Showing 3443 items matching art
Artwork, other (1226) Ceramic (747) Decorative object (667) Drawing (4560) Mixed media (486) Painting (2384) Print (1653) Sculpture (397) Textile (1238) Work on paper (2029)-
Flagstaff Hill Maritime Museum and Village
Ceramic - Meat Dish, 1870-1873
The Asiatic Pheasant pattern on the plate is a transfer design and was the most popular design of the 18th & 19th centuries and is still being produced today. The design was produced as high-quality, decorative dinnerware by the potters in the Staffordshire area of England, from the late 1830s, but no one is sure exactly of the original designer's name. History of the Loch Ard: The Loch Ard got its name from ”Loch Ard” a loch that lies to the west of Aberfoyle, and to the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curdle and Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as recovered from the wreck of the Loch ArdGorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the recovery from the wreck of the Loch Ard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of the Loch Ard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up and recovered from the Loch ArdGorge wreck. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck, it has now become Australia's most valuable shipwreck artifact and is one of very few 'objects' on the Victorian State Heritage Register.The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we are able to interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. The collections historically significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history. Serving dish or meat dish; oval with scalloped edges. White Chine plate with a blue flora transfer design called "Asiatic Pheasant". Recovered from the wreck of the Loch Ard. Printed "W & S" (pattern is) "Asiatic Pheasants"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, serving dish, asiatic pheasant, meat dish, meat plate, serving plate, crockery, domestic item, dining -
Eltham District Historical Society Inc
Work on paper (Sub-Item) - Photograph, Deep rills in the creek bank between Rampstons and Weidlich Roads
Colour photograph of deep rills in the Diamond Creek bank between Rampstons and Weidlich Roads, Eltham North. The shallow channels are cut into the soil by the erosive action of flowing water.eltham, creek bank, erosion, eltham north -
Ballarat Heritage Services
Ceramic, [Gumnut Vase] by Lorraine Simpson
Lorraine SIMPSON Lorraine SImpson sold most of her pottery to Bangles Gallery in Cobargo NSW which unfortunately burnt in the 2019/2020 bushfire. She was also known for making bonsai pots which were well loved by the bonsai community.Blue hand thrown vase with gumnut and leaf decorative feature.ceramics, australian studio pottery, gumnuts, lorraine simpson -
Eltham District Historical Society Inc
Work on paper (item) - Photograph, 2 Metery Road, Eltham South
Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February, April, June, August 2020. This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, eltham south, 2 metery road, alistair knox, bush block -
Churchill Island Heritage Farm
Ceramic - Cream Jug, c. 1950
This cream jug would have been used to hold cream for table use. This chintz transfer ware was made from 1930 until the 1980’s. The Rose time pattern was introduced in 1931. The Lord Nelson ware was made by Elijah Cotton, ceramic makers of Staffordshire, England.Ornate cream jug with large curved lip and generous handle with scrolling. Lord Nelson Ware, 'Rose time' series with purple and orange roses with green leaves on cream coloured background. Antique design. Matches milk pitcher 0288 china, lord nelson ware, amess house -
Friends of Ballarat Botanical Gardens History Group
Work on paper - The Gate Keepers Cottages, North Lodge and South Lodge, Ballarat Botanical Gardens
The Gate Keepers Cottages, North Lodge and South Lodge, Ballarat Botanical Gardens.john garner collection, ballarat botanical gardens, gate keepers cottage, cottage, gardens, ballarat -
Eltham District Historical Society Inc
Work on paper (Sub-Item) - Photograph, Bank protection works on the east bank of Diamond Creek opposite Watkins Street
Colour photograph of bank protection works, using bluestone rocks to construct a wall on the east bank of Diamond Creek, to prevent erosion. Opposite Watkins Street, Diamond Creek townshipeltham, drain, diamond creek, erosion, watkins street, protection, bluestone, wall -
University of Melbourne, Burnley Campus Archives
Work on paper (item) - Student Work, Ashley Densham, Landscape Construction Portfolio, 12th October 2017
Submitted as an assignment in 2017 for a Burnley Horticultural College subject HORT90035, Landscape Construction and Graphics. Coordinator for the subject was Andrew Laidlaw. andrew laidlaw, assignment, burnley horticultural college, landscape construction and graphics, hort90035, ashley densham -
Gippsland Art Gallery
Work on Paper, Struss, Elsie, Untitled, Undated
Donated from the estate of Wemyss Struss, 2016Oil pastel on papergippsland, artwork, permanent collection -
Whitehorse Historical Society Inc.
Decorative object - Fan, 1970 - 1980
Thirty two stick sandalwood fan with decorative pierced design and hand painted design of blossom and butterfly. Sticks are secured with a gilt hinged wire loop threaded with a pale pink tassel.costume accessories, female, handcrafts, woodcarving -
Working Heritage Crown Land Collection
Ceramic - Ceramic shard, Mint ceramic shard
Ceramic shard with glazed white finish -
Ballarat Heritage Services
Ceramic - Studio Pottery, John Gleeson, Ceramic Platter, 2007
John GLEESON Living at Campbell's Creek for over 30 years, John Gleeson makes a range of functional stoneware pottery. He fell in loved with pottery during a hobby class in Geelong in 1972. He worked for a year at Canny Ridge Pottery in Harcourt. John Gleeson uses white stoneware and porcelain clay from The Bendigo Pottery, and buff clay from Bennetts Pottery in Adelaide. He mixed all his own glazes from commercially sourced raw materials, sometimes supplemented with ash from his fire and local red clay to get special effects.Large celadon platter with incised fish design. john gleason, studio pottery, ceramics, australian studio pottery -
Whitehorse Historical Society Inc.
Ceramic - Border Tile
See 359Border tile glazed with green and black squaresceramics, earthenware -
Gippsland Art Gallery
Work on Paper, Struss, Elsie, Two Female Figures, c.1929-33
Donated from the estate of the artist, 1987Ink on papergippsland, artwork, permanent collection -
Port Melbourne Historical & Preservation Society
Work on paper - Display panel, Station Pier, Port Melbourne, Alison Kelly, 1988
Photographed and displayed at Missions to Seamen building in 1989 by Alison KellyDisplay panel with three photos (outer beacon; eastern Station Pier kiosk; view of western Station Pier kiosk, beacon, Princes Pier gatehouse and former western paddlesteamer waiting room) glued directly onto black art board, velcro on back.In pencil on back: 'Pat Grainger 70 Station St Port Melb'piers and wharves - station pier, piers and wharves - princes pier, beacons, alison kelly, thirst aid kiosk -
Gippsland Art Gallery
Work on Paper, Struss, Elsie, Female Bust, c.1929-33
Donated from the estate of the artist, 1987Conté on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Work on Paper, Watson, Douglas, Study for Trees, Undated
Donated by Alexander Thurston Watson through the Australian Government Cultural Gifts Program, 1979Wash on papergippsland, artwork, permanent collection -
Federation University Art Collection
Ceramic, (Untitled) Cylindrical Form
Cylindrical form with firing flairsbill, jan feder memorial ceramics collection -
Federation University Art Collection
Ceramic, Satay Sticks
Possible made by Dedang?Three ceramic satay sticks. If you are able to assist with information on this artist or artwork please use the email link below. jan feder memorial ceramics collection, dedang -
Federation University Art Collection
Work on paper - Printmaking - Etching, 'Iridis Navigium' by Christine Stewart, 1993
This work was exhibited in the 1993 3rd year final exhibition. It is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Frame limited edition print.Artist's Proofart, artwork, christine stewart, stewart, available, printmaking -
Latrobe Regional Gallery
Work on paper - Painting, SUGGETT, Colin b.1945 Warrnambool, Greetings from Electric Valley, 1979
Gouache, watercolour and ink on paper, aluminium strip borderSigned vertically lower right corner in comp in composition "Suggett" -
Moorabbin Air Museum
Work on paper (Item) - Beechcraft Super King Air - Notes, Beechcraft Super King Air B200
Beechcraft King Air -
Friends of Ballarat Botanical Gardens History Group
Work on paper - Victor Greenhalgh 1900-1983, A Short Biography by John Garner
gardens, ballarat, ballarat botanical gardens, victor greenhalgh, john garner collection -
Federation University Art Collection
Ceramic
This work is part of the Jan Feder Memorial Ceramics Collection .Jan Feder is an alumna of Federation University having studied ceramics at the Gippsland Institute of Advanced Education (now Federation Univesity Gippsland campus). Jan Feder was respected by all students for her diligence and technical ability. Her tragic death in 1981 evoked an immediate response from her peers for a memorial. Students discussed a number of memorial options, such as funds for equipment, scholarships and awards. The decision to commence a collection was made based on the idea that all future students culd benefit from the availability of a collection, whereas only a very few individuals could benefit from a scholarship. Students immediately set about raising money by selling 'seconds' called 'Junque Sales'. a total of $760.00 was raised and the first two works purchased were by Victor Greenaway and Victoria Howlett. Ceramic works were purchased from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught at the Gippsland Campus. The Artist in Residendence Program assisted the collection, with many resident artists conrtibuting to the Collection (ie Robin Welch, Anna Zamorska, Sandy Brown), as well as international guests. Ceramic events such as 'Strzelecki Spotkanie 1984' and 'Woodfire 86' also resulted on major contributions to the collection.Two small, hand thrown woodfired pots. If you can assist with information on this artist or artwork please use the email link below. jan feder memorial ceramics collection, alumni -
Federation University Art Collection
Ceramic - Artwork - Ceramic, Christine Perks, 'Sheltering From Winter Skies' by Christine Perks, 1992, c1993
Christine PERKSTwo handbuilt majolica cats with on-glaze painted and woodfired earthernware.christine perks, majolica, ceramics, jan feder memorial ceramics collection, gippsland campus, cats -
Merri-bek City Council
Work on paper - letterpress print, Commoners Press, Untitled, 2022
This image of Coburg Olympic Swimming Pool represents my connection to Merri-bek / Moreland. Being brought up around water, swimming has played a key role in my family and I feel a sense of the community when swimming in a public pool. The gum trees and the proximity of this pool to the river reminds me of my home town, Albury. For me, a public pool is a gathering place, a place of leisure and play, somewhere to learn and grow, spend time and let go.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print -
Wodonga & District Historical Society Inc
Decorative object - Sarah Coventry jewellery pin for 10 years service, 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 pin 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.Small rectangular gold metal pin with a faceted pink stone inlay on the proper left side and a faceted clear stone on the proper right side. Two raised flower motifs on the proper right side. The 10k stamped on the back surface suggests it is made of 10 karat gold.The abraded areas on the clasp on the back expose underlying silver coloured metal indicating that the clasp is plated."Sarah / SC / 10 YRS / Coventry" raised inscription on the front surface. "® cTo / 10 K" stamped on the lower proper left side of the back surface, indicating 10 karat gold. The ® symbol indicates that the manufacturer's mark is federally registered with the US Patent and Trademark Office. The 'cTo' is the trademark by O. C. Tanner Jewelry Co. in Salt Lake City, U.S.sarah coventry, jewellery, wodonga, costume jewellery, vintage fashion jewellery, pin, jewellery pin -
Kew Historical Society Inc
Work on paper, Joy Stewart, 2. Turinville, 1988
Kew Tapestry The eight panels depict the history of Kew. This was a 1988 Australian Bi-Centennial Project carried out under the auspices of City of Kew Council and the Kew Historical Society Incorporated. Nearly 600 citizens including many children participated in the production by adding a few or more stitches. A book records their names and the panels upon which they worked. Artist: Joy Stewart Co-ordinator: Dorothy BenyeiSydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.2. Turinville. A Handcoloured cartoon created by the artist Joy Stewart as a template for the second of a series of embroidered panels depicting the history of Kew. Wool colour codes at left. Inscription: "TURINVILLE. Early country residence overlooking the Yarra River. Recreational activities of the period included picnics." Signed by the artist "(c) JStewart, 1988"bicentennial project (kew), turinville, joy stewart -
Friends of Ballarat Botanical Gardens History Group
Work on paper - Farnese Gardens, Rome. Wikipedia, 16th Century Private Botanical Gardens
john garner collection, ballarat botanical gardens, gardens, ballarat, farnese gardens, flora, statue, rome -
Bass Coast Shire Council - Robert Smith Collection
Work on paper - Untitled 1978 - [Bodford Terrace Folio], George Baldessin
Lithograph (Bodford Terrance Folio) 156/300