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Bayside Gallery - Bayside City Council Art & Heritage Collection
Sculpture, Charles Douglas Richardson, The Cloud, 1900 (cast 1987)
Inspired by the opening lines of Percy Bysshe Shelley’s 1820 poem of the same title, The Cloud has grace of line that epitomises the model of classically informed beauty. Richardson’s figure successfully follows the serpentine line of Art Nouveau sculpture while also echoing the influence of British New Sculpture with its focused attention to bodily detail and surface articulation. This bronze version of The Cloud was cast in 1987 from the original patinated plaster version from 1900 which is also in Bayside City Council's Collection. This work can be seen in the formal garden between the Brighton Town Hall and the Brighton Library.Art NouveauCharles Douglas Richardson, The Cloud 1900 (cast 1987), bronze, 190 x 40 x 40 cm. Bayside City Council Art and Heritage Collection. Commissioned 1987Bonze sculpture of a classical female figure looking downwards with a vessel in her hand. The sculpture sits on a rendered pedestal within a pond.sculpture, female figure, charles douglas richardson, the cloud, cd richardson, c douglas richardson, percy bysshe shelley, poem, art nouveau, new sculpture, flowers, public art, brighton -
Ararat Gallery TAMA
Textile, Frances Burke, Belladonna, 1938-1941
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. -
Stawell Historical Society Inc
Painting, Mr W.H. Rees' First Home -- a Tent 1860 --- Drawing
Scene. W.H. Rees First Home. a Tent 1860stawell -
Gippsland Art Gallery
Ceramic, Hughan, Harold, Bottle Form, c.1970s
The Richard Knight Collection of Australian Ceramics. Donated by Dr James Baxter through the Australian Government Cultural Gifts Program, 2018gippsland, artwork, permanent collection -
Ararat Gallery TAMA
Textile, Frances Burke, Harlequin, c. late 1950s
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, Kla?ar-Nedimovi?, Vesna, Fragments II: Belgrade, Fragment X (C), 2014
Donated by the artist, 2015Etching on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Duxbury, Lesley, Echo - 11 September 1821, 2017
Purchased, 2017Inkjet print and blind embossing on papergippsland, artwork, permanent collection -
Horsham Regional Art Gallery
Painting, Jon CAMPBELL, Backyard, 2007
Purchased through the Horsham Art Gallery Trust Fund with the assistance of the Mack Jost Bequest, 2010 -
Eltham District Historical Society Inc
Work on paper (Sub-Item) - Photograph, View downstream from the Bolton Street culvert
Colour photograph of the view downstream from the Bolton Street culvert, Elthameltham, channel, concrete, drain, bolton street -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Print - etching, Vicki Couzens, Yams and eels, 2010
As part of the redevelopment of the Indigenous Coastal Trails, this work was commissioned by Bayside City Council as one of four prints produced in a limited edition of ten. This etching was produced in response to stories of the Boon wurrung people as written by Carolyn Briggs, Boon wurrung elder.Vicki Couzens, Yams and eels 2010, etching, 28 x 19.5 cm. Bayside City Council Art and Heritage Collection. Commissioned 2010. etchingetching, yams, eels, vicki couzens, bayside indigenous coastal trail, carolyn briggs, bayside -
The 5th/6th Battalion Royal Victoria Regiment Historical Collection
Print - Print of all decorations and medals, Decorations and Medals of Australian Armed Forces
A print contains all the medals and decorations of The Australian Armed Forces -
Woolamai Beach Surf Life Saving Club
Work on paper (Series), Smiths Beach.Opening Day Surf Rescue Facility
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Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on canvas on board, Charles Douglas Richardson, Gum trees, Oakleigh, 1908
oil on canvas on boardlandscape, oakleigh, cows, gum trees, charles douglas richardson, cd richardson, c douglas richardson, grazing, farm, fence -
Greensborough Historical Society
Painting - Portrait, William Dargie, Queen Elizabeth II, 1954
Colour print of a portrait of Queen Elizabeth II wearing the "wattle" dress, by William Dargie, painted for the Royal Tour of Australia 1954, with explanatory leaflet.Copy of colour portrait, with explanatory leaflet, in cardboard folderroyal tour of australia 1954, queen elizabeth ii, william dargie, royal family -
Latrobe Regional Gallery
Print, PAOLOZZI, Eduardo b. 1924 Scotland d. 2005 London, Captain Fantastic, 1995
ScreenprintDated and signed '1995 Eduardo Paolozzi' lower right under printed image. Edition 1/30 lower left corner under printed image. -
Wodonga & District Historical Society Inc
Work on paper - Haeusler Collection Handmade Child's Notebook c.1920s-1930s
The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. This handmade notebook was made by Alfred Haeusler (b.1922) during his childhood in Wodonga in the 1920s-1930s. The notebook is one of several objects in the Haeusler Collection concerning early childhood that provide insight into family and home life in early twentieth century Wodonga. The item is handmade and unique, with well documented provenance. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history, and women’s history. A handmade child's notebook with small white pencil attached by a piece of string. A hand drawn purple flower is on the front cover of the notebook, and the pages are blank. "NOTES/A.HEAUSLER"child, children, school, notebook, flower, flowers, pencil, stationary, haeusler collection -
Gippsland Art Gallery
Print, Webber, John (after), A View at Anamooka, 1784
Bequest of Caroline and Arthur Howard, 1984Engraving on papergippsland, artwork, permanent collection -
Clunes Museum
Work on paper - FAMILY HISTORY BENJAMIN WHITE
BENJAMIN AND SARAH WHITE ARE RECORDED IN "SOUTH AUSTRALIANS 1836-1885" BOOK TWO.DESMA FAY NICHOLSON OF 160 FRANCIS ST RICHMOND NSW PROVIDED THE INFORMATION FOR THE BOOK. DESMA IS A DESCENDENT OF JOHN WHITE, FIFTH AND YOUNGEST SON OF BENJAMIN WHITE BENJAMIN WHITE PARENTS BENJAMIN AND JANE (NEE LOWDEN- SHOULD BE SOWDEN) BORN 1819 CAMBORNE, CORNWALL DIED JAN 1874 VICTORIA, BURIED IN CRESWICK ARRIVED SA 29/10/1847 FROM ENGLAND ON DUCHESS OF NORTHUMBERLAND DEPARTED SA C. 1852 FOR VICTORIA OVERLAND OCCUPATION MINER AND SECTON RESIDENCE: KAPUNDA ALLENS CREEK SA RELIGION: WESLEYAN HE MARRIED SARAH (SALLY) BAILEY ON 02/08/1845 IN CAMBORNE ENGLAND, SHE DIED 12/08/1891 IN CRESWICK CHILDREN: SARAH ANNE WILLIAMS 07/09/1845 TO 18/06/1890 ELIZABETH ORRINGE 22/02/1847 TO 16/10/1920 BENJAMIN 22/04/1849 TO 19/02/1889 HARRIET 29/08/1850 TO 15/05/1851 WILLIAM BAILEY 22/10/1851 TO 14/03/1916 JOSEPH 20/11/1853 TO 17/05/1910 THOMAS HENRY 15/05/1855 TO 15/08/1917 JOHN 14/04/1857 TO 27/02/1935 HARRIET 17/01/1860 TO 14/06/1863 DECIMA JANE CHEGWYN 04/01/1862 TO 28/02/1940 EMILY WILSON 07/03/1864 TO 19/08/1937 BENJAMIN WHITE MARRIED SARAH BAILEY IN CORNWALL IN SEPTEMBER 1845, JUST ONE MONTH BEFORE THE BIRTH OF THEIR FIRST CHILD SARAH ANN. SECOND CHILD ELIZABETH WAS BORN IN MARCH 1847 JUST SIX MONTHS BEFORE THE FAMILY SAILED FOR SOUTH AUSTRALIA ON THE NORTHUMBERLAND. THE MANNING INDEX OF SOUTH AUSTRALIAN HISTORY REC9ORDS THAT BENJAMIN WHITE WAS RESPONSIBLE FOR "CREATING" THE ALLEN CREEK VILLAGE 5 KM NORTHWEST OF KAPUNDA C. 1849. CERTAINLY AT ONE STAGE BENJAMIN HAD A CONSIDERABLE LAND HOLDING ADJACENT TO ALLEN'S CREEK VAL LAWRENCE SUGGESTS THAT THE WHITE FAMILY TRAVELLED BY SEA FROM SA TO VICTORIA, NOT OVERLAND AS SUGESTED BY DESMA NICHOLSON IN "SOUTH AUSTRALIANS 1836-1885 ACCORDING TO CRSWICK HOSPITAL RECORDS BENJAMIN WHITE WAS ADMITTED JUNE 27 1873 (AGE 49 MARRIED, GRAVEDIGGER AT CRESWICK, BORN IN ENGLAND, WESLEYAN) AND LEFT HOSPITAL JULY 14 1873. A CHRONICALLY ILL CONDITION WAS RELIEVED. BENJAMIN WHITE DIED DECEMBER 22, 1873. A SPECIAL CHURCH SERMON WAS CARRIED OUT ON SUNDAY JANUARY 43 1874benjamin white, sarah white, sarah bailey -
Glenelg Shire Council Cultural Collection
Print, Klaus Zimmer, On Dulce Jubilo, 1970
NoneSilver circle with embossed square in centre. Rectangular silver shape with patterning, gold rectangular framing in upper half of image. Two orange thin panels on lower half of image. Mounted in marbled cream matt and timber frame.Front: Series 24/1 (lower left) "On Dulce Jubilo" (lower centre) K. Zimmer '70 (lower right) (pencil) Back: (no inscriptions) -
Clunes Museum
Textile - TABLE - RUNNER
DONATEDWHITE COTTON KNITTED RUNNER WITH TASSLE FRINGE.local history, handcraft, knitting, -
Federation University Art Collection
Painting, Wright, Doug, 'Wattle Ridge' by Doug Wright, 2003
Doug WRIGHT (1944 - ) Born Ballarat Doug Wright studied at the Ballarta School of Mines Art School between 1963 and 1964, followed by studies at the Royal Melbourne Institute of Technology from 1965 to 1966, resulting in a Diploma of Art (Fine Art Painting). Since 1974 Doug Wright has had over 20 solo exhibitions and a survey exhibition in 1993 which travelled Victorian Regional Galleries. From 1975 to 2009 Doug Wright was Lecturer in Painting at State College of Victoria (Ballarat) and University of Ballarat. This item was commissioned for the entrance of the new Administration Building at Mount Helen by the Director of Ballarat University College, is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.art, artwork, doug wright, wright, oil painting, painting -
Federation University Art Collection
Painting, Where No Counsel Is, The People Fall: But in the Miltutude of Counsellors There is Safety. Proverbs 11:4
Large paintinghorsham student collection -
Flagstaff Hill Maritime Museum and Village
Ceramic - Stoneware Bottle, Dundas Pottery, Late 1800s to early 1900s
This bottle was made in Scotland and recovered decades later from a shipwreck along the coast of Victoria. It may have been amongst the ship's cargo, its provisions or amongst a passenger's personal luggage. It is now part of the John Chance collection. Stoneware bottles similar to this one were in common use during the mid-to-late 19th century. They were used to store and transport. The bottles were handmade using either a potter's wheel or in moulds such as a plaster mould, which gave the bottles uniformity in size and shape. The bottle would then be fired and glazed in a hot kiln. Makers often identified their bottles with the impression of a small symbol or adding a colour to the mouth. The manufacturer usually stamped their bottles with their name and logo, and sometimes a message that the bottle remained their property and should be returned to them. The bottles could then be cleaned and refilled. DUNDAS POTTERY WORKS - The Dundas Pottery works were established in 1828 by William Johnstone in partnership with John Forsyth and John Mc Coll. Located where the Forth and Clyde Canal joined the Monkland Canal, North of Glasgow. Johnstone sold the pottery in 1835 to Robert Cochran and James Couper. Mc Coll was retained as manager until 1837when in 1839 Cochran & Couper sold the pottery and purchased the St Rollex Glass Works. George Duncan took over briefly but died in 1841, with the pottery possibly being run by his widow Helen and a potter named Alexander Paul. James Miller was the manager at the time and he bought the pottery in 1856, in partnership with John Moody. Miller's long and careful stewardship of the pottery saw success from the export market which allowed him to purchase the North British pottery in 1867 until 1874 when it was sold. In 1875, Miller, in partnership with John Young, leased part of Caledonian Pottery, naming it Crown Pottery, however, it burned down in 1879. In the early 1880s, Young extended the pottery and named it Milton Pottery. Miller’s son, James W., became a partner in Milton pottery in 1905. James Miller Snr died in 1905 and the company continued as a limited liability company, being sold to the Borax Consolidation Ltd in 1929, but it was unsuccessful and Possil pottery purchased some of the company's equipment before it finally closed in 1932. From 1828 until the James Miller period of circa 1856, the pottery produced salt-glazed stoneware for the local industrial trade; mainly bottles and drain pipes. James Miller produced various bottles, whisky and acid jars, casks, butter crocks, jam jars and domestic wares in Bristol glaze. He streamlined the water filter manufacturing, which had become a speciality of the pottery, and a dedicated section of the pottery was created solely for their production, which was exported worldwide.This stoneware bottle is historically significant for its manufacture and use in the late 19th to the early 20th century. This bottle is historically significant for its connection with the well-known stoneware manufacturers, Dundas Pottery of Glasgow, Scotland. The bottle is also significant as it was recovered by John Chance, a diver, from a wreck on the coast of Victoria in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value.Bottle, salt glazed stoneware, beige, part sealed with wax and cork, very little discolouration. Inscriptions stamped near base.Stamp: [symbol of concentric ovals], text within the symbol "PORT DUNDAS POTTERY COY." and "GLASGOW". Stamp:[Symbol - square with short vertical line in centre of base line]flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, shipwreck artefact, stoneware, ironstone, pottery, bottle, port dundas pottery, glasgow, antique bottle, william johnstone -
Federation University Art Collection
Work on paper - Printmaking, Various, Artists Book 1992, 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.Maroon hard covered artists bookEdition NO 7/28art, artwork, printmaking, christine stewart, janine fusea, anthony ross, eloise dejong, heodi mcdonald, madonna rogerson, joanne healy, zoe england, jane robbins, sue armstrong, philip honey, anita iacovella, elaine d'esterre, luisa la fornara, etching, linocut, collagraph, chine colle, kithograph, drypoint -
Mission to Seafarers Victoria
Painting - Oil painting, Evening on the Yarra, c. 1898
The subject is similar to John Ford Paterson's painting also called "Evening on the Yarra'. The artiste signed J. White on the left bottom corner. A mention of a painting called "Evening on the Yarra" by John Whyte (mispelling or not?) is made in The Age in 1898 about the Annual Exhibition of the Melbourne Art Club. There are different leads for the name : it could be John Goldsworthy White, an amateur marine painter, or J.S. White, a marine painter active in the 1890s and member of the Victorian Sketching Club. (or maybe a transcrit or print error and this is the same person) Marine artLarge oil painting of sailing ships at dock with smaller sailing vessels and row boats on stretched canvas in elaborate gilt Victorian frame. Unglazed Steel eyelets and hanging wire Lower front left corner: signature (possibly) J. Whitesailing ship, docks, wharves, artwork, yarra river, john white, artwork-paintings, j. white, sheds -
Nillumbik Shire Council
Painting, Margot KNOX, 1888 Woodend, 1972
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Friends of Ballarat Botanical Gardens History Group
Work on paper - View to the Statue, Mercury, Ballarat Botanical Gardens, Victoria
john garner collection, ballarat botanical gardens, gardens, ballarat, mercury, statue -
Federation University Art Collection
Work on paper - Artwork - Printmaking, Geoffrey Ricardo, Untitled [The Anatomy Lesson] by Geoffrey Ricardo, 2008
Unframed limited edition photo etching. Promised gift under the Australian Government's Cultural Gift Program.Signed lower right "Ricardo 08"geoffrey ricardo, framing required, promised cultural gift, printmaking -
Victorian Harness Racing Heritage Collection at Lord's Raceway Bendigo
Print - Framed print, A Fair Field and No Favor
The original lithograph by American artist John Cameron was published by Currier & Ives around 1891.Large monochrome print in guild framed reproduction of John Cameron artwork depicting a harness racing finish in America.A Fair Field and No Favorgraydon, trotting, historic print, america, john cameron -
Whitehorse Historical Society Inc.
Textile - Doyley
Given to Pat Richardson by her mother, Vera McDowell in the 1980s. Original source unknown.Widely used in Australian homes to protect furniture surfaces and as decorative items until circa 1960s, although still used with traditional/antique furnitureWhite cotton bobbin lace round doyley with concentric separate patterns, including a butterfly motif, with undulating edging completed with the same bobbin lace edging.handcrafts, lacemaking, domestic items, ornaments / decorative