Showing 4108 items matching art
Artwork, other (1226) Ceramic (747) Decorative object (667) Drawing (4560) Mixed media (486) Painting (2384) Print (1653) Sculpture (397) Textile (1238) Work on paper (2029)-
Castlemaine Art Museum
Painting, E. Fox, Moonrise, Stanwell Park, NSW, (c. 1914)
Gift of Pam Sargood, 2007 -
Australian Lace Guild - Victorian Branch
Textile - Brussels applique lace, Late 19th Century
Fine lace used as a costume trimmingEdging of Bobbin lace motifs appliqued onto machine made net -
Moorabbin Air Museum
Mixed media (Item) - Australian Aerospace Photo Gallery, Photo Gallery: Australian Aerospace
Contains photos of Australian Aerospace (a subsidiary of Eurocopter) products. -
Castlemaine Art Museum
Painting, M.J. MacNally, The Quarry, Cave Hill, 1921
Purchased, 1922 -
Glenelg Shire Council Cultural Collection
Painting, Harry Rosengrave, (Untitled - Landscape), 1969
Caltex $500 Prizewinner at Portland Arts Festival - retained for Portland Collection.Landscape scene, densley treed. There is a clearing on the left with 3 houses and possibly a figure in the centre of the clearing. Blue sky with a long cloud. Mounted in a tan-coloured matt in a wooden frame with a faux-distressed gold finish.Front: H. Rosengrave 69 (lower right). Back: Top right - yellow sticker "1969-". Bottom centre - "Gary Hayman. Picture framer. 41 Julia Street, Portland, 33-5. 055 233154. Custom framing, framed printed, photos and oils." -
Australian Lace Guild - Victorian Branch
Textile - Machine made lace: Chemical lace, Early 20th Century
Chemical lace. The design was machine embroidered onto a base fabric which was then chemically dissolved away.Collar with standing neck edge. -
Flagstaff Hill Maritime Museum and Village
Textile - Doily, c. 1910
This doily is typical of items of household linen in popular use in the 19th and early-to-mid 20th centuries. It was a tradition for brides to have a 'glory box' containing linen and embroidered and crocheted articles to take to their new home. In the Words of donor, Betty Stone, … “These crocheted and embroidered articles cover a period of three generations- ie. Sarah (nee Chamberlain) Lees, Ann (nee Lees) Dale, and Daisy Elvena (nee Dale) Welsh. All three were accomplished needlewomen; also, both Sarah Lees (born 1844) and her daughter, Ann (b 1865) crocheted a wide variety of articles for use in their homes. A few examples of these items have survived the years.” (NOTE: For additional information please refer to my book Pioneer and Places- A History of Three Warrnambool Pioneering Families ie. Chamberlain, Dale and Lees families)This item is associated with the Warrnambool pioneer families of Chamberlain, Dale and Lees. These families are listed in the Pioneers' Register for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch. The item is a fine example of early 20th-century needlework.Doily; white rectangular shape, pointed on short sides. Embroidered with pink flowers and green stems, and embellished with a lace frill. Part of the Chamberlain Dale Lees Collection.flagstaff hill, warrnambool, flagstaff hill maritime museum and village, great ocean road, chamberlain family, dale family, lees family, betty stone, warrnambool pioneer, warrnambool genealogy, wangoom, chamberlain dale lees collection, glory box, doily, embroidery, needlework, crochet, handmade, craft, manchester -
Australian Lace Guild - Victorian Branch
Textile - Le Puy Lace, Late 19th Century
A black silk lace used as a costume trimmingBobbin lace edging. Sample -
Horsham Regional Art Gallery
Painting, Leslie WILKIE, Portrait of a lady, n.d
Gift of Mack Jost, 1990 -
Geelong Gallery
Painting - Honey, BOYNES, Robert, 2004
Synthetic polymer paint on canvas -
Wangaratta Art Gallery
Textile, Beth Roberts, Go Aussie Go, 2000
Rural City of Wangaratta CollectionA quilted textile that depicts Australian scenes alongside silhouettes of Ancient Greek Olympians. wangaratta art gallery, beth roberts, textile, olympics -
Ararat Gallery TAMA
Textile, Frances Burke, Hemmed, fabric square, 1950-1955
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. -
Bendigo Art Gallery
Painting, Friedrich Ortlieb, The Postilion, circa 1888
Signed, l.l., red oil, "F. Ortlieb/Munchen" Not dated -
Flagstaff Hill Maritime Museum and Village
Textile - Cushion, Vera and Aurelia Giles, 1880-1920
There are many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by Vera and Aurelin Giles. The items are associated with the Giles Family and are known as the “Giles Collection”. These items mostly came from the simple home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton), whose photos are in the parlour. They married in 1880. Henry Giles was born at Tower Hill in 1858. He was a labourer on the construction of the Breakwater before leaving in 1895 to build bridges in N.S.W. for about seven years. Mary Jane was born in 1860 at Cooramook. She attended Mailor’s Flat State School where she was also a student teacher before, as family legend has it, she became a governess at “Injemiara” where her grandfather, Francis Freckleton, once owned land. Henry and Mary’s family of six, some of whom were born at Mailor’s Flat and later children at Wangoom, lived with their parents at Wangoom and Purnim west, where Henry died in 1933 and Mary Jane in 1940. The Giles family collection has social significance at a local level, because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the Museum was established.Cushion, hand-sewn blue, cream and yellow buttons, part of the Giles Collection.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, cushion, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century household goods -
Tatura Irrigation & Wartime Camps Museum
Painting - Painting - Watercolour, Leonhard Adam, 1941 Arandora Star Monument, Tatura, Victoria, 1941
Leonhard Adam was a Dunera internee in Camp 2 Tatura.RomanticismWatercolour painting of memorial carved in stone at Tatura internment Camp 3. Barracks in the backgroundLeonhard Adam. 1941, 'Arandora Star' Monument, Tatura, Victoriatatura, dunera, internee camps, illustrations, watercolour, arandora star -
Whitehorse Historical Society Inc.
Painting - Watercolour Painting on Schwerkolt Cottage
Owned by Rae Mathews of Nymph Street, Mitcham, a member of Nunawading and District Historical Society (now Whitehorse Historical Society) since 2000.Watercolour painting of Schwerkolt Cottage - mounted and framed. NB/ Matches framed oil painting by B. Rogalski hanging in local Historical Room (i.e. same scene & same viewpoint)Signed lower right hand corner B. Rogalskischwerkolt cottage, mathews rae, nunawading & district historical society, rogalski barbara -
National Wool Museum
Textile - Wagga Blanket, May Shortte, 1940s
This wagga style blanket was made by May Shortte using blanket samples from Solomons department store, Geelong (now Market Square Shopping Centre). May Shortte is the grandmother of Emily McNeight. Part of a collection of three blankets donated by Emily McNeight.Blue, orange, green, yellow, purple and grey wagga style blanket made with off cuts of blankets.wool, blankets, wagga, solomons, geelong, may shortte, samples -
Port Melbourne Historical & Preservation Society
Mixed media - Display, protest against closure of Port Melbourne railway line, Kerry Martin, 1987
The picket group formed St Patricks' Day 1987 at Graham station as the first earthworks began for closing the railway.They were confronted by police who used physical force to break the picket. The picket continued at Bridge and Evans for 3 months.Three large yellow sheets with photos of the Port Melbourne Pickets and police officers. 17th or 18th of March 1987. A display, also incorporating a news article about picket Nell Thackray and the protest against closure of Australia's oldest steam passenger railway.police, public action campaigns, transport - railways, port melbourne pickets, neil thackray, bayside project -
Port Melbourne Historical & Preservation Society
Mixed media - Placard, Anti-amalgamation protests, 1993
Made by the City of Port Melbourne for the demonstrations before and after the forced amalgamation by the Jeff Kennett State Government of the City of Port Melbourne with the Cities of South Melbourne and St Kilda to form the City of Port Phillip. First demonstation was against the City of Melbourne Act which excised 42% of Port Melbourne's rate base (Fishermens Bend) and so laid the groundwork for amalgamation afterwards because Port Melbourne could not survive on the remaining rates. Refer to Pat Grainger, Liana and David ThompsonWhite cardboard attached to a wooden stick with hand lettered anti-amalgamation slogan in black. "Preserve Our Historic Port"public action campaigns, amalgamation, local government - city of port melbourne -
Australian Lace Guild - Victorian Branch
Textile - Honiton lace, 19th Century
Modesty front to be worn as a filler with a low cut blouse or dress.Lace modesty front. Bobbin lace motifs appliqued onto machine made net. -
Federation University Art Collection
Painting - Silk, [Asian School[
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 calligraphic work art, artwork, calligraphy, asian school -
Glenelg Shire Council Cultural Collection
Painting, Hawker Transport, 1977
View of two tents and a wagon in a dry landscape. In foreground is a camel loaded with packaged goods. A man on a horse is in centre of image, to the right of one of the tents. Two more horses are tethered by the wagon of far right. In background are trees and grassland. The top half of image is sky, with clouds painted in blue, grey and mauve with white highlights. Framed in silver and gold painted wooden frame.Front: B. Malloch '77 (lower right) (sienna paint) Back: 8 (pencil, sticker, upper left)oil painting, camel, horses -
Bendigo Military Museum
Painting - PRINT VIETNAM, FRAMED, BETHANY GALLERY, Late 1960’s
Coloured print of Australian Soldier, Vietnam Vintage, 7RAR. Solder is in the kneeling/firing position holding an SLR. Print mounted with green border, brown frame, fawn paper backing. Frame has wire hanging strap at rear.On plate under print: “WOUNDED AUSTRALIAN INFANTRYMAN 7RAR BY BRUCE E FLETCHER” Stamped on rear: “BETHANY GALLERY” 116 BRIDGE STREET BENDIGOillustrations-prints, military history-army, vietnam -
Wangaratta Art Gallery
Painting, Howard Sparks, World of Blue, 1966
Rural City of Wangaratta Collection, purchased with funds from the Wangaratta Art CouncilA rectangular landscape painting of trees and rocks at night painted in oil in shades of blue and brown.wangaratta art gallery, howard sparks, landscape, painting -
Australian Lace Guild - Victorian Branch
Textile - Rosaline lace, Late 19th Century
Bobbin made lace with needle made flower centres. Use: Costume trimmingBobbin lace edging. Sample -
Darebin Art Collection
Painting - Kerry Maher, Kerry Maher, Dog Pool, 2010
-
Whitehorse Historical Society Inc.
Textile - Lace Piece
Part of a travelling salesman's lace samples from Plauen, East Germany, a lace making town since 13th Century.Piece cream Guipere lace used for demonstration purposeson display stand ' C. R. Eichhom Plaven I. V.'handcrafts, lacemaking -
National Wool Museum
Textile - Quilt, Rosemary A.O. Cameron, Celebration Quilt, 1990
From Rosemary Cameron - This quilt has been made in 100% wool to celebrate the diversity, durability and beauty of pure wool, especially the lightweight cool wools. The woollen patches were kindly donated by Mr. David Jones, managing Director of Fletcher Jones and Staff which were pre-cut samples of European Fabrics in various weights, textures and colours. I had the task of creating a design around the fabrics available, some of which I only had to sample. I chose to surround my design with dark shades to encompass at the top of the quilt, the lightness of the sky and the trees, in the middle the warmth of summer, the dryness of central Australia and at the bottom the rick tones of Opals, our mineral wealth and the internal heart of earth. To add excitement and texture to this design I chose 31 Australian Wildflowers including all the Australian Floral Emblems, some unusual wildflowers and favourite small wildflowers. Twice life size, these flowers have been made of silk wool and cotton, embroidered, painted and beaded by our creative and talented Hamilton Quilters, their results are fantastic! The brilliance and timeless quality of these Australian Wildflowers intensify and complement the colours of the Wool Quilt. The Quilt was hand pieced and hand quilted at quilting bees. It has a woollen batting, binding and backing which was a delight to work with and very easy to quilt. The flowers were assembled and attached in small working bees. To the fifty-two Hamilton Quilters who have worked on this quilt for six months thank you for you hard work and creativity especially Joan H. Lyons for her time, enthusiasm and knowledge when difficulties arose. Joan M. Lyons has worked with me on various stages of this Quilt, her help and support has been tremendous. To my family who have tolerated scraps of wool and silk, photographs, wildflower books and specimens and drawings which have at times almost taken over our house, a year from ideas to completion, thank you for your support and help in many ways.Multi coloured patchwork quilt with native flowers protruding from centre in a diamond shape.Embroidered on back - "The Celebration Quilt" Made in 1990 by The Hamilton Quilters, Designed by Rosemary A.O. Cameron. Made of Pure Wool. Beryl Anderson, Joan Askew, Bett Basham, Marilyn Baulch, Rau Blaby, Pauline Boyd, Aileen Beckwith, Dorothy Beveridge, Ros Brommell, Rosemary Cameron, Gwen Cook, Anne Cordner, Kaylene Cowland, Elaine Denby, Barbara Dolman, Rosalie Duffield, Helen Fry, Glennys Gardner, Nola Gunning, Margaret Irvine, Bev Jeffrey, Emma Jensen, Betty Lacy, Helen Lampard, Joan H. Lyons, Joan M. Lyons, Elaine McDonald, Carole McEwan, Joy McLeod, Joyce McLeod, Mary May, Joan Mallinson, Susan Mason, Anne Menzel, Val Mills, Betty O’Brien, Di Pettigrew, Therese Read, Sherry Robertson, Lee Rowland, Irene Saddler, Nanette Templeton, Glenys Tindall, Liz Wallis, Ruth Walter, Marion Warburton. Alison Waterman, Pat Wilmot, Nola Malcolm, Ann Nicholls, Margaret Rowe, Jill Hillier.celebration, flowers, hamilton quilters, quilt, native flowers -
Wangaratta Art Gallery
Textile, Patrick Snelling, 8.9, 0ct 2010 - Mar 2011
The textile traditions and aesthetics of Japan have always influenced my textile practice and I have created a construct that reflects the way this work has been developed and assembled. The grouping of hand and digitally printed textile hexagons, represent a meta language of patterns and techniques. There are classical Japanese motifs and very contemporary images that have been captured digitally from my visits to Tokyo and Kyoto. My combining the old and the new forms of textile printing, I am creating a traditional and contemporary conversation between processes. This work was started in October 2010, it was put aside for a few months and then I re-imagined it again with the tragic news coming out of Fukushima and Miyagi provinces.Wangaratta Art Gallery Collection. Winner of 2011 Wangaratta Contemporary Textile Award.Hexagon pieces of patterned fabric in varying shades of green, pink and yellow, which are arranged together to form a map of Japan.wangaratta art gallery, textile, wcta, patrick snelling -
Horsham Regional Art Gallery
Painting, Gwendda SMITH, Drought - vista from Arapiles, 1983
Gift of Judy Sheldon, 1998watercolour on paper