heywood terminal station. Later in Admella Week activities display (Aug. 4-18, 1990). Displayed at Woodturners' Guild rooms in 1992 (Source: Portland Observer, 12/8/92).Depiction of a harbour and port with industry, boats, ships and a town in the background. In foreground is a road and a grassy area with pine trees. Jetties lead from this area into water. At centre right is an active port with woodchip pile, cranes, buildings and silos. To the left is a red vessel. At top left is a shore area with a road rising to the right, a spired church and several buildings. Large amounts of steam rises from the pile of woodchips of the port. Unframed.Front: (no inscriptions) Back: (no inscriptions) -
Flagstaff Hill Maritime Museum and Village
Textile - Tablecloth Edging
Ref: F C25Piece of fine cotton crocheted tablecloth edging.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tablecloth edging, tablecloth, manchester, table linen -
Gippsland Art Gallery
Painting, Markham, Arthur, Untitled, c.1970s-80s
Donated, 1983Ink and watercolour on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Painting, Markham, Arthur, Untitled, c.1970s-80s
Donated, 1983Watercolour on papergippsland, artwork, permanent collection -
Australian Lace Guild - Victorian Branch
Textile - Torchon Lace, Late 19th or early 20th Century
Use: Domestic. Household trimmingBobbin lace insertion. Sample -
The 5th/6th Battalion Royal Victoria Regiment Historical Collection
Painting - Anzac Day photo 5/6 RVR, 5/6 RVR ANZAC Day 2022 ANZAC Day
5/6 Paraded once every two years on ANZAC DaySuch photo could only have been taken once every 2 years, it contains the CO of 5/6 in 2022Dark wooden frameNil5/6 rvr, 5/6rvr bhq, bhq, anzac day, photograph -
Federation University Art Collection
Painting, 'The Joy of Colour' by Pauline O'Shannessy Dowling, 2005
This item won the Deputy Vice Chancellor's Acquisition Award in 2005. It 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 red, blue and green abstract paintingart, artwork, o'shannessy-dowling, available, pauline o'shannessy-dowling, abstract -
Wangaratta Art Gallery
Painting, Howard Sparks, World of Blue, 1966
Rural City of Wangaratta Collection, purchased with funds from the Wangaratta Art CouncilA rectangular landscape painting of trees and rocks at night painted in oil in shades of blue and brown.wangaratta art gallery, howard sparks, landscape, painting -
Bendigo Art Gallery
Painting, Robert JACKS, Red rose sank and rose, 2005
australian artist, abstract, central victorian artist, rose, square, rectangle -
Australian Lace Guild - Victorian Branch
Textile - Torchon lace, Late 19th or early 20th Century
Use: Domestic. Household trimmingBobbin lace edging. Sample -
Wangaratta Art Gallery
Painting, Wally Cooper, untitled, 2011
Rural City of Wangaratta Collection. Donation of Artist.A sunset landscape painted in acrylic using reds, oranges, yellows, blues, and blacks.wangaratta art gallery, landscape, sunset, wally cooper, indigenous australian artist, indigenous australian art, painting -
The WAMA Project : The National Centre for Environmental Art
Painting, Marianne Wehl (1867 - 1926), Untitled (Epacris impress - Common Heath), c1887 to 1924
The artist: Marianne Louise Charlotte Amalie Wehl (19 Sept. 1867, Mt Gambier; 26 Oct. 1926, Melbourne), a flower painter who was active in South Australia and Victoria, and not to be confused with Marie Magdalene Wehl. Connection with Baron von Mueller: Von Mueller’s younger sister, Clara married Doctor Eduard Wehl and they lived in South Australia. They had 14 children, 6 of whom collected and painted botanical studies – some now in the National Herbarium, Melbourne. A cousin of Doctor Wehl – Carl Wehl – married Sophia Caroline (née Gorte) and one of their daughters was Marianne Wehl. It is recorded that von Mueller visited the Wehls and D’Altons in Halls Gap (Henrietta D'Alton was also a painter of wildflowers), so it is hard to believe that there is no influence at least. Von Mueller had over 1,400 collectors/artists working for him and 225 of them were women and children. Their work is housed in the National Herbarium, Melbourne. The donor believes that Marianne contributed to this work. There is no record of that, however, as only 169 of the artists have been identified, it may be a possibility. Marianne was one of six children of Carl Jakob Wilhelm Wehl (1830–1899) and Sophia Caroline Wehl (née Gorte) (1843–1920). She never married. https://data.environment.sa.gov.au/Content/Publications/JABG34P001_Dowe.pdf The plants: All of the plants painted by Marianne Wehl's in this donation were identified by Botanist Neil Marriott & Wendy Marriott, in July 2022. Neil Marriott said that the quality and beauty of these botanical studies made it easy for them to identify all the plants. He suggested they may be some of the first paintings of Grampians wildflowers. This makes the paintings highly important scientifically and botanically. Visitors to WAMA will be able to compare them with today’s plants in the Endemic Garden. Neil marvelled that Marianne found the specimens, as some of them are endemic and found only in the highest parts of the Grampians (Mt Rosea, Mt William and Major Mitchell Plateau) and are listed as rare and endangered. Some of these same rare plants have now been propagated by the WAMA team and in winter 2022 were planted in WAMA's Endemic Garden. Neil identifies this plant as Epacris impressa - Common Heath - white flower form. Common and widespread. NB In some records she is called Marianna (as the donor calls her) and in others Marianne.Wildflower art, Wildlife artGift of Barbara Crick in memory of Marjorie and Lachlan McLennanPainting of white heath spray, on brown paperLL ' MW' (underlined)wildflowers, flowers, marianne wehl, marianna wehl, flower painter, botany, works on paper, baron von mueller, von mueller, henrietta d'alton, wama, wildlife art, painter, goache, halls gap, wildlife art museum australia -
Whitehorse Historical Society Inc.
Textile - Table centre
Purchased from Turriff Antiques, 5 Carpenter St., Bendigo 3550Cream cotton oval cloth inset with pink, blue, yellow and green design outlined with grey overstitchingdomestic items, table setting -
Flagstaff Hill Maritime Museum and Village
Textile - Washstand Cover, Mary Jane Giles (Mrs Harry Giles), Late 19th to Early 20th Century
This washstand cover is one of many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940. The Giles family collection is of social significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it’s establishment. But the Giles collection also gives us today a snapshot into what domestic life was like in early colonial times prior to Federation.Washstand coverNonewarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, flagstaff-hill-maritime-village, washstand cover, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century household goods -
Whitehorse Historical Society Inc.
Textile - Doyley, c1920
From the estate of the late Jean Ord, mother of the donor.A scalloped edge square mat with lace filled three petalled flowers at corners. Buttonhole stitched edging with satin stitch flowers. All white embroidery and material.handcrafts, embroidery, manchester, table linen -
Whitehorse Historical Society Inc.
Textile - Doyley
Round cream crocheted doyley with six medallions around centre piece.handcrafts, crocheting or crochet work, manchester, table linen -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on board, Miles Evergood, Beaumaris, 1888
oil on boardbeaumaris, bayside, coast, landscape, miles evergood, painting, rickett's point, bay, water, shrub, trees -
Greensborough Historical Society
Painting, Lower Plenty Hotel, by Sylvia Jones, 1960-1970
Painted by Sylvia Jones 1960s from a photograph of Lower Plenty Hotel taken 1940s.Oil on canvas painting, framed and glazedlower plenty hotel, sylvia jones -
Clunes Museum
Painting - OIL PAINTING
Painting of two figures, gold mounting board, brown frame.Marked on framë "Did he pout wid his Biddy" Sticker marked "30"painting, local artist -
Bendigo Historical Society Inc.
Textile - Satin and machine lace bedspread
A pink satin and cream machine lace bedspread made from alternative 13 to 14cm wide strips in a rectangular pattern with central rectangle set at 45 degrees. Three sides are edged with silk chenille bobbles in pink and cream. The central rectangle and the four corners surrounding the central rectangle have a floral cut work pattern in the silk overlaying the lace and this is outline embroidered with a twisted silk work thread.. The third satin rectangle from the outside has a looped and wave pattern embroidered in a twisted silk thread but this is missing on one corner.favaloro, bedspread, satin, chenile bobble trim -
Australian Lace Guild - Victorian Branch
Textile - Mixed lace, 19th Century
This cloth belonged to Anna Sptiz (the donor's mother in law) and was part of her trousseau in the late 1800s.Mixed lace cloth with cutwork and insertions of Needlelace and of Filet. There is a border of Cluny style bobbin lace. -
Federation University Art Collection
Textile, Paula Do Prado, Flagwork #1, 2009
Paula DO PRADO Born Montevide, Uruguay Arrived Australia September 1986 Paula Do Prado holds a Bachelor of Fine Arts (Textiles) with First Class Honours and a Master of Fine Arts from Art & Design at the University of New South Wales.Her works are compelling, multi-layered and rich with cultural references surrounding concepts of identity, race and gender. Her practice draws on materials, sayings and imagery collected from many different sources including the generations of her family history. By sharing her own personal stories, her work creates a dialogue around issues of immigration and multiculturalism, which are just as relevant now as ever. Triptych flag, textiles, button, available