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Artwork, other (1305)
Ceramic (770)
Decorative object (722)
Drawing (4629)
Mixed media (540)
Painting (2490)
Print (1673)
Sculpture (407)
Textile (1402)
Work on paper (2110)
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Whitehorse Historical Society Inc.
Decorative object - Photo Frame, 1850 - 60
Ornate frame of light green with gilt. Included in the frame is a black and white photo of lady wearing shawl (NA2623) on display in this cabinet in museum. It is thought that the lady's name is Mrs.S. Smith (nee Miss .S. Scott). See NP855photography, photographs / slides / film, domestic items, ornaments / decorative -
Gippsland Art Gallery
Work on Paper, Wray, Jennifer, Water Tower, 1998
Purchased, 1998Pastel and charcoal on papergippsland, artwork, permanent collection -
Latrobe Regional Gallery
Work on paper, FRASER, Sue, Travellin' light, 1995
PrintSigned and dated lower right corner beneath printed image "Sue Frazer 95" Edition 14/30, lower left corner under printed image Titled "Travellin' Light" in centre below printed image -
Whitehorse Historical Society Inc.
Textile - Two Lace Samples
Received anonymously by a teacher of the Lace Guild of Australia, Victorian Branch. Karolina Jeffers of Vermont. Donor told Karolina that the lace had belonged to her aunt. The aunt had worked in a dressmakers in Flinders Lane in the 1930s where she acquired the lace. Donor was in her 80s when she gave the lace to Karokina.1. Small white round piece of Irish crochet. Donegal. A three leaf clover in centre of piece with close pattern around it with sixteen three looped picots on edge. This piece is attached to a blue felt covered board. 2. Small cream piece of needle lace. Ten looped circles around edge with close worked centre piece. This piece is also attached to blue felt covered board.'Irish Crochet Donegal' Puerto Lumbretas Spainhandcrafts, crocheting or crochet work, lacemaking -
Federation University Art Collection
Work on paper - Silkscreen, Graeme Drendel, 'Enclosure with Keeper' by Graeme Drendel
Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. Two objects hang from a timber structure.graeme drendel, printmaking, silkscreen -
Brimbank City Council Art Collection
Decorative object - Stained glass window, Glass Dreams Leadlight, 1996
UnknownMotek, Stella. Glass Dreams Leadlight. 1996, stained glass window, Brimbank City Council At Collection, Brimbank Glass Dreams Leadlight 1996. Leadlight panels depicting historical views of Keilorkeilor, stella motek -
Bendigo Historical Society Inc.
Textile - Men's Drawers
The Arrow shirt company was founded by William H.Titus and his partner in Chicago, Illinois and in the late 1800s merged with Cluett Peabody. In 1929 Cluett, Peabody & Co. established a national menswear business under the Arrow brand name. The "Arrow" name gradually grew into a product line that included shirts, collars, handkerchiefs, cravats, pyjamas, and underwear for men and boys. (Wikipedia)Two pairs of men's underwear. "Arrow" Trademark. Made from "Sanforized Shrunk fabric - ironless finished cotton". Cotton tape threaded through the top band allow for some adjustments to sizing. One garment appears to have hand stitching on the top band to allow for resizing or repair. Each pair has three silver coloured press studs for front fastening. 1930s - 1940s.arrow clothing, underwear -
Tatura Irrigation & Wartime Camps Museum
Work on paper - Calendar, 1944 Woodcut Calendar, 1944
Calendar made by internees at Camp 3 TaturaHandmade 1944 calendar with wood cut picture for every month. Front cover features sketch of tree in countryside.1944 calendar, internees craft work, isolde ruff, wood cuts -
Bendigo Historical Society Inc.
Textile - Coronation souvenir handkerchief
King George VI was the second son of King George V and Queen Mary. He was Duke of York from 1920 to 1936, living in London and also (from 1932) at Royal Lodge, Windsor Great Park. In 1923 he married Lady Elizabeth Bowes Lyon; their elder daughter, later Queen Elizabeth II, was born in 1926. George VI succeeded to the throne on the abdication of his brother, King Edward VIII, in December 1936. Handkerchief produced as a souvenir for the Coronation of King George V1 and Queen Elizabeth on 12 May 1937. Images of the king and queen are set on either side of a circular view of Buckingham palace surrounded with representative flags and the Monarch's crown. Commonwealth (Empire) flags are placed at each corner. The British flag is below the image of the Palace. the flags are joined by a knotted circular gold coloured cord that traces the figures of the King and Queen. main colours are red, blue, white and gold on a cream background. handkerchief, coronation, 1937, king george vi -
Gippsland Art Gallery
Print, Turner, J.M.W. (after), Hornby Castle, Lankashire, c.1859-78
Purchased, 2013Engraving on papergippsland, artwork, permanent collection -
University of Melbourne, Burnley Campus Archives
Work on paper (item) - Student Work, Shane Furlong, Kneebone Habitat Landscape Design, 4th December, 2014
Created as an assignment for HORT90035, 'Landscape Construction and Graphics,' a subject at Burnley Horticultural College coordinated by Andrew Laidlaw. assignment, landscaping, burnley, 'landscape construction and graphics', hort90035, andrew laidlaw -
Greensborough Historical Society
Decorative object - Wrapping Paper, Hallmark Christmas wrapping paper, 1960s
3 sheets of folded Christmas wrapping paper, belonging to Shirley Fraser, circa 1960s.An example of the style of wrapping paper from the mid-20th century.3 sheets of coloured Christmas gift wrapping paper, various designs.wrapping paper, presents, 1960s, graphic design, deers -
Gippsland Art Gallery
Print, Krausmann, Rudi, Critic, 1979
Donated by Charles Nodrum, 2019Screenprint on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Work on Paper, Struss, Elsie, Untitled, Undated
Donated from the estate of Wemyss Struss, 2016Ink on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Todd, Valmai, Coastal Connections, 2015
Donated by the artist, 2015Colour reduction linocut print on papergippsland, artwork, permanent collection -
Warrnambool RSL Sub Branch
Work on paper - ANZACS in FRANCE, Drawing water for the gun crew, WW1
One of a series promoting the mateship of the Anzac troops.reveals the 'behind the scenes' work of Artillery troops. (see also Notes)postcardOn Reverse: Firing a heavy gun is thirsty work. These Anzac gunners are drawing water from a well for their comrades. Also Series XIX No151the work of the heavy artillery -
Federation University Art Collection
Print - Artwork, 1969, 2015
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 digital inkjet on paper artist, artwork, printmaking, mark graver, parallel prints -
Ballarat Heritage Services
Print - Image, Ballarat Orphan Asylum
Black and white image of the Ballarat Orphan Asylum.ballarat, ballarat orphan asylum, ballarat orphanage -
Ararat Gallery TAMA
Textile, Frances Burke, flannel flower design, c. 1955
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. -
Ararat Gallery TAMA
Textile, Frances Burke, Plum Blossom, 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. -
Whitehorse Historical Society Inc.
Textile - Doyley, circa 1910
Given to Pat Richardson by her mother. Used in workplace by her Grandmother in 191017cm diameter linen doyley, crochet edge. Embroidered drawn threadwork in centre with crosses in each cornerhandcrafts, embroidery -
Ararat Gallery TAMA
Textile, Carole Mules, Women at Lake Buninjon, 2020
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Gippsland Art Gallery
Work on Paper, Struss, Elsie, Untitled (Landscape), Undated
Donated from the estate of Wemyss Struss, 2016Pencil on papergippsland, artwork, permanent collection -
Friends of Ballarat Botanical Gardens History Group
Work on paper - Two Talks by Peter Butters, Yuille's Swamp and Our Botanical Gardens
Both articles give valuable brief histories of Lake Wendouree and Ballarat Botanical Gardens.These 2 articles explain how Lake Wendouree and the Ballarat Botanical Gardens came to be highly regarded for leisure time activities, for the study of flora and fauna and the parks and gardens.The 1st article, Yuille's Swamp is 31/2 pages of print with Peter Butters name added on p.4. The 2nd article, Our Botanical Gardens, is also 31/2 pages of print with Peter Butters name added on p.4.With the 1st article "Roy and then Peter Butters Talk, Guiding Group, 24/9/97" is written in blue biro, top righthand corner. Nothing is written in longhand on the 2nd article.john garner, doctor john garner, ballarat botanical gardens, friends of ballarat botanical gardens, yuille's swamp, lake wendouree, black swamp, tourism, eugene von guerard, gnarr creek, ballarat water supply, gong reservoir, view point, trams, fry's mill, .mining, english birds, acclimatization society, fish, carp, cormorants, reeds in lake wendouree, acquatic sports, steam boats, george longley, marble statues, trees, fernery, john garner collection, gardens, ballarat -
Swan Hill Regional Art Gallery
Print, CULLEN, Adam, Mega Dog, 2010
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Gippsland Art Gallery
Print, Peterson, Jenny, Sugar Bag, Dolly's Story, 2009
Purchased with the assistance of the John Leslie Foundation, 2017Screenprint, intaglio and watercolour on papergippsland, artwork, permanent collection -
Friends of Ballarat Botanical Gardens History Group
Work on paper - Baron Ferdinand von Mueller, Botanist, Politics and the Purchase of Sonder's Herbarium, 1988
Baron von Meuller played an important role in the establishment of the Ballarat Botanic Gardens and at the School of MinesDespite von Mueller's eminent reputation in Europe, the short-sightedness of some Victorian Parliamentarians inhibited the great work he achieved that was later universally acknowledged.2 pages. p.1 is printed on both sides and on the lefthand side of p.1 is a black and white picture of Baron von Mueller. on the back of p.1 is a black and white picture of a specimen from Sonder's herbarium on the lefthand side. On p.2, the print includes many quotations and there is an advertisement righthand bottom corner.Nonejohn garner, doctor john garner, ballarat botanic gardens, friends of ballarat botanical gardens, baron ferdinand von mueller, national herbarium of victoria (mel), government botanist, otto sonder botanist, sonder's herbarium, algae, john garner collection, gardens, ballarat -
Gippsland Art Gallery
Work on Paper, Struss, Elsie, Untitled, Undated
Donated from the estate of Wemyss Struss, 2016Conté on papergippsland, artwork, permanent collection -
Kew Historical Society Inc
Decorative object - 'Advance Australia' crocheted doily, 1890s
The Fashion, Textiles & Design Collection includes a number of examples of household or domestic textiles dating from the Nineteenth and Twentieth centuries. Some had a purely functional role while others were essentially decorative. These textiles were mass-produced or handmade, and sometimes including elements of both. Many were constructed of, or include elements of, lacework, tatting, embroidery or crochet. Donated throughout the Society’s history by members or residents of Kew, the provenance of many items is now unknown, however they remain in the Collection to illustrate the social history of the Australian home.White crocheted doily incorporating the motto of the Australian Natives Association and a pictorial representation of an emblem that would become the Commonwealth Coat of Arms.doilies - patriotic, doilies - symbolic, soft furnishings, australian natives association, advance australia -
Hymettus Cottage & Garden Ballarat
Work on paper - booklet, A Guide to Ballarat
Nineteen page promotional booklet for Mc Dougal and Chisolm Ballarat c. 1953.