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Artwork, other (1261)
Ceramic (764)
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Mixed media (515)
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Print (1654)
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Wangaratta Art Gallery
Textile, Christine Upton, Gumnuts Galore, 1984
Upton has used the traditional technique of Indonesian batik to create 'Gumnuts Galore'. Batik has a long history in the world and is believed to have originated on the island of Java in Indonesia. The designs traditionally used in batik are imbued with meaning and powerful symbolism to reflect the culture and beliefs of the place where it was made and for whom it was made for. Upton has instilled her piece such meaning and symbolism by depicting eucalyptus leaves and gumnuts which evokes a sense of belonging and pride.Rural City of Wangaratta Collection, purchased with funds from the Wangaratta Art CouncilA rectangular design of gumnuts on silk created through the batik technique using natural dyes in shades of red, brown, and greenwangaratta art gallery, christine upton, batik, gumnuts, flora, australian flora, textile -
Swan Hill Regional Art Gallery
Painting, CHANDLER, Ian, Eclipse trip, 1968
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Swan Hill Regional Art Gallery
Painting, BRIEN, Michael F, Pollution, 2003
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Clunes Museum
Print - ANTIQUARIAN PRINT, 1890
An illustration from the Picturesque Atlas of Australasia, hand-tinted photo-engraving of W.C. Fitler shows Clunes in late 1880's. It shows little evidence of the town's mining heritageTINTED RELIEF WOOD ENGRAVING PRINT OF THE TOWNSHIP OF CLUNES. HAND COLOURE, MOUNTED AND FRAMED WITH CREAM COLOURED MAT, DARK GREEN FRAM AND GOLD INSIDE TRIM.wood engraving, relief, 1890, w.c.fitler -
National Wool Museum
Textile - O*So*Lite Self-Raising Flour 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 flour bag with red, blue, white and yellow graphic image and text. Image shows head and shoulders of a woman wearing a bakers hat. Reverse side shows same image with slightly different text.Front: O*SO*LITE \ SELF-RAISING \ FLOUR \ 25lb \ NET \ THE \ FINEST \ FLOUR \ O-SO-LITE \ PRODUCTS PTY. LTD. \ LENNON STREET, SOUTH KENSINGTON \ VICTORIA 13 0261 \ SELF RAISING \ SELF RAISING \ SELF RAISING Back: O*SO*LITE \ SELF-RAISING \ FLOUR \ PREPARED WITH PROSPHATE AERATOR \ 25lb \ NET \ THE \ FINEST \ FLOUR \ O-SO-LITE \ PRODUCTS PTY. LTD. \ LENNON STREET, SOUTH KENSINGTON \ VICTORIA 13 0261wagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen -
Whitehorse Historical Society Inc.
Textile - Handkerchief
White lawn handkerchief with deep lace border.costume accessories, female -
Latrobe Regional Gallery
Painting, LOXTON, John Samuel b. 1903 Adelaide d. 1971, Narooma Moorings, Not dated
Watercolour paintingSigned 'John S. Loxton' in lower right corner of painting. -
Whitehorse Historical Society Inc.
Mixed media - Recording George Cox, 20 September 2023; oral history, Margaret Graham, George Cox Interview re. Schwerkolt Cottage
Interview with George Cox, former City of Nunawading Councillor, Member of the Victorian Legislative Assembly for Mitcham, Member for Nunawading Province in the Victorian Legislative Council (1988 - 1996), interviewed about his involvement with Schwerkolt Cottage during the period when it was under threat of demolition. Also discussed was his international cycling career. George Cox was a key player in the saving of Schwerkolt Cottage in the 1960'sBorn digital recording of interview about George Cox's involvement with Schwerkolt Cottage.george cox, jean field, pat pagetter, dorothy goble, schwerkolt cottage, schwerkolt cottage smithy, schwerkolt cottage cellar, schwerkolt cottage committee -
Gippsland Art Gallery
Print, Turner, J.M.W. (after), Venice - the Bridge of Sighs, c.1859-78
Purchased, 2013Engraving on papergippsland, artwork, permanent collection -
Bendigo Historical Society Inc.
Print - ETCHING OF VIEW STREET SANDHURST 1859, 1859
Black and white etching of View Street buildings. Dudley House. Mechanics Institute. Henry Jackson. Pikes bridge with children crossing. Horses & carts. People walking. Timber slats over creek. View street going towards Barnard street. Etching copy of original. View Street. Sandhurst. 1859. Survey & Post Office. FH 566 Not Found 8.12.2022place, bendigo, view street buildings. 1859 -
Federation University Art Collection
Print, John Gould, Cypselus Infumatus, 1866
John GOULD (1804-1881) English ornitologicalmartist who published a number of monographs on birds.Framed, hand coloured lithograph. Published by John Gould. The mount has a hand coloured border. The plate id from "Birds of Asia" LL JGould & HCRichter del et lith centre Cypselus Infumatus, Sclat. Walter; Imp.available, palm roof-swift, bird -
Latrobe Regional Gallery
Print, KELLETT, Adrian b. 1974, Garden Study, 2001
Multi-plate etchingSigned and dated 'A Kellett 01' in lower right corner under printed image. Edition 21/40, and title 'garden study' lower left corner under printed image. -
Glenelg Shire Council Cultural Collection
Print - Envelope - Admella 150th Anniversary Commemorative Envelope, n.d
Port of Portland Authority ArchivesFront: Front- Adress stickers- 'Members of Glenelg Shire Admella Commemoration Advisory Committee C/- Liz Foreman Glenelg Shire P.O Box 152, Portland Victoria 3305'port of portland archives, envelope, admella 150th -
Gippsland Art Gallery
Painting, Maas, Marise, Shady, 2003
Donated by Marielle Soni through the Australian Government Cultural Gifts Program, 2016Oil on canvasgippsland, artwork, permanent collection -
Swan Hill Regional Art Gallery
Mixed media, WOOLRICH, Tony, Title, 2002
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Nillumbik Shire Council
Painting, Fan Dongwang, Pandemic Bodies #1 (Inverted), 2020
My paintings reflect upon the peculiar state of our existence in the pandemic ravaged world: a microscopic and invisible virus has wreaked havoc and revealed the fragility of the human race regardless of our technological and economic advancements. Overwhelmed by the hostile environment, our once arrogant bodies are depersonalized, suspended, fragmented, perplexed and isolated. Mixed with different races, colours and genders, the new bodily world is an imaginative vision of the post pandemic psyche. The lines and shapes delineate an space with new boundaries and depth, full of aching, longing, order less and distorted bodies forming an assemblage endlessly floating on the blue surface, gasping for air, emerging and submerging, shrinking and extending. COVID-19 is a wakeup call for us to rethink our relationship with technology and environment in order to create new control, purpose and identities, which we need to help future generations to survive. Commissioned by Nillumbik Shire Council as part of the Art in the Time of Covid project which invited artists to create artworks that reflect the pandemic and the artists' personal experiences of it -
Charlton RSL Sub Branch
Print - Framed print of troops marching, Framed print of Australian troops marching down Bourke Street Melbourne
Framed picture under glassTroops march through the city. A stirring spectacle on Friday. First Australian troops left Melbourne Sept. 1914 -
Ringwood and District Historical Society
Mixed media - Video, RDHS Guest Speaker Presentation - "Australian Cartophilic Society" - Eric Panther
Digitised video (3.06GB) Duration: 50 minutes. Recorded March, 2021 (Video is available for viewing at Ringwood & District Historical Society Archives by appointment)Presenter: Eric Panther is a dynamic and passionate speaker, who is one of Australia’s leading experts on Australian postcards. He is the current president of the Australian Cartophilic Society, which includes the collecting of cigarette and trade cards as well as postcards. -
Federation University Art Collection
Painting - Artwork - Painting, Lord Krishna marrying Radha (Madhubani Art), c2014
Madhubani art or Mithila painting was traditionally created by the women of various communities in Mithila region of the Indian subcontinent. It originated from Madhubani district of Mithila region of Bihar, and, it is popularly called Mithila painting or Madhubani art. Madhubani is also a major export centre of these paintings. This painting as a form of wall art was practiced widely throughout the region; the more recent development of painting on paper and canvas mainly originated among the villages around Madhubani, and it is these latter developments led to the name Madhubani art being used alongside the name "Mithila Painting." The painting was traditionally done on freshly plastered mud walls and floors of huts, but now they are also done on cloth, handmade paper and canvas.[3] Madhubani paintings are made from the paste of powdered rice. Madhubani painting has remained confined to a compact geographical area and the skills have been passed on through centuries, the content and the style have largely remained the same. Madhubani paintings also use two-dimensional imagery, and the colors used are derived from plants. Ochre and lampblack are also used for reddish brown and black respectively. Generally, no space is left empty; the gaps are filled by paintings of flowers, animals, birds, and even geometric designs.(wikipedia)Framed traditional Hindu story painted onto textile.madhubani, indian, krishna, radha, punjab, mehndi -
Federation University Art Collection
Painting, Neville Bunning, 'Whiskey Distillery at Warrenheip via Dunnstown' by Neville Bunning
Neville BUNNING The whisky distillert was at te foot of Mt Warrenheip. Situated at tje site of a water spring, it later bacame Cottonwood Springs. The Warrenheip breweries near the spring were well established when Mr Henry Brind, opened Brind’s Distillery in 1864. At that tome they claimed to be the first of its kind in Australia, and “the only place where pot stilled whisky was manufactured in the colony.” 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.Oil painting of an old distillery at Dunnstown.art, artwork, dunnstown, distillery, brinds, available, mt warrenheip, neville bunning -
Bendigo Art Gallery
Textile, Paul YORE, The Rule of Lore, 2021
textile, lgbtqui, australian artist, queer, political, applique, quilt, quilting, banner, activist, activism, bunny, john howard, saddam hussein, george pell, pope, religion, pooh, bart simpson, car, truck, ribbon -
Darebin Art Collection
Painting - Phil Harris, Phil Harris, Sharpies Practicing Carpetby, 2006
sharpies -
Castlemaine Art Museum
Painting, Hugh Ramsay, David Mitchell, 1903
Gift of Dame Nellie Melba, 1924 -
National Vietnam Veterans Museum (NVVM)
Print, The Battle Of "Long Tan:
In a gold and black frame with glass front is a coloured print of the Battle Of Long Tan, Phuoc Tuy Province, south vietnam on 18th August 1966 with images of soldiers in various poses fighting and casualties. There are four panels below the painting with signatures of Commanders and Platoon Sergeant.This painting was won in a raffle by Mr. Crosby in Buninyong, victoriaframed print, 6 rar, d coy, 10 platoon, 11 platoon, 12 platoon, battle of long tan, phuoc tuy province, lt col h.a. smith, maj g.m. kendall, r.s. buick mm jp, 2lt dave sabben -
Whitehorse Historical Society Inc.
Painting - Picture
Framed copy of a picture of six children gathering firewood by Margaret Tarrant - in wooden frame. See Supplementary File for NA248.illustrations, prints -
Castlemaine Art Museum
Painting, Louis Buvelot, Near Templestowe, 1865-1888
Gift of Miss E. Steel, 1965, in memory of her father and brother, David Steel and W.H.G. Steel -
Ararat Gallery TAMA
Textile, Frances Burke, Shell (place mat)
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. -
Swan Hill Regional Art Gallery
Print, RICARDO, Geoffrey, Contents, 2019
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Lara RSL Sub Branch
Painting - Framed Painting of Poppies
Rectangular Shaped Picture Frame -
Horsham Regional Art Gallery
Painting, Peter TYNDALL, Eight verticals, 1974
Purchased through the Horsham Art Gallery Trust Fund, 1975watercolour on paper