Showing 7706 items matching art
Artwork, other (1241) Ceramic (749) Decorative object (667) Drawing (4564) Mixed media (489) Painting (2389) Print (1653) Sculpture (397) Textile (1237) Work on paper (2040)-
Moorabbin Air Museum
Drawing (Item) - Unit Aircraft of Canada Engine Installation PT6A-29 3013900
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Ballarat Tramway Museum
Drawing - Illustration - Art work, Peter Gerasimon, "The Ballarat Tram in Melbourne", 1997
Yields information about the time when BTM tram 671 operated on the Melbourne City Circle and has a strong association with the artist Peter GerasimonPrinted card featuring BTM tram 671 in Latrobe St Melbourne, 1996 while running on the City Circle at the Swanston St stop. Features the driver talking to a young man through the door. Artist - Peter Gerasimon and published by Helga Gerasimon, Gisborne. From the Melbourne Tram Series in 1997. Folded card with artists and publishers details on the left hand side. Acquired with Reg Item 4455. BTM also had a stock of these cards for sale as well.trams, tramways, melbourne, btm, city circle, illustrations -
National Wool Museum
Textile - McGregors Yarn, c1988
The yarn was made in Geelong in the late 1980's or early 1990's by local woolen manufacturer J.L. McGregor Pty Ltd. The company closed in early 1990s, the manager, Ian McGregor died within two or three years of the closure. The McGregor family still live in the Geelong area.A ball of grey yarn, 50% wool and 50% acrylic with a plastic label surrounding the wool with the product details.On Label: McGregors 50 Grams at standard condition 50% Wool 50% Flame resistant Acrylic Below Logo: Wool and Nu Acrylicwool, j.l. mcgregor pty ltd, yarn, geelong wool, geelong, geelong woollen mills -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 77 Charles Street, Kew, 1992
After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c.1983 and c.2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Extant (2020) mixed cream brick house built in 1940 in the Old English style featuring a steep tiled roof. A dormer window was added at the front in 1957. Additions and alterations in 2000 included windows altered on the facade. The pen and ink architectural drawing on drafting film of 77 Charles Street, Kew by was completed in 1992 by Margaret Picken, and predates the alterations to the front windows.77 CHARLES ST., KEW / MARGARET PICKEN ~92 / WOODARDS ~ KEWartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 77 charles street -- kew (vic.) -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 4/34 Fermanagh Road, Camberwell, 1992
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 115 High Street, Glen Iris, 1989
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 52 Cobden Street, Kew, 1989
After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c.1983 and c.2003. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink architectural drawing on drafting film of 52 Cobden Street, Kew by Margaret Picken.52 COBDEN STREET., KEW / MARGARET PICKEN '89 / WOODARDS ~ KEWartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 52 cobden street -- kew (vic.) -
Whitehorse Historical Society Inc.
Decorative object - Sampler, 1836
Originally framed by William Hayward, carver - gilder and picture frame manufacturer 54 Upper Richmond Road, Putney, EnglandFramed needlework sampler - five lines of alphabet and numbers worked in red cross stitch on a light brown material, followed by a verse, then a house, birds, boat, windmill, animals worked below. Cross stitch sampler. (See 'Other Information' for verse).Signed in cross stitch by the embroiderer, Sarah Moats, aged 10, 1836.handcrafts, embroidery -
Whitehorse Historical Society Inc.
decorative object - Doyley
Small cream crocheted lace doyley with female head in centrehandcrafts, lacemaking -
Glenelg Shire Council Cultural Collection
Mixed media - Newspaper Clipping and Photograph, n.d
K.S. Anderson CollectionPhotocopy of newspaper clipping regarding a plaque being mounted on the site of what was the immigration depot. Coloured photograph of Mrs Edgar (one of the donors of the plaque) reading her address prior to unveiling. Identification numbers 6906a, b -
Moorabbin Air Museum
Drawing (item) - Dassault Mirage Draft Modification Order-Modification No.829
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Camberwell Historical Society
Drawing (series) - Architectural drawing, 1251 Toorak Road, Burwood, 2002
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Moorabbin Air Museum
Drawing (Item), Douglas DC 2
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Latrobe Regional Gallery
Drawing, BELLANY, John b. 1942, Port Seton d. 2013, Jeff, 1983
Pastel on paperTitled, signed and dated in lower right corner of drawing: 'Jeff' Bellany 83' -
National Wool Museum
Textile - Onkaparinga Blanket, Waffle Collection, Unknown
Onkaparinga started in South Australia in 1869. Migrating from Germany, two brothers, Heinrich and Edward Kramm, both weavers, purchased and brought with them some machinery and established themselves in Hahndorf in a mud hut. Their original plant consisted of one carding machine, one spinning mule of 30 spools and 2 hand looms. The spinning mule was horse driven, the others all hand operated. The wool was washed by hand and dried in the sun then teased by hand. Now 145 years later the brand name Onkaparinga, is known all over the world, the products reflect the experience, passion and ingenuity of over a century's tradition in providing luxurious home wares. Donated to the National Wool Museum by Joyce GrayLight orange waffle weave woolen blanket, with nylon trimming. Product tag included with plastic case. On product tag - The better way to sleep. Onkaparinga onkaparinga, blanket, wool, kramm -
Federation University Art Collection
Ceramic, Terra Sigillata Pot by John Rojo, 1980s
As a potter I enjoy the fluidity of the clay and the ability to create beautiful forms from this plastic, sensuous material. It is a journey of discovery especially using local clays and materials to create timeless artifacts. The process of making an object from a fluid material, applying a liquid glaze then firing these works in a wood fired kiln for 45 hours is still fascinating to me. The magic of the results can be both exhilarating and disappointing. (https://www.yarramcourthousegallery.com/calendar-of-exhibitions, accessed 09 July 2021) In 1982, I moved to the Tarra Valley in South Gippsland to build a house, studio and gallery. My main passion at the time was wood fired pottery. I was fascinated with the natural colours and unpredictability of the process. This lifestyle means long hours of work, many failures and a life of poverty. Having a young family meant I had to supplement my income working as a teacher. Wood fired pottery is ancient and seldom practiced art form. The beauty of wood firing is that nature has its way with manmade articles and it is this combination that makes each one of these works totally individual and impossible to reproduce. All works have been fired in a tunnel style wood fired kiln and a down draught wood kiln. The use of terrasigilata sourced from local clays and materials and traditional Japanese glazes help to create highly individual pots that are unique. The use of native hardwood for firing the kiln and creating ash glazes also gives the work a special quality. Many works have been fired multiple times. The use of seaweed and shells help to give each of these ceramic works a luminous natural beauty. These pieces have their imperfections the same as human beings who withstand the rigors of time. These pots are not always perfect, but it is these imperfections that make them individual, unique and intrinsically special. My kilns are like a painter’s palette: they allow me to paint the surfaces of my pots with flame and colour. I love the subtle qualities of the local clays and I have experimented with many types of clay from the local area. Kiln firing can be between 30 to 100 hours. The movement of the flames, the incredible colour variation and the unexpected results make this demanding process rewarding when all goes well. When purchasing my work you are purchasing part of me and 45 years of passion, creativity and individuality. (https://www.yarramcourthousegallery.com/calendar-of-exhibitions, accessed 09 July 2021) John ROJO John Rojo was a Post Graduate Student at the Gippsland campus.Ceramic pot.ceramics, gippsland campus, alumni, john rojo, jan feder memorial ceramics collection -
Australian Lace Guild - Victorian Branch
Textile - Brussels applique lace, Late 19th Century
Fine lace used as a costume trimmingEdging of Bobbin lace motifs appliqued onto machine made net -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Beechworth Carriage Museum III, c1972-1976
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: ABBOT BAGGY / B'WORTH / CARRIAGE MUSEUM Reverse: B7 / Beechworth Nostalgia / BW - 07 B (crossed out) / 008ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
Federation University Art Collection
Ceramic, Sue Ferns, Raku Sculptural Form by Susan Ferns, c1983
Susan Ferns was a Diploma Student at the Gippsland Centre for Art and Design.Raku sculpture Formsusan ferns, jan feder memorial ceramics collection, alumni, australian studio pottery -
Whitehorse Historical Society Inc.
Textile - Table Centre
Hand embroidered by Bruce Reynold's Aunt, Emily Templeman.White linen oval table centre, hand embroidered with mauve and purple daisies, crochet edge in shell stitch.manchester, table linen, handcrafts, embroidery, crocheting or crochet work -
Wodonga & District Historical Society Inc
Decorative object - Silver toned Tassel Bracelet from the Sarah Coventry Jewellery Range c. 1970s-1980s
Sarah Coventry Pty. Ltd. was a North American jewellery company that was established in 1949 by the Stuart family as part of Emmons Jewelry, Inc. It began operations in England and Australia in 1968, and in Australia it moved from Carlton in Melbourne to Wodonga in 1969. The premises were originally on High St. in Wodonga, but a new warehouse was built in Melbourne Rd. later in 1969. It was a direct selling jewellery business using a party-plan model similar to Tupperware and Avon. The sales reps or 'Hostesses' were provided with jewellery samples in demonstration kits, which they displayed at jewellery parties in their homes. The designs for jewellery such as brooches, necklaces, earrings, chokers and bracelets were purchased from freelance designers and jewellery manufacturers rather than in-house designers. In 1979 Sarah Coventry Pty. Ltd. in Wodonga was bought by three Australian businessmen, including Wodonga local Jim Sawyer, and continued to sell jewellery under the name "Sargem Pty. Ltd”, for several more years in the 1980s. As part of the Sarah Coventry collection, the bracelet has local significance with the decentralised commercial development of regional centres such as Wodonga in NE Victoria, as well as national and international significance from the perspective of social and economic developments for women after World War II. The direct selling party-plan business model Sarah Coventry was based on is also considered the first of its kind for jewellery.Silver toned bracelet with tassle from the Sarah Coventry Jewellery Range c. 1970s-1980sNo makers marksarah coventry, jewellery, wodonga, costume jewellery, vintage fashion, bracelet, bracelets -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 21 Bringa Avenue, Camberwell, 2002
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 78 Derby Street, Kew, 1991
After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c.1983 and c.2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink architectural drawing on drafting film of 78 Derby Street, Kew by Margaret Picken.78 DERBY ST., KEW / MARGARET PICKEN ~91 / WOODARDS ~artist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 78 derby street -- kew (vic.) -
Working Heritage Crown Land Collection
Ceramic - Ceramic shard, Mint ceramic shard
Ceramic shard with white glazed finish and a blue decorative design. blue decorative patternpottery, ceramic, archaeology -
Hawthorn Historical Society
Drawing - Property Illustration, 54A St Helens Road, Hawthorn East, 1993
'After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view.' (Margaret Picken, 2020)This property illustration is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c. 1983 and c. 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020pen and ink architectural drawing on drafting film.54A ST HELENS RD, HAW Margaret Picken ~89 WOODARDSartist - margaret picken 1950- -
Flagstaff Hill Maritime Museum and Village
Decorative object - Ship model in a bottle, c. early 20th century
The handmade model in a bottle is the work of a hobbyist, in about the mid-20th century. The word 'Cork" may indicate the location of the maker. The Pamir was a four-masted barque built for the German shipping company F. Laeisz. One of their famous Flying P-Liners, she was the last commercial sailing ship to round Cape Horn, in 1949. By 1957, she had been outmoded by modern bulk carriers and could not operate at a profit. Her shipping consortium's inability to finance much-needed repairs or to recruit sufficient sail-trained officers caused severe technical difficulties. On 21 September 1957, she was caught in Hurricane Carrie and sank off the Azores, with only six survivors rescued after an extensive search.The model represents the work of an individual as a hobby project in the early to mid-20th century.Ship in bottle. The "Pamir", a 4-masted ship, and avsmall motorized vessel the "Theodore Storm" set against a European background inside large bottle. Mounted on varnished wooden stand. "Pamir" "Theodore Storm" "Cork"pamir vessel, flagstaff hill museum, four masted vessel, ship in bottle, theodore storm, ship model, cork, handmade, 20th century handcraft, hobby ship model, hobbyist made -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 6 Mortimer Street, Kew, 2001
After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a number of real estate agents in Melbourne between 1983 and 2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink architectural drawing on drafting film of 6 Mortimer Street, Kew by Margaret Picken.6 MORTIMER ST., KEW / MARGARET PICKEN © 2001 / FLETCHERS REAL ESTATEartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 6 mortimer street - kew (vic) -
Moorabbin Air Museum
Drawing (Item) - HS748 AIrcraft Finishing Scheme Hawker Siddeley A16282 Sht 1
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Moorabbin Air Museum
Drawing (Item) - Decca Radar Limited Assembly A B Amplifier 9D/2292 C/RL/SKA/7369
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Port Melbourne Historical & Preservation Society
Drawing - Illustration, lasercopy, William Strutt, Shipping Cattle at Sandridge near Liardets Hotel 1850, 1850
One of two colour lasercopies of William Strutt watercolours reproduced in the Strutt album viewed in ths Victorian Parliamehntary Library: Shipping Cattle at Sandridge near Liardets Hotel 1850arts and entertainment - visual arts, livestock, transport - shipping, willaim strutt, wilbraham frederick evelyn liardet, wfe liardet, liardets beach