Showing 5485 items
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Artwork, other (1294)
Ceramic (767)
Decorative object (720)
Drawing (4609)
Mixed media (529)
Painting (2485)
Print (1666)
Sculpture (407)
Textile (1396)
Work on paper (2094)
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Darebin Art Collection
Print - Naeem Rana, Naeem Rana, On Snake Gully Drive, 2008
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Swan Hill Regional Art Gallery
Print, DeROSA, Chris, Spongia Gardineria, 2007/8
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Gippsland Art Gallery
Print, Turner, J.M.W. (after), Deal, c.1859-78
Purchased, 2013Engraving on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Forbes, Rodney, Your Song, 1996
Artworks Gallery Collection. Donated by Norman & Petah Creighton, 2018Coloured lithograph on papergippsland, artwork, permanent collection -
Melbourne Tram Museum
Print - Framed Print, Glen Waverley Picture Framing, 1970's?
Framed, glazed, black and white photograph of the intersection of Flinders and Swanston St Melbourne, looking towards Flinders St railway station. Timber frame, painted brown and gold, with brown paper lining on rear. Has brown string stapled at rear on both sides for hanging. In the central bottom of the rear is "Glen Waverley Picture Framing, sticker, 698 High St Road, Glen Waverley with a 7 digit phone number. Photo c1926?? features a very busy intersection cable trams (No. 17 west bound in Flinders, tram 160 north bound in Swanston, two W class trams, other cable trams, many motor cars, horse drawn vehicles, cyclist and pedestrians. Note the standing zone in Flinders St. In photo are Young and Jacksons Hotel, Bacchus Marsh Concentrated Milk table cream, and numerous signs on the railway station. See Reg Item 5272 for the photo on a Greetings Card and 5217 for a photographic print.on rear top "Donated to Hawthorn Tram Museum Feb 1912 Ron Scholten" in ink.trams, tramways, flinders st station, swanston st, flinders st, melbourne, cable trams -
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. -
Melbourne Tram Museum
Decorative object - Model tram, Siemens, Siemens Melbourne Combino tram, 2009
Model of five section Siemens Melbourne Combino tram, painted or lettered as "Rail Safety Tram 2009" for the 2009 Rail Safety Week. Has an engraved plaque recognising the tram sponsors - V/Line, Fulton Hogan, Coleman Rail, GHD, Transfield Services, PTSV, Yarra Trams and the ARA. The model tramcar has been fixed onto a plastic base which has been made with rails embedded and then covered by a plastic or Perspex case. See Reg Item 100 for the 2006 Centenary tram model.trams, tramways, models, siemens, yarra trams, rail safety -
Bendigo Historical Society Inc.
Textile - ACCESSORIES COLLECTION: LADIES BLACK SILK TAILLE HANDBAG, 1950's
Textiles. Black silk faille handbag with gold metal frame with hinged clasp with black plastic top section. Front and back cardboardand base covered with black fabric with soft fabric side inserts. The front of the handbag is decorated with embroidered stitching. A 2 cm fabric carrying handle is attached to either side of frame. The handbag is lined with black silk fabric with one zipped pocket and one open pocket. Stored inside the handbag are two mirrors. 1. 12.8 cm x 7.6 cm with red leather backing. 2. Double sided mirror 6 cm x 8.6 cm , plus a small perfume bottle 1.5 cm x 2.8 cm x 1 cm with label "LE DIX" Balenciaga Paris France, and black plastic lid. Back of label "OFFERT" Not for sale.Label inside handbag ''A WYSOKIER'' V16 Top grade Failletextiles, domestic, ladies black silk taille handbag -
National Vietnam Veterans Museum (NVVM)
Print
Coloured VC Propaganda print on black card depicting female VC armed in uniform in front of VC flag and two dovesprint, viet cong, propaganda -
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 -
Glenelg Shire Council Cultural Collection
Mixed media - Compact Disk - Portland Songs, n.d
Compact disk of Ken Robertson's Portland Victoria songs. 11 songs about Portland and surrounds, written and recorded by Ken Robertson of Swan Hill. CD has coloured detail of ship sails on the front. CD is in case, clear plastic, image of sailing ship with full sail, front sleeve; list of songs on backmusic, songs, recording, portland songs -
Latrobe Regional Gallery
Print, BELLANY, John b. 1942, Port Seton d. 2013, Colchester Lil, 2000
ScreenprintSigned 'Bellany' under right corner of printed image. Edition 25/34, numbered under left corner of printed image. -
Gippsland Art Gallery
Print, Turner, J.M.W. (after), Ingleborough, from Hornby Castle, c.1859-78
Purchased, 2013Engraving on papergippsland, artwork, permanent collection -
Glenelg Shire Council Cultural Collection
Mixed media - Oral History Interview - Borthwick's, Col Parsons Interview - Borthwick's, c. 2014
DVD - unedited. Interview with Col Parsons. Unedited interviews with former Borthwicks workers. These interviews appear in the DVD on Borthwicks, launched 5 DEC 2014. Interviews conducted by Gary Kerr and filmed by Noel Waugh.thomas borthwick and sons, oral history interview -
Ringwood and District Historical Society
Mixed media - Video, RDHS Guest Speaker Presentation - "Local Orchard Insect Pests" - Bron Koll
Digitised video (3.86GB). Duration: 75 minutes. Recorded May, 2019. (Video is available for viewing at Ringwood & District Historical Society Archives by appointment)Presenter: Bronwyn Koll grew up on her family’s orchard in Wonga Park. In this historical perspective on the first industry of Ringwood, Bron talks about her orchardist roots and highlights the seriousness of looking after crops with the ongoing threat of insect pests in the district, including backyard gardens. -
Federation University Art Collection
Sculpture - Scultpture - mixed media, Reid, Margaret, Untitled, 1992
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.Sculptureart, artwork, margaret reid, horsham campus art collection -
Gippsland Art Gallery
Print, Turner, J.M.W. (after), Brighthelmston, c.1859-78
Purchased, 2013Engraving on papergippsland, artwork, permanent collection -
Flagstaff Hill Maritime Museum and Village
Textile - Tray Cloth
Tray Cloth, hand made, bordered by a tatted lace edge. The cotton centre has a circular centre filled with a hand tatted lace patternflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tray colth, tatted lace edge, tattting -
Flagstaff Hill Maritime Museum and Village
Textile - Doily, c. 1910
This doily is typical of items of household linen in popular use in the 19th and early-to-mid 20th centuries. It was a tradition for brides to have a 'glory box' containing linen and embroidered and crocheted articles to take to their new home. The chosen design of Kookaburra and wattle flowers and leaves reflects the creator's interest in Australian flora and fauna. In the Words of donor, Betty Stone, … “These crocheted and embroidered articles cover a period of three generations- ie. Sarah (nee Chamberlain) Lees, Ann (nee Lees) Dale, and Daisy Elvena (nee Dale) Welsh. All three were accomplished needlewomen; also, both Sarah Lees (born 1844) and her daughter, Ann (b 1865) crocheted a wide variety of articles for use in their homes. A few examples of these items have survived the years.” (NOTE: For additional information please refer to my book Pioneer and Places- A History of Three Warrnambool Pioneering Families ie. Chamberlain, Dale and Lees families) This item is associated with the Warrnambool pioneer families of Chamberlain, Dale and Lees. These families are listed in the Pioneers' Register for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch. The item is a fine example of early 20th-century needlework. It is also significant for its reflection on the new Australian fauna and flora.Doily, round, white cotton. Embroidered Kookaburra on a branch, wattle flowers and leaves, and edged with brown crochet. From the Chamberlain Dale Lees Collectionflagstaff hill, warrnambool, flagstaff hill maritime museum and village, great ocean road, chamberlain family, dale family, lees family, betty stone, warrnambool pioneer, warrnambool genealogy, wangoom, chamberlain dale lees collection, glory box, doily, embroidery, needlework, crochet, handmade, craft, manchester, linen, haberdashery, kookaburra, wattle, australiana -
Wangaratta Art Gallery
Textile, Tim Gresham, Maquette VI, 2008
Wangaratta Art Gallery CollectionA small maquette tapestry featuring a scalloped design in a colour palette of white, olive, and grey.tim gresham, weaving, tapestry, textile -
Whitehorse Historical Society Inc.
Textile - Pillow Sham
Made of white cotton with Mount Mellick embroidery. One corner has interlocking horseshoes with bows and ribbons. The opposite corner has a basket of flowers tied with bows and ribbons - all hand embroidered. Border of drawthread. Machined crochet edging hand sewn onto edge.handcrafts, needlework, manchester, bath linen -
Federation University Art Collection
Ceramic - Artwork - Ceramics, [Bulbous Lidded Pot] by Sandra Johnstone, c1985
Sandra JOHNSTONE (1936-1991) Worked California, USARaku-fired wheelthrown salt-glazed stoneware.ceramics, jan feder memorial ceramics collection, sandra johnstone, gippsland campus, churchill -
Ararat Gallery TAMA
Textile, Frances Burke, Zen, c. 1965
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, Turner, J.M.W. (after), The Loretto Necklace, c.1859-78
Purchased, 2013Engraving on papergippsland, artwork, permanent collection -
Glenelg Shire Council Cultural Collection
Print, Beth Oag, Reclining Nude, c. 1974
NoneDiptych prints of a nude woman reclining on her right side. Her right hand is curving up to wrap over the top of her head. Her left arm is behind her body, out of sight. A darker area at the base of image indicates a blanket on which she is reclining. Background is featureless.Front: Artists proof E.D.6 (lower left) "Reclining nude" (centre) B. Oag (lower right) (pencil) Back: (no inscriptions) -
Gippsland Art Gallery
Print, Unknown Artist, Swing-Bridge, Latrobe River, near Sale, c.1883
Donated by Colin & Val Johnson, 1984Wood engraving on papergippsland, artwork, permanent collection -
Whitehorse Historical Society Inc.
Textile - Handkerchief
White cotton handkerchief with white embroidered corner.costume accessories, female -
Ararat Gallery TAMA
Textile, Frances Burke, Cane, c. 1952
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. -
Australian Lace Guild - Victorian Branch
Textile - Tatted lace, 1900-2000
Use: DomesticTatted motif made from Semco Book Pattern no. 7 -
Latrobe Regional Gallery
Print, The Mulloway Math of It, 1992
Screenprint on paper.'13/20' bottom left, 'THE MULLOWAY MATH OF IT' bottom centred, signed 'MCDONALD' bottom right corner. screenprint, power station