Showing 3799 items matching art
Artwork, other (1226) Ceramic (748) Decorative object (667) Drawing (4561) Mixed media (486) Painting (2384) Print (1653) Sculpture (397) Textile (1237) Work on paper (2029)-
Gippsland Art Gallery
Ceramic, Ino, Kiyoshi, Five Piece Set, 1979
Purchased with the assistance of the Crafts Board of the Australia Council, 1979gippsland, artwork, permanent collection -
Gippsland Art Gallery
Painting, Jago, Esther, Chamberlain River Gorge, 2006
Donated by the artist, 2008Watercolour on papergippsland, artwork, permanent collection -
Tatura Irrigation & Wartime Camps Museum
Painting - Painting - Watercolour, Leonhard Adam, Tatura Camp 4, 1941
Dr. Leonhard Adam was a Dunera internee in Camp 2.RomanticismMary-Clare AdamWatercolour painting of rows of barracks with internees and fencing at Tatura Camp.Tatura Camp 4, Victoria, 25 vii 41tatura, internee camps, dunera, leonhard adam -
Federation University Art Collection
Ceramic - Wheel thrown pottery, [Bowl]
Australian Studio CeramicsWheel thrown bowl decorated with glazes. Artist unknown.ceramics, bowl -
Whitehorse Historical Society Inc.
Ceramic - Tile
Glazed mosaic tile - dark green background with light green patternceramics, earthenware -
Port Melbourne Historical & Preservation Society
Decorative object - City of Port Melbourne, Coat of Arms, 1970s
Large circular perspex Coat of Arms for the City of Port Melbourne; gold lettering and general main colour other than red material backing.local government - city of port melbourne -
Horsham Regional Art Gallery
Painting, Ludmilla MEILERTS, Flowers and fruit, 1973
Gift of Mack Jost, 1991synthetic polymer paint on composition board -
Glenelg Shire Council Cultural Collection
Painting, Ruth Denny, Old Cottages Richmond St. Portland, 1967
CEMA Art collectionThe painting depicts a street scene with three buildings and a fenced area. The centre focus of the work is two small buildings. The building on the left is yellow with red roof and green door. Standing in front of the house is a female figure with red shirt and white skirt. Tthe building to the right is pale yellow with green roof, red chimney and green door. The work has plain wooden frame with a mount and glass.Front: Old Cottages Richmond St.Portland Ruth Denny 1967(black, handwritten) Back: Sticker:DEAN'S MU 8291 FOR FRAMING 346 LT.COLLINS ST., MELB. NO. 20438 Yellow sticker: 3034 -
Flagstaff Hill Maritime Museum and Village
Painting - Religious Portrait, P Butcher, artist, The Infant Samuel, ca. 1943
This painting was part of the original furnishings of the St Nicholas' Mission to Seamen's Church at 139 Nelson Place, Williamstown, Victoria. The Church was operated by the Mission to Seamen organisation. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen was an Anglican charity that served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the organisation began in Williamstown in 1857 as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’ in an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and closely resembles the Williamstown chapel. This painting is significant historically for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It originated in Bristol, England when a Seamen's Mission was formed in 1837. The painting is historically significant for its connection to the Ladies Lightkeepers’ Auxiliary, an organisation of women, formed to support seafarers. The connection of this painting to the Mission to Seamen and to the Ladies Lightkeepers’ Auxiliary highlights the strong community awareness of the life of people at sea, their dangers and hardships, and their need for physical, financial, spiritual and moral support. Painting, oil on board, behind glass framed with wood. Portrait of a child dressed in white, kneeling in prayer, within a dark room. The artist, P Butcher, titled the picture "The Infant Samuel". This object is part of the St Nicholas Seamen's Church Collection. Painted at centre bottom edge "THE INFANT SAMUEL.", and right bottom edge "B. BUTCHER"flagstaff hill maritime museum and village, flagstaff hill, warrnambool, maritime museum, maritime village, shipwreck coast, great ocean road, religion, religious service, st nicholas seamen’s church, williamstown, missions to seamen victoria, painting, oil painting, religious painting, infant samuel, p butcher -
Darebin Art Collection
Painting - Andrew Travis, Andrew Travis, Traditional Accounts, 2006
kangaroo, painting -
Old Colonists' Association of Ballarat Inc.
Painting - Image, T. Stanton Bowman, R.U. Nicholls, c1907
Robert Uriah Nicholls was born in Devonshire, England, and arrived in Victoria in 1853 on the Banker's Daughter, and Ballarat in 1854. He ran R.U. Nicholls & Co., nurserymen in Doveton Street North, Ballarat. He was a member of the Ballarat Horticultural Society for 51 years, and was President of the Old Colonists' Association in 1907. Robert Nicholls died in 1910, and is buried at the Ballaarat New Cemetery.Portrait of R.U. Nicholls, President of the Old Colonists' Association in 1907old colonists' association ballarat, stanton bowman, t. stanton bowman, r.u. nicholls, robert uriah nicholls -
Villa Alba Museum
Decorative object - Curtain tie backs, 3 pairs, 1850-1900
The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Part of a group of curtain furnishings which includes a curtain with original fittings, fringe and braid unpicked from other curtains, and these six curtain tie backs. The six curtain tie backs are identical, though one pair is shorter. The tie backs comprise a length of soft, loose (floss) silk cord, made of two thick strands twisted together (cable cord). An elaborate tassel is attached to the middle of each cord, to weight the tie back in an elegant loop, with the loose ends attached to hooks or pins on the window frame. Each tassel is formed of a turned wooden mould, covered with floss silk thread, and further decorated with knotted netting, applied braid, and glass beads. The end of the mould has a large flattened shape, from which hangs a ring of long, bullion metal fringe. This may be silver-gilt: untarnished parts are still true gold colour, while the majority of the fringing is tarnished black. These curtain decorations are truly luxurious; the original suite of curtains would have been very expensive, an eloquent item of conspicuous consumption of luxury goods.Attached handwritten note : "VA Th 7/6/2012 Ric Freeman (Nat Trust member) & Julie Freeman / re soft furnishings, tassels, trimmings, braid set / Jessie, Terry (and Chris St) to view, collect"decorative arts & design, interior decoration - history, curtain accessories, tassels -
Horsham Regional Art Gallery
Painting, Roy CHURCHER, Summer painting, 1985
Gift of Mack Jost, 1994 -
Darebin Art Collection
Painting - Sarah Faulkner, Sarah Faulkner, The Business at All Nations, 2011
all nations park -
Bendigo Military Museum
Painting - PRINT WW2, FRAMED, c.1990
Frame light timber, grey border, glass front. Copy of sanguine crayon drawing of a WW2 soldier.“Study of Australian Troops Disembarking at Alexandria 1942 By Ivor Hele CBE AWM Number 21264”illustrations-prints, trades - carpentery, military history - army, alexandria -
Federation University Art Collection
Painting - Artwork - Painting, Craig Harrison, 'Introduction to the Figure/ Landscape Puzzle,' by Craig Harrison, 1989
Craig HARRISON Dr Craig Harrison has held solo exhibitions regularly since the mid-1970s, including curated exhibitions at the La Trobe University, Australian Catholic University, and the Ballarat Fine Art Gallery. He was a finalists in a number of prestigious awards and prizes, including the Dobell Prize for Drawing (2010, NSW), and the Rick Amor Prize for Drawing (2016, Ballarat). Craig Harrison is also a respected art educator, who had taught fine art at the Deakin Univerity, MLC, and ACU between 1975 and 2004. From 1988 to 1989 Craig Harrison was Senior Lecturer in Visual Arts at Ballarat College of Advanced Education (later Federation University Australia). Mounted behind white conservation board, pale timber frame, glass cover. Gift of Professor Shirley Kaye Randell, AO, PhD, Hon.DLitt, FACE, FAICD, FIML, first woman in the Executive Team of the Ballarat College of Advanced Education as Dean of Academic Affairs, 1989- 1990signature bottom right - "Craig Harrison '89."art, artwork, craig harrison, painting, available, ballarat college of advanced education -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on board, Margaret Baskerville, Two children in country, c.1913
oil on boardmargaret baskerville, landscape, bush, children, farm, barn, fence, tree -
Federation University Art Collection
Ceramic - Artwork - Ceramic, (Untitled) Vessel
Two ceramic bottles. If you can assist with information on this artist or artwork please use the comment link below.ceramics, available -
Whitehorse Historical Society Inc.
Ceramic - Border tile
See 359White glazed border tile with black triangles forming squares with white diamonds in centre.'P4' 'P'ceramics, earthenware -
Gippsland Art Gallery
Painting, Markham, Arthur, Untitled, c.1970s-80s
Donated, 1983Watercolour on papergippsland, artwork, permanent collection -
Tatura Irrigation & Wartime Camps Museum
Painting - Painting - Watercolour, Waranga Basin, Victoria
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Gippsland Art Gallery
Painting, Markham, Arthur, Untitled, 1975
Donated from the estate of John Leslie OBE, 2017Watercolour on papergippsland, artwork, permanent collection -
Darebin Art Collection
Painting, Arthur Lock, Dry Country (Queensland), 1972
queensland, watercolour -
Swan Hill Regional Art Gallery
Painting, LAW, C Anthony, Clearing, 1986
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Federation University Art Collection
Painting, Mark McCarthy, Cityscape 2, 2002
Mark McCARTHY (1979- ) Mark McCarthy is a graduate of the Victorian College of the Arts. technology, streetscape, cityscape -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Painting - Portrait, Lt-Col R V Couche MBE
Lt-Col Couche was Commanding Officer of 4/19 Prince of Wales's Light Horse Regiment from 1962 to 1964One of a collection of portraits of former Commanding Officers of the RegimentFramed oil painting of Lt-Col R V Couche MBEportrait, couche -
Flagstaff Hill Maritime Museum and Village
Ceramic - Jug, 1920-1940
Stoneware is a rather broad term for pottery or other ceramics that is fired at a relatively high temperature. A modern technical definition is a vitreous or semi-vitreous ceramic made primarily from stoneware clay or non-refractory fire clay. Whether vitrified or not, it is non-porous, it may or may not be glazed. Historically, across the world, it has been developed after earthenware and before porcelain and has often been used for high-quality as well as utilitarian wares. As a rough guide, modern earthenwares are normally fired in a kiln at temperatures in the range of about 1,000°C (1,830 °F) to 1,200 °C (2,190 °F); stoneware's at between about 1,100 °C (2,010 °F) to 1,300 °C (2,370 °F); and porcelains at between about 1,200 °C (2,190 °F) to 1,400 °C (2,550 °F). Historically, reaching high temperatures was a long-lasting challenge, and temperatures somewhat below these were used for a long time. Earthenware can be fired effectively as low as 600°C, achievable in primitive pit firing, but 800 °C was more typical. Stoneware also needs certain types of clays, more specific than those able to make earthenware, but can be made from a much wider range than porcelain. A domestic item used to store food products as glazing makes the container non-porous, often used for pickling. Or larger containers for kitchen flour. Items age is difficult to determine given the same techniques for making stoneware are in use today. Stoneware containers were made by many potteries in Australia and England. They were in common domestic use before plastics were invented around 1940 to store goods so this subject item is probably from around 1900 to the 1940s. Item's significance is difficult to determine given it is not associated with a place, person, historic event, or manufacturer. Its significance lies with its use as a domestic object giving today a view into our social past.Brown Stoneware jug with short neckThe number "1" under neck flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, jug, stoneware jug, salt glaze -
Mont De Lancey
Decorative object - Glassware
A small rectangular Windsor patterned clear glass container for a dressing table, possibly used for hairpins in the 1930's or 40's. It has 4 angled pieces that protrude from each bottom corner. Three rows of hexagonal shapes are part of the pattern on all sides. There are chips and cracks. It may have had a lid.Hexagonal cuts to the pattern on all sides of the container.glassware, domestic object -
City of Whittlesea Art Collection
Painting - Gouache & Watercolour on Saunders Paper on board, John Borrack, Mernda Plains, Landscape, 1995
The expression of the spirit of a place which in landscape painting is aesthetically more important than a literal topographical recording, can really only be achieved after a lifetime's experience of an area one has constantly observed, painted and loved for its innate characteristics. I gaze across the red gum plains of the Mernda landscape from my studio and witness them in all seasons and moods. Such a painting as this, free of all inhibitions of literal transcription are done relying purely on memory impressions. These are often inspired by a particular season or day, but the content of the work is a total of past experience and observations that lie in one's mind. The staccato quality of tree forms against vast horizontal spaces, the open colour planes and marks that define forms, the calligraphy and tonal resonance of the work, all find their origins in direct observations of nature that remain with me. Experience has taught me that the more direct and less complicated one can express an idea in watercolour and gouache, the more significant and vital the work will be. Occasionally one succeeds and manages a complete statement without recourse to reworking or additions. This painting typifies the direction in which my major work started to move in the late 1980's. Part of the John and Gillian Borrack Federation Bequest, donated to the City of Whittlesea in December 2001 by Gillian and John BorrackJohn Borrackmernda -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on board, LM Wallis, Beaumaris, 1932
Impressionismoil on boardbeaumaris, beaumaris hotel, road, vegetation, bayside, power pole, signs, landscape, building, hotel