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Artwork, other (1261)
Ceramic (764)
Decorative object (705)
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Work on paper (2041)
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Glenelg Shire Council Cultural Collection
Print, Umbrellas at the Beach, 1984
CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984. Work used as cover for A Community View Catalogue.Laminated screenprint of Portland Bay focusing on Portland Baths. The image depicts the beach, several piers and the Bath House. The image is predominately red, orange, blue and grey.Front: 3/12 (lower left) Umbrellas at the Beach (lower centre left) Angela Gee '84 (lower left) (pencil) Back: 13 -
Tatura Irrigation & Wartime Camps Museum
Decorative object - Buttons, WW2 camp 3
Wooden round spherical buttons x 3, with shanksbuttons -
Royal Australian and New Zealand College of Obstetricians & Gynaecologists (RANZCOG)
Sculpture - Porcelain figurine of a doctor holding a baby
Porcelain bisque figurine of a doctor holding a baby. The doctor is male, with brown hair and a moustache. He is wearing a white surgical gown and cap, with brown trouser cuffs and black shoes visible below the gown. The doctor is holding a baby by its ankles in his left hand, and is holding his right hand with the palm facing towards the baby. The baby is facing the doctor, head pointing towards the ground. The figure is supported by a plinth behind the right leg, and is standing on a flat, sandy coloured base.obstetrics -
Glenelg Shire Council Cultural Collection
Print - Contact Print - Wattle Creek Pastoral Scene, 1960-1979
Sheet of 2 black and white contact prints from glass plate negatives. Top: River/Creek ? Wattle Creek running thru reeds and bushland. Bottom: Bridge across Wattle Creek from beach. Botanic Gardens on right, Kingsley in background. -
Whitehorse Historical Society Inc.
Print - Photograph, St Thomas the Apostle school, Blackburn, 1992
The unveiling and blessing of the finished ceramic mural took place on Friday 3 July 1992. The Nunawading Council supplied the funding for the project through their 'Artists in Schools' program. They had a ceramic artist to assist in the project.2 coloured photographs (a & b) of some children from grade 1 and 2 at St Thomas the Apostle School, Blackburn, in their art room looking at their completed mural. Date 1992st thomas the apostle school, blackburn artists in schools project -
Gippsland Art Gallery
Print, Durre, Caroline, Struts, 1989
Purchased, 2018Etching on papergippsland, artwork, permanent collection -
Wodonga & District Historical Society Inc
Decorative object - Vintage Sarah Coventry large silver tone brooch with turquoise coloured and faux pearl stone, 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 brooch 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.Large Sarah Coventry brooch featuring faux turquoise cabochons and pear shaped rhinestones intermingled with faux pearls. It can be a brooch , but is also convertible to a pendant as it houses a bale on the underside of the piece.sarah coventry, jewellery, wodonga, costume jewellery, vintage fashion jewellery, brooch, brooches, sawyer -
Bendigo Art Gallery
Sculpture, Julia DEVILLE, Sentience, 2012
sculpture, australian artist, taxidermy, gothic, death, still born, deer, fawn, garnet, silver, platter -
Gippsland Art Gallery
Sculpture, Prasil, Peter, Lidded Bowl 2, 1990
Acquired as winner of the Gippsland Woodcraft Exhibition - Rex Castles Acquisitive Award, 1990Blackwoodgippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Schell, Frederic B, Log Tramway, Gippsland, c.1886
Donated by Simon Gregg, 2013Hand-coloured woodcut print on papergippsland, artwork, permanent collection -
Ararat Gallery TAMA
Textile, Frances Burke, Lunar, 1948
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. -
Moorabbin Air Museum
Print (Item) - Tamed Fury Print
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National Wool Museum
Textile - Physician Blanket Samples, Collins Bros Mill Pty Ltd
Ten striped blanket samples held together with split pins. Colours include brown, pink, blue and cream. Each sample has an ink printed Physician label and a Physician sticker with a number.wool, fabric, blankets, sample, physician, collins bros mill pty ltd -
Gippsland Art Gallery
Print, Fabijanska, Kasia, Aquifer, 2015
Purchased, 2017Two-plate etching and aquatint on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Ryrie, John, Untitled, 1985
Purchased, 1998Woodcut print on papergippsland, artwork, permanent collection -
Villa Alba Museum
Decorative object - Wallpaper sample of a Morris & Co design, 1970–1979
The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Wallpaper sample of a Morris & Co design. Monochrome, repeat pattern of fleur de lys and acanthus leaves in green on a paler green ground. Sample is a later Morris-style wallpaper block reproduction from the 1970s. decorative arts & design, wallpapers -- morris & co, wall coverings – history, wallpapers – history, interior decoration – history -
Arapiles Historical Society
Decorative object - Store sign, c. 1904
John Grump was an entrepreneur and had stores in Natimuk, Horsham in the late 19th century. He was mayor of Horsham in 1903-1904. That same year he left Horsham for Dandenong where he opened a general store on Lonsdale Street.Light relief sign with two deer and a pocketJ Crump General Storekeeper Natimuk and Dandenongnatimuk, horsham, dandenong, general store, john crump, antlers, chamois, migration, deers -
Darebin Art Collection
Sculpture, Helen Bodycomb, Chris Rak & Enver Camdal, Westgarth precinct public art, 1998
Installed in the Westgarth Shopping Strip, the artworks include aerial, street level and inlaid pieces. The aerial installations consist of eight pairs of steel dragonfly wings. The street level series feature ten sculptural pieces of welded steel depicting enlarged body/skeletal parts of fauna that are indigenous to the area. The inlaid artworks are a series of stainless steel mosaic in the pavement.Five pairs of steel dragonfly wings mounted on eight painted PTC power poles. Ten sculptures of welded steel depicting enlarged body / skeletal parts of fauna that are indigenous to the area. These also function as bicycle racks. A series of stainless steel, ceramic and glass mosaic inlays. -
Whitehorse Historical Society Inc.
Textile - Tea Towel
White linen tea towel with design of kneeling girl in yellow swimming costume holding red basket.Fast Colours.manchester, work cloths -
Darebin Art Collection
Print - Alan Sumner, Alan Sumner, Red Brick Bridge Over Darebin Creek (1), c.1947
screenprint, landscape, darebin creek -
Brighton Historical Society
Textile - Needle book
This item is from the "Barone" Collection. "Barone" (also known as "Seaview") was a stately Brighton home built at 9 Moule Avenue prior to 1855 and demolished in 1986. The house's residents included Edward Elgin Browne (during 1859-72), a Melbourne tea merchant, and the family and descendants of retired Scottish Army captain Archibald Black (during the period 1880-1970). Its neighbors included “St Ninians” owned by the Ward- Cole family, “Seacombe” owned by the Moule family, and the home of James Grahame and his family. The items in the "Barone" collection were largely donated by two of the house's later owners, Mrs Doris Halkyard and Mrs Brian Brandt.A hand painted and hand embroidered cream silk needle book. Date unknown. This cushion features a delicate hand painted floral design, enhanced with highlight embroidery. It also features a silk rope binding around its edges and a cream silk bow. It appears to have enclosed something as it has a button and loop to secure it in half.cushion, barone, seaview, brighton -
Gippsland Art Gallery
Print, Frazer, David, Stray Bullet II, 1996
Purchased, 1996Linocut print on papergippsland, artwork, permanent collection -
City of Ballarat
Sculpture - Public Artwork, John Undy, Robert Burns Memorial Statue by John Udny, 22 April 1887
This is Australia’s first monument to the famous Scottish poet Robert Burns and his dog. It was carved from marble in Italy by sculptor John Udny and is inscribed with quotes from the writer himself and features beautiful patterned tiles at its base. This sculpture tells us much of Ballarat’s Scottish history by placing their most revered poet and ballardier of Auld Lang Syne at the corner of Lydiard and Sturt Streets. The local design was carried out by artist John Undy in Carrara marble and placed with this scene. The proud figure of Burns faces west and is accompanied by his collie dog with a book purposely hanging in his hand and a pencil in the other as his constant companions. Burns is mounted on a plinth engraved with some beautiful Burn’s poetry and surrounded by art deco styled tiling and a cast iron palisade. The statue is of aesthetic and historical significance to the people of BallaratCarved marble statue of Scottish poet Robert Burns and his dogIncludes panels with poems and writings by Robert Burns. Plaque reads - Designed by Thomas Thompson Ballarat Sculptured by John Undy, Carrara, Italy.robert burns, scottish poet -
Australian Lace Guild - Victorian Branch
Textile - Torchon Lace, Late 19th or early 20th Century
Use: Domestic. Household trimmingBobbin lace insertion. Sample -
Clunes Museum
Decorative object - BROOCH
LADIES BROOCH, CIRCULAR MINIATURE, SURROUNDED WITH 18 DIAMANTESlocal history, costume accessories, jewellery, personal effects -
City of Ballarat
Sculpture - Public Artwork, George Grant, Thomas Moore Memorial Statue George Grant, 1889
Irish poet and balladeer Thomas Moore, best-known for penning The Minstrel Boy and The Last Rose of Summer, is honored in this statue prominently located in Sturt Street created by sculptor George Grant from white Carrara marble. George Grant was trained at the School of Art associated with the National Gallery of Victoria, apparently in the 1880s, and then worked as an artist, specialist house painter, and banner artist. Several of his paintings are held by the Ballarat Art Gallery. Moore`s writings range from lyric to satire, from prose romance to history and biography. His popular "Irish Melodies" appeared in ten parts between 1807 and 1835. Moore was a good musician and skillful writer of songs, which he set to Irish tunes, mainly of the 18th century. This statue is of historic and aesthetic significance to the people of Ballarat.Marble statue of Thomas Moore above a large sandstone pillar West: Presented to the City Council of Ballaarat by the following citizens: H.F. Elliot, The Honorable E. Morey M.L.C., Cr C.R. Retallick, Cr J. Heinz. South: R.S. Mitchell, P. Papenhagen, T. Elliot, J. Snow, G.K. Coutts, C. Bailey, J.J. Goller & Co, W.E. Ballhausen, G. Thompson, W.H. Figgis. North: S. Seward, F.G. Haymes, Craig Williamson, R. Giddings, G. Berry, R. Inge, J.A. Pittard, L. Lederman, H. Bremer, D. Jones. thomas moore -
Glenelg Shire Council Cultural Collection
Print, J. Macfarlane et al, Meeting of Major Mitchell and Edward Henty, Portland Bay, 1836, n.d
Displayed at History House.Lithograph, engraving of men on horses standing outside a wooden cottage and pole fence. Trees in background. On far left man is standing observing another standing man shaking hands with a central mounted figure. Framed under glass in wooden carved frame with inner gold-coloured frame.Front: Meeting of Major Mitchell and Edward Henty, Portland Bay, 1836 (engraved, lower centre -
Bendigo Historical Society Inc.
Textile - SHAVING TOWEL
Textiles, Huckaback fabric white shaving towel. Crocheted edging (1cm) along short sides. Embroidered pattern of a cut throat razor and flowers. Old box 75.textiles, domestic, huckaback shaving towel -
Glenelg Shire Council Cultural Collection
Print - Print - HM Queen Elizabeth II (reproductive), c. 1954
Portrait of Queen Elizabeth II with crown, jewelry, blue sash and short-sleeved floral dress. In heavy wooden frame, gold-coloured.Front: (no inscriptions) Back: (no inscriptions)queen elizabeth ii -
Wodonga & District Historical Society Inc
Decorative object - Brooch
This brooch was owned by Lily Cave nee Stevenson. Lilian Bernice Stevenson was born in Wodonga on 30 November 1920 to John Stevenson and Ivy Victoria nee Pearce. On 28 November 1942, LIlian married Robert Walter Nation in Wodonga. Ivy was related to several prominent Wodonga families, including the Uhe and Heckendorf families. Ivy moved from Wodonga after her marriage. She passed away in Melbourne, Victoria in 2000.This item is connected to a prominent family in Wodonga, VictoriaAn amber stone set in a square gold setting with a pin clasp on the back.wodonga families, stevenson family wodonga, pearce family wodonga