Showing 4368 items matching art
Artwork, other (1219) Ceramic (747) Decorative object (665) Drawing (4560) Mixed media (471) Painting (2383) Print (1653) Sculpture (397) Textile (1238) Work on paper (2028)-
Castlemaine Art Museum
Painting, Elioth Gruner, In the Orchard, 1920
Gift of the artist, 1920 -
National Wool Museum
Textile - Three Bears Porridge Rolled Oats Bag
These domestic kitchen bags were donated to the National Wool Museum by Lila Gore. Lila donated Children’s Clothing (RGE 8324) to the museum in 2022 and at her time of donating, inquired as to whether the museum would also be interested in these bags she had been collecting. Lila said there was no reason as to why she was saving the bags, other than she liked the art works and thought they were too good to end up in landfill. She had thought perhaps she would make something out of the bags, or perhaps give the bags to a friend to make something. When Lila was donating the Children’s Clothing to the museum, she thought that the National Wool Museum would be the perfect home for the bags. Domestic kitchen bags such as these date from the late 19th century through the mid-20th century. They were used at home, usually by women, containing household items which would not spoil, such as flour, sugar, animal feed, seeds, and other commodities. In modern times a trip to the supermarket is a daily chore, in the past however, these trips happened far less often, with big sacks such as these a large reason why. In the rural US and Canada, Feed sack dresses and Flour sack dresses, were an iconic part of rural life from the 1920s through the Great Depression, World War II, and post-World War II years. Australia also reused these sacks, typically for making wagga style blankets, but re-use for clothing was not unusual.Calico oat bag with graphic image on front showing three bears holding porridge bowls with yellow background and white and black text.Front: THREE BEARS \ PORRIDGE \ ROLLED \ OATS \ SOMEBODYS BEEN TASTIN' MY PORRIDGE / AN' THEY'VE EATEN IT ALL UPwagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen -
Churchill Island Heritage Farm
Textile - Lace Trim
This is another machine lace made using a thicker crochet-like thread, quite possibly cotton judging by the texture. The geometric pattern has been made in the style of Torchon lace and it gives the appearance of softness and comfort. This lace is quite narrow (1.1cm) and was not made as an insertion lace but as a trim. It was most likely used as a trim on children’s underclothing and bed linen. It may have been used as a trim on a mob cap for a maid or a less senior member of the household. This machine made lace would have been made on a Barmen machine which was developed in Germany in the 1890s and was capable of making perfect copies of Torchon and other simple bobbin laces.The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by three generations of Amess women - Jane, Janet and Unity. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island.Torchon machine lace, coarse crochet like thread. One fairly straight edge with picots. Other edge has clusters of elongated picots at even intervals. Geometric pattern insidechurchill island, lace, janet amess, lace collection, torchon -
Darebin Art Collection
Painting - John Sheehan, John Sheehan, On Lake Mungo, 2005
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The Beechworth Burke Museum
Textile - Banner, c1872
This banner was one of five banners gifted to the Beechworth Chinese community in recognition of their support of the Hospital and Benevolent Asylum in 1875, from the Carnival Committee. These banners had been purchased in China by a social envoy from Beechworth then presented to the Chinese community during the Beechworth Fine Arts Exhibition in May of that same year, by Donald Fiddes, President of the Ovens District Hospital. The Burke Museum's Chinese Collection presents the history of Chinese settlement in Beechworth from 1856 and its involvement in local community affairs in the second half of the 19th century. In settling in the area they formed their own community with distinctive Chinese cultural traditions, forming their own 'camps' with laid out streets, housing a Temple, Chinese Theatre and restaurants, hotels, stores, gambling houses and dwellings. Members of the Chinese community took an active interest in town affairs and were generous donors to the appeal to build the Ovens District Hospital in 1856/7. The vibrant colours and dynamic graphics of the silk embroidered Chinese banners were a highlight of Beechworth Charitable processions that took place in the main street. Two of the Chinese banners were conserved for the Burke Museum in 2006 by Carol Campbell of Phoenix Conservation Services with funding from Victoria’s Heritage Grants. In 2015, with the enormous support of the Copland Foundation and fundraising activities by the Friends of the Bur Museum Committee, conservation of the third banner was undertaken by Artlab Australia in Adelaide. The banners display traditional Chinese textile techniques and are visually beautiful and very rare and are considered of local and national significance, with the potential to be deemed internationally significant.Multi panelled banner with embroidery and applied design motifs on front. The front panels have been constructed using strips of various weaves and colours of silk that have been embroidered or had a design applied prior to the overall construction of the piece. The embroidery is predominantly gold work with both plyed and floss silk threads.beechworth, burke museum, chinese, benevolent asylum, ovens district hospital, beechworth carnival processions, carnival, processions, beechworth chinese community, beechworth fine arts exhibition, donald fiddes -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Painting - Portrait, Lt-Col J W Hoskin ED
Lt Col Hoskin was Commanding Officer of 4/19 Prince of Wales's Light Horse Regiment from 1979 to 1981 One of a collection of portraits of former Commanding Officers of the RegimentFramed oil painting of Lt-Col J W Hoskin EDportrait, hoskin -
Horsham Regional Art Gallery
Painting, Max MELDRUM, Portrait of Christopher Perret, n.d
Gift of Mack Jost, 1998 -
Clunes Museum
Textile - BLANKET
CREAM COLOURED THROW WITH A LITTLE EMBROYDERY AND FRINGE FROM LAURA HUDSON'S HOUSEthrow banket, laura hudson -
Flagstaff Hill Maritime Museum and Village
Painting - Vessel - Steamship, Mike McCrea (artist), ca 1985
This is one of a pair of paintings by artist Mike McCrea, created when he was in Warrnambool in 1985. The painting was framed and sold by Patana Galleries, Paton Place, Manly Vale, NSW. It was later purchased by athe company of Master Mariners of Australia and who donated the pair to Flagstaff Hill. The pair of paintings are significant for their association with steamships and the Master Mariners of Australia group. The paintings represent a time in local history when many steamships were sailing the coast and transporting passengers and goods.Painting; timber framed oil painting with the image of a cargo steamship off the coast of Warrnambool. Artist is Mike McCrea. Framed by Patana Galleries, Manly Vale, NSW. Hand written, "Red. No. 390 A" Sticker "61"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, painting, mic mccrea, patana galleries, master mariners of australia, steamship -
Gippsland Art Gallery
Painting, Markham, Arthur, Country Road, 1975
Commissioned, 1975Watercolour on papergippsland, artwork, permanent collection -
Working Heritage Crown Land Collection
Ceramic - Ceramic shard, Mint ceramic shard
Ceramic shard with white glazed finish pottery, ceramic, archaeology -
Whitehorse Historical Society Inc.
Textile - Doiley, Unknown
Donated by Heather McNamara on behalf of her mother-in-law Isobel McNamara.Oval doiley with crochet edge and needle worked Australia wild flowers, scalloped edge, beige coloured green leaves, red, pink, gold embroidered flowersneedle work, heather mcnamara -
Gippsland Art Gallery
Painting, Struss, Elsie, Untitled (Landscape), Undated
Donated from the estate of Wemyss Struss, 2016Watercolour on papergippsland, artwork, permanent collection -
Ararat Gallery TAMA
Textile, Julie Gough, (In) case of emergency, 2011
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Working Heritage Crown Land Collection
Ceramic - Ceramic shard, Mint ceramic shard
Ceramic shard with glazed white finish -
Australian Lace Guild - Victorian Branch
Textile - Valenciennes lace, 1st half 19th Century
Use: Fine lace used as costume trimming.Bobbin lace edging. Sample -
Australian Lace Guild - Victorian Branch
Textile - Valenciennes lace, 1700-1730
Use: Domestic. Household trimmingBobbin lace edging -
Horsham Regional Art Gallery
Painting, John LONGSTAFF, Portrait of my son Frank, n.d
Mack Jost Bequest, 2001.oil on canvas -
Benalla Art Gallery
Painting, George W. LAMBERT, Shearer's Sunday, 1899
Born: St Petersburg, Russia 1873; Arrived: Sydney, New South Wales, Australia 1887; Lived and worked: England, France, Wales, Egypt, Palestine 1900-1921; Died: Cobbity, New South Wales, Australia 1930NationalismGift of Mrs E.E. Ledger, 1982Rural landscape with four horses and riders jumping a fence. Image is in black and white colour. Dark stained, gold and grey brushed timber frame.Recto: Signed "GEO.W.LAMBERT" in black watercolour in l.r.c of composition; Not dated; Not titledpainting, rural, horses, animals, figures, fence, jump, tree -
Gippsland Art Gallery
Painting, Stubbs, Dawn, Mates - Azure Kingfishers, 1994
Purchased, 1994Gouache and watercolour on papergippsland, artwork, permanent collection -
Latrobe Regional Gallery
Painting, BELLANY, John b. 1942, Port Seton d. 2013, Untitled, 1983
Oil on canvas- -
Australian Lace Guild - Victorian Branch
Textile - Le Puy Lace, Late 19th Century
A black silk edging used as a costume trimmingBobbin lace edging. Sample -
Whitehorse Historical Society Inc.
Textile - Table Cloth, c1917
Purchased by Bruce Reynolds Aunt, Emily Templeman for her glory box in 1917.Cream cotton lace machine made all over pattern medallions, flowers and squares.manchester, table linen -
Tatura Irrigation & Wartime Camps Museum
Painting - Painting - Watercolour, Leonhard Adam, Camp 2, Victoria, Australien, 18/03/1942
Leonhard Adam was a Dunera internee in Camp 2 Tatura.RomanticismWatercolour painting of barracks and perimeter fencing in Tatura Internment Camp 2. The evening sky is blue with a full moon. Lights are on in the barracks.Leonhard Adam. Camp 2 Victoria, Australien, 18.iii.42tatura, dunera, internee camps, illustrations, watecolour -
Darebin Art Collection
Painting - John Pointon, John Pointon, Western Evening
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Churchill Island Heritage Farm
Textile - Lace Trim
Whether machine made or handmade, this length of trim is dainty and delicate in the true Valenciennes style. Circles surrounding six-petalled flowers with little spiders above and below where the circles meet, it is quite beautiful. The diamond ground is typically Valenciennes as is the pattern of flowers. Valenciennes was a lace making town on the French- Flemish border which in 1780 had 4000 lace makers but due to the revolution of 1789 the number was reduced to 250. It was initially Flemish but was claimed by the French, however the centre for Valenciennes lace eventually diverted back to Ghent and Ypres in Belgium. Due to its lightness and neatness Valenciennes lace, although very expensive was simpler to produce than Mechlin lace, and was never used for expensive garments. Instead it was applied to bed linen, lingerie, and the fichu (a woman's scarf wrapped over the shoulders and fastened in front).This lace was favoured by Queen Victoria, the Empress Eugenie and others as a trim on undergarments. The basic undergarments were stays, shift (smock, chemise or shirt), petticoat and drawers although drawers were not in general use until the mid-19th century when the tendency of the fashionable crinoline to become airborne or to tilt itself at embarrassing angles made a covering garment for the nether regions essential. Drawers were just two cylinders for the legs, joined at the waist with the lower ends frilled or trimmed with lace. This trim is also suited to trimming a mob cap.Churchill Island has a large lace collection, which was added to by three successive generations of the Amess family - Jane, Janet, and Unity. The Amess family owned Churchill Island from 1872 to 1929. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island. The examples of lace are notable for their variety, and provide representative examples of techniques from the late nineteenth to the early twentieth centuries. Valenciennes lace with floral motifs with six petals enclosed within a circular motif.janet amess lace collection, lace, churchill island, janet, amess -
Gippsland Art Gallery
Textile, Wigan, Karin, Tapestry Weaving, Undated
Bequest of Lady Maie Casey, 1985Wool and cottongippsland, artwork, permanent collection -
Federation University Art Collection
Ceramic, Pilven, Peter, 'Ceramic Vessel' by Peter Pilven, 2004
Peter PILVEN (1956- ) Born Ballarat Peter Pilven is acknowledged by his peers for his high level of tacit skills, including throwing, and for his sound technical knowledge of materials.Training with John Gilbert's Edinborough Pottery from 1972-1975, Pilven trained with Joan Campbell in Fremantle in 1976. In 1977 Peter Pilven obtained a Diploma of Fine Art (Ceramics) from Ballarat College of Advanced Education (now Federation University). The following year he worked with Ian Dowling at Geraldton, WA, and with the Western Australian Aboriginal Education Unit in 1979. He next trained with Alan Cagier-Smith in England between 1980 and 1981. Peter Pilven established his own studion in 1982. 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.art, artwork, peter pilven, ceramics -
Glenelg Shire Council Cultural Collection
Painting, Untitled (Lake), 1990
Scene of a lagoon. The lagoon is in lower third of image, in blue and green. The shore is edged with trees, some dead and some with lots of green foliage. Top third depicts a deep blue sky, highlighted in some areas with white. Mounted in cream matt, framed under glass in wooden frame with gold edging.Front: McL 90 (lower right) (white paint) Back: (no inscriptions) -
Federation University Art Collection
Ceramic, 'Tall Forms' by Helen Lewers, 2007
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. Helen Lewers is a past student in the Diploma of Arts (Ceramics) at University of Ballarat. Helen Lewers won the DVC Art Acquisitions Award in 2007.Three Shino-glazed stoneware vessels made by Helen Lewers.Signature and date on the bottomart, artwork, helen lewers, stoneware, shino-glazed, lewers, dvc art acquisitions award, vessels, ceramics, available ceramics