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Artwork, other (1263)
Ceramic (764)
Decorative object (712)
Drawing (4606)
Mixed media (515)
Painting (2476)
Print (1657)
Sculpture (402)
Textile (1394)
Work on paper (2044)
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Horsham Regional Art Gallery
Painting, Sidney NOLAN, Wimmera, Mt Arapiles, 1942
Purchased through the Horsham Art Gallery Trust Fund with the assistance of the Caltex-Victorian Government Art Fund, 1984 -
Federation University Art Collection
Ceramic - Artwork - Ceramics, Stoneware Bowl by Robin Welch, 1980
Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. Stoneware bowl on a tall foot. Calcium matt glaze, underglaze colour with underglaze metallic lustre. ceramic, jan feder memorial ceramics collection, robin welch, gippsland campus, mungeribar pottery, stadbroke pottery -
Hawthorn Historical Society
Drawing - Property Illustration, 5 Hilda Crescent, Hawthorn, 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.5 HILDA CRES, HAWTHORN Marg Picken ~87 WOODARDS -HAWTHORNartist - margaret picken 1950- -
Horsham Regional Art Gallery
Painting, Elspeth VAUGHAN, Afternoon light, Flinders Island, 1984
Gift of Mack Jost, 1994watercolour on paper -
Hawthorn Historical Society
Drawing - Property Illustration, 7 Grattan Street, Hawthorn, 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 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 property illustration on drafting film of 7 Grattan Street, Hawthorn by Margaret Picken.7 Grattan Street, Hawthorn, Margaret Picken '91. Woodards - Kew. artist - margaret picken 1950- -
Ararat Gallery TAMA
Textile, Frances Burke, Fabric piece, framed
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. -
Darebin Art Collection
Painting - Eolo Paul Bottaro, Paul Eolo Bottaro, Summer Storm, 2011
melbourne -
Moorabbin Air Museum
Drawing (Item) - Gypsy Major Engine - Gusset Drawing No.A2733/8
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Swan Hill Regional Art Gallery
Painting, McDONALD, Dawson, Echuca wharf, 1972
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Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 50 Foley Street, Kew, 1998
This architectural 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 50 Foley Street, Kew by Margaret Picken.50 FOLEY ST., KEW / MARGARET PICKEN '98 / WOODARDS ~ HAWTHORNartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 50 foley street -- kew (vic.) -
Hawthorn Historical Society
Drawing - Property Illustration, 13 Grove Road, Hawthorn, 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 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 property illustration on drafting film of 13 Grove Road, Hawthorn by Margaret Picken.13 Grove Road, Hawthorn, Margaret Picken c2001. Fletchers Real Estate. artist - margaret picken 1950- -
Latrobe Regional Gallery
Print, BLAKE, Peter b. 1932 Britain, England, Ostrich Beach-About Collage: Tourist Attraction, 2000
ScreenprintSigned 'Peter Blake' lower right corner under printed image. Edition 15/60, under printed image. -
Federation University Art Collection
Painting - Artwork, Bach, Wendy, [Just Left] by Wendy Bach
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.A painted portrait of a man.art, artwork, wendy bach, horsham campus art collection -
Bendigo Art Gallery
Painting, Friedrich Ortlieb, The Postilion, circa 1888
Signed, l.l., red oil, "F. Ortlieb/Munchen" Not dated -
Bendigo Historical Society Inc.
Painting - SMALL PRINT
Small print of a child with a doll in a pull along cart standing in the garden of a thatched roofed cottage.artwork, print, landscape, u5749 old cat ref -
Federation University Historical Collection
Drawing - Artwork -Drawing, Alice Watson, Lettering Exercises by Alice Watson, c1930
Alice Watson completed a course of work at the Ballarat Technical Art School, a division of the Ballarat School of Mines. Her complete folio is held by Federation University Australia. A collection of works undertaken at the Ballarat Technical Art School by Edith Alice (Alice) Watson. .1 .3 .4 may be by another person with the initials BM (possibly Robert Montgomery); .3 dated 1928 ballarat technical art school, ballarat technical art school number 10, ballarat school of mines, alice watson, edith alice watson, artwork, alumni, drawing -
Latrobe Regional Gallery
Print, SZILAGYI, Sophia b. 1973 Melbourne, Where Shadows Lie, 2005
Pigment inkjet print (diptych)Signed and dated 'Sophia Szilagyi 2005' lower right under printed image. Titled 'Where Shadows Lie' centred under printed image. Edition 35/40, numbered lower left corner under printed image. -
Federation University Art Collection
Painting - Watercolour, [The Towel] by Neville Bunning
Neville Bunning taught Sculpture and Ceramics at the School of Mines and Industry, Ballarat between 1945 and 1964. During that time he formed the Ballarat Artist’s Society, a group that sponsored art and invited modernist artists to visit Ballarat to speak to students and the public. Bunning wrote a weekly art column in The Courier, where his insightful comments made readers aware of significant trends in Art. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed watercolour.art, artwork, neville bunning, bunning, watercolour, watercolor -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 12 Murdoch Street, Camberwell, 1989
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Ararat Gallery TAMA
Textile, Frances Burke, Tiger Stripe, c. 1939
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. -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 21 Nairn Street, Ashburton, 2001
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Stawell Historical Society Inc
Painting, Mr J. McDougall’s Stawell Aerated Water Cordial Factory 1869 --- Photo of a Painting
Photo of painting of J. McDougall’s Aerated Water Cordial Factory 1869. Stawell opposite old Pleasant Creek Hospital.stawell industry -
Federation University Art Collection
Drawing - Artwork, [Tree Study] by Sybil Craig
Sybil CRAIG (18 November 1901-09 September 1989) Born London, England Arrived Australia 1902 The National Gallery School, Melbourne, gave Craig a sound training for her popular flower and portrait studies. However, her association with leading modernists between the wars led her to pursue her art in a deliberately experimental and spontaneous way. Sybil Craig was the third woman appointed by the Australian War Memorial as an official war artist. She was the first woman to paint women working in the munitions’ factories. The Castlemaine Art Gallery & Historical Museum, held the first retrospective exhibition of Sybil Craig's in 2006. The exhibition highlighted her wonderful use of colour and design in a diverse range of media, techniques and subject matter. 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.Framed pencil and watercolour sketchart, artwork, sybil craig, craig, available, pencil drawing, watercolour -
Moorabbin Air Museum
Drawing (Item) - Sopwith Hawker Demon RR Kestrel V E33303 Aircraft Dimensions
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Gippsland Art Gallery
Print, Watson, Judy, Untitled, 1986
Artworks Gallery Collection. Donated by Norman & Petah Creighton, 2018Lithograph on papergippsland, artwork, permanent collection -
Hawthorn Historical Society
Drawing - Property Illustration, 69 The Boulevard, Hawthorn, 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.69 THE BOULEVARD, HAW Margaret Picken ~98 WOODARDS artist - margaret picken 1950- -
Port Melbourne Historical & Preservation Society
Drawing - Comic Strip, Fl Lt William Boris Tilley DFC, 18 Nov 1944
Reprint of comic strip story on Fl. Lt. William Boris Tilley DFC, RAAF, from periodical (unidentified) dated 18-11-1944.war - world war ii, armed services - air force, william boris tilley -
Moorabbin Air Museum
Drawing (Item) - Photocopy of drawings in Model Airplane News about Messerschmidt ME-262A
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Working Heritage Crown Land Collection
Ceramic - Ceramic shard, Mint ceramic shard
Ceramic shard with brown matt finish applied in a sponge style. pottery, ceramic, archaeology -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 111 Sackville 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 22 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 111 Sackville Street, Kew by Margaret Picken.11 SACKVILLE ST., KEW - BAINES ©2001 M.PICKENartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 111 sackville street - kew (vic)