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Artwork, other (1266)
Ceramic (766)
Decorative object (716)
Drawing (4609)
Mixed media (522)
Painting (2481)
Print (1658)
Sculpture (402)
Textile (1395)
Work on paper (2054)
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Whitehorse Historical Society Inc.
Textile - Nightdress
Long white nightdress with short sleeves. Made in one piece with body of gown. White embroidery on front and sleeves. Scalloped edging on neck and sleeves finished with crochet binding.costume, female nightwear -
Gippsland Art Gallery
Print, Dürer, Albrecht (after), Virgin and Child seated by the Wall, c.1800s (originally printed 1514)
Purchased with the assistance of the Gordon Darling Foundation, 2016Engraving on papergippsland, artwork, permanent collection -
Ararat Gallery TAMA
Decorative object, Mizuhiki, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving -
Bendigo Historical Society Inc.
Textile - MACKAY COLLECTION: ASSORTED LACE PROJECTS
Mackay collection - assorted unfinished lace projects in various stages of completion, still attached to backing patterns of pink and blue.handcrafts, lace -
Bendigo Historical Society Inc.
Painting - THE VINEYARD
Card with coloured illustration depicting a group of people working in a Vineyard.artwork, print, group -
Gippsland Art Gallery
Painting, Markham, Arthur, Untitled, c.1970s-80s
Donated, 1983Watercolour on papergippsland, artwork, permanent collection -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 13 Pasco Street, Burwood, 2002
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Gippsland Art Gallery
Print, Dunlop, Brian, Death Notices, 1983
Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Etching on papergippsland, artwork, permanent collection -
Merri-bek City Council
Painting - Oil on linen, Kirrily Hammond, Lygon Street South, Brunswick East, 2012
Framed oil paintingSigned on verso -
Gippsland Art Gallery
Print, Turner, J.M.W. (after), Poole, c.1859-78
Purchased, 2013Engraving on papergippsland, artwork, permanent collection -
Glenelg Shire Council Cultural Collection
Print - Linocut - Admella Rescue Series No. 16, Bob Stone, 'Exposed for a whole week without shelter - clinging to the bulworks for very life....' Portland Guardian, 15th August 1859, 2009
Part of suite of 16 Linocuts created for an exhibition at the Portland Arts centre for the Admella 150th Festival.Linocut print. Sixth in a suite of 16 in the Admella Rescue Series. Shows head and shoulders and right arm of man on Admella, holding the hand of someone in the sea. Two bands and forearms of another person in the the sea reaching up. Printed in black on white archival paper.Front: Front - Linocut, Bob Stone 'Exposed for a whole week without shelter - clinging to the bulworks for very life....' Portland Guardian, 15th August 1859 - hand written in black penadmella, shipwreck, portland lifeboat -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 116 Derby Street, Kew, 2000
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 drawing is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c.1983 and c.2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink architectural drawing on drafting film of 116 Derby Street, Kew by Margaret Picken.116 DERBY ST., KEW / MARGARET PICKEN (c) 2000 / FLETCHERS REAL ESTATEartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 116 derby street -- kew (vic.) -
Hawthorn Historical Society
Drawing - Property Illustration, 65 Harcourt Street, Hawthorn East, 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 property illustration on drafting film of 65 Harcourt Street, Hawthorn East by Margaret Picken.65 HARCOURT ST, HAWTHORN Margaret Picken ~93 WOODARDS - HAWTHORNartist - margaret picken 1950- -
National Wool Museum
Painting, Dr Deanne Gilson, Yaluk, Beek, Murrup (Water, Country, Spirit), 2016
My name is Deanne Gilson and I am a proud Wadawurrung woman living on my ancestral Country around Ballarat in Victoria. My practise aims to highlight and bring back traditional women’s symbols and ceremonial practises that reference the lived experience of my ancestors. By reviving traditional marks found on artefacts and women’s business, I am forming links with past ancestral knowledge so that is not lost and continues for the future generations. My art practice relies heavily on the use of symbols and form as a metaphor for the body. I have worked as a full-time artist for over thirty-five years. Many artworks tell stories of the spiritual aspects of culture and myths. Dreaming and Songlines, further creating a yarning space, bring the gap towards reconciliation and healing for my people and others through shared sharing stories. A main focus of my art practice tells the birthing tree and scar tree stories and how Wadawurrung women have evolved and survived, since before and after colonisation. The old symbols find new life, connecting to the contemporary ones, further connecting us all to this Country we all call home.Yaluk, Beep, Murrup, meaning Water, Country, Spirit, incorporates the traditional mark of the wave pattern (often found on wooden shields) used by my ancestors, along with the basalt plains across Wadawurrung Country. By depicting the interaction between the Water and Country, I use ancestral knowledges that are not seen but intuitive to myself, while juxtaposing them against the ancestral stone circle knowledges, embedded with the DNA of our stories. The ochre is reclaimed as real, it is marni-beek, meaning Country, in particular the white ceremonial ochre, often seen on the painted-up figure and used today to reconnect back to our ancestral memory. Reclaiming what was lost through colonisation, but still present in our Dreaming that flows on today through the water spirit. Country has no time limits and water connects to our bodies, which are made up of water. We as a clan, are still here today, living and being on Country, our ancestral spirits live on through us. The original painting is a contemporary account of using ochre to reclaim ancestral knowledge and to be part of the ceremony that is yaluk, beep, murrup. wadawurrung, deanne gilson, water, country, spirit, first nations art -
Gippsland Art Gallery
Print, Gardiner, Ian, Untitled, 1970
Gift of Judith Gardiner, 2017Coloured linocut on papergippsland, artwork, permanent collection -
Darebin Art Collection
Painting - Trevor Turbo Brown, Trevor Turbo Brown, Echidnas on the Move, 2004
echidnas -
Gippsland Art Gallery
Print, Fogwell, Dianne, Adrift, 2014
Donated by the artist, 2015Linocut on Hahnemuhle Rag papergippsland, artwork, permanent collection -
Geelong Gallery
Painting - Mrs Margaret McArthur of Meningoort, DOWLING, Robert, 1856-57
Oil on canvas -
Gippsland Art Gallery
Print, Gittoes, George, Dragon in the Furnace, 1991
Donated from the estate of Patricia Marie White, 2013Etching on papergippsland, artwork, permanent collection -
Moorabbin Air Museum
Drawing (Item) - Photocopy of drawings in Scale Modeler magazine North American F-100D Super Sabre Fighter Bomber
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Tatura Irrigation & Wartime Camps Museum
Painting - Painting - Water Colour, Camp 3, 1942
Original water colour painted by Glunker an internee at Camp 3Hoefer Familywatecolour of camp 3. 2 half huts half obscured, 2 posts, 9 wire strand fence with an electric powerline. Tall gum tree left hand side, gardens. I. (Note : Glass windows had replaced fly wire by 1941 in the huts.) Glunker 42painting, watercolour, huts, glunkler, hoefer family, camp 3, tatura, ww2 camp 3, illustrations -
Melbourne Tram Museum
Drawing, Melbourne & Metropolitan Tramways Board (MMTB), "Preston Workshops", c1938
Set of nine photocopied plans or drawings on A3 sheets of the "Preston Workshops" - c1939 .1 - P8491 - Plan of land showing layout and associated drawings including Reservoir railway line - 19-4-1939. .2 - P8492 - Plan of Timber stacks and Hall - 3-2-1939 .3 - P8493 - Plan of Offices and location of sub-station - 13-12-1938 .4 - P8494 - Plan of Store including Oil store - c1939. .5 - P8495 - Plan of Paint Shop and relationship to timber stack - 1-3-1939 .6 - P8496 - Plan of Car building and Repairs shop - 6-12-1938 .7 - P8497 - Plan of machine shop - 10-12-1938 .8 - P8500 - Plan of Blacksmiths shop - 1-12-1938 .9 - P8590 - Plan of Substation - 1-12-1938trams, tramways, drawings, depots, property, preston workshops, workshops, substation -
Latrobe Regional Gallery
Print, HOS, Kees. Born 1916, The Hague, Holland, Aeonisation II A, 1966
PrintTitle and edition: 'Aeonisation II A 1/25', lower left corner. Signed and dated 'Kees Hos '66' in lower right corner. -
Whittlesea Historical Society Inc.
Work on paper - Letter, Thomastown Uniting Church, Invitation, Thanksgiving Service, Thomastown, 1998
This letter invites the friends at the Whittlesea Historical Society to a celebration of 150 years of Christian Witness by the Methodist and Uniting Churches.1 p. black and white printed invitation.uniting church in australia, thomastown, thomastown methodist church, thomastown uniting church -
Gippsland Art Gallery
Painting, Markham, Arthur, Untitled, c.1970s-80s
Donated, 1983Watercolour on papergippsland, artwork, permanent collection -
Federation University Art Collection
Work on paper - Printmaking - Lithograph, 'Les Amoreaux au Soleil Rouge' by Marc Chagall, 1962
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 lithograph by Marc Chagall.art, artwork, marc chagall, lithograph, printmaking -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 1 Duke Street, Kew, 1990
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 drawing is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c.1983 and c.2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink architectural drawing on drafting film of 1 Duke Street, Kew by Margaret Picken.1 DUKE ST., KEW / MARGARET PICKEN ~90 / WOODARDS ~ KEWartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 1 duke street -- kew (vic.) -
Geelong Gallery
Drawing - House, WATSON, Jenny, 1978
Coloured pencils -
Glenelg Shire Council Cultural Collection
Print - Linocut - Admella Rescue Series No 2, Bob Stone, Poor George Fisher was one of the first swept away.... SA Advertiser 20th August 1859, 2009
Part of suite of 16 Linocuts created for an exhibition at the Portland Arts centre for the Admella 150th Festival.Linocut print. Second print in suite of 16 in the 'Admella Rescue Series. Depicts a hand rising from the sea. Printed in black on white Archival paper.Front: Front - 'Linocut Bob Stone 2009 - Hand written, black pen. 'Poor George Fisher was one of the first swept away.... SA Advertiser 20th August 1859' -
Darebin Art Collection
Sculpture - Arhonda Orestia, Arhonda Orestia, The Dance, 2003
This is a sculpture made from bands of steel formed into tall “crown-like or inverted “v” shapes”. The work has panels of etched copper with text in different languages riveted onto areas of the steel that overlap. The design expresses and reflects Darebin’s cultural diversity and the history of the site.