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Artwork, other (1294)
Ceramic (766)
Decorative object (719)
Drawing (4609)
Mixed media (529)
Painting (2485)
Print (1665)
Sculpture (406)
Textile (1396)
Work on paper (2085)
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Gippsland Art Gallery
Print, Fogwell, Dianne, Party Face, 1988
Artworks Gallery Collection. Donated by Norman & Petah Creighton, 2018Gouache and gold leaf on intaglio print on papergippsland, artwork, permanent collection -
Geelong Gallery
Print - Geelong, Victoria, Australia, NORTHFIELD, James, 1930s
Colour lithograph on canvas lined paper -
Gippsland Art Gallery
Painting, Keeling, David, Hinterland, 1994
Purchased, 1996Oil on boardgippsland, artwork, permanent collection -
Swan Hill Regional Art Gallery
Print, HEFFERNAN, Edward, Mother was a model, 1986
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Castlemaine Art Museum
Painting, William Blamire Young, The Rigours of the Bush Gothic, 1926
Gift of Mrs Beth Sinclair, 1983 -
Gippsland Art Gallery
Painting, Gardiner, Peter, Ravensworth (Swamp Lantern III), 2012
Purchased in memory of Tim Wright with donations from the Wright Family, 2012Oil on canvasgippsland, artwork, permanent collection -
Ballarat Heritage Services
Painting - Artwork - Painting, [Balancing Rocks] by Arthur Lindsay
Arthur LINDSAY (1912-1990) Born Melbourne Arthur Lindsay, a relative of the Lindsay family of Creswick, studied informally under Rupert Bunny, and John Munro in 1933, and held his first Exhibition in 1938, with Peter Cox, at Riddell Galleries. In 1939, he left Australia to tour Japan, but stayed on, accepting a position with a publishing company in Hong Kong. He served with the Hong Kong Medical Corp during World War Two and was interned at Pootung Camp, Shanghai, from 1941 – 45. He held an exhibition of his internment paintings in Melbourne in 1946. Lindsay returned to Hong Kong after the War, and supervised an Advertising Agency in Singapore, Kuala Lumpar, and Bangkok. In the 1950’s he travelled to Europe, United Kingdom, Spain and France. Returning to Australia Lindsay moved to Castlemaine in 1969. A Retrospective of his Art was held at Castlemaine Art Gallery in 1991.Unframed lansdcape by Arthur Boydarthur lindsay, painting, rocks, landscape -
8th/13th Victorian Mounted Rifles Regimental Collection
Print - Officers Bushmen contingent
Bushmen's Contingent, drawn mainly from Victorian Mounted Rifles, sailed for South Africa 10 march 1900.Framed print of officers of the Victorian Imperial Bushmen Contingent to the South African War 1899-1902. Captains Ham, Dobbins and Hill; Lieutenants McCulloch, Carstairs, Holdsworth, Strong, Trew, Gartside, Moore.vmr, boer war, south africa, victoria, bushmen, uniform -
Swan Hill Regional Art Gallery
Print, RICARDO, Geoffrey, Rapunzel, 2001
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Horsham Regional Art Gallery
Painting, Elspeth VAUGHAN, On Wombat Moor, 1986
Mack Jost Bequest, 2001watercolour on paper -
Nillumbik Shire Council
Painting, Margot KNOX, 1888 Woodend, 1972
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4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Painting - Portrait, Marjorie Harvey, Lt-Col J P F Dixon ED, c.1979
Lt-Col Dixon was Commanding Officer of 4/19 prince of Wales's Light Horse Regiment from 1967 to 1970One of a collection of portraits of former Commanding Officers of the RegimentFramed oil painting of Lt-Col J P F Dixon EDportrait, dixon -
Greensborough Historical Society
Painting, Lower Plenty Hotel c1940-1950, 1940-1950
Artists impression of the Lower Plenty Hotel mid-20th century. An original painting of the Lower Plenty Hotel.Mixed media on canvas board. Landscape with hotel in middle ground.Signed with initials "S.J." on front. On back: "From photo. Painted 1960-1970. LOWER PLENTY HOTEL c1940-1950. Sylvia Jones"lower plenty, lower plenty hotel, sylvia jones -
Gippsland Art Gallery
Print, Turner, J.M.W. (after), Aysgarth Force, c.1859-78
Purchased, 2013Engraving on papergippsland, artwork, permanent collection -
Glenelg Shire Council Cultural Collection
Print, Portland Bay, 1983
CEMA Art Collection Part of "A Community View" 150 years in Portland Screenprint Exhibition Part of Angela Gee Residency 1983 and 1984Laminated screenprint of Portland Bay. Wide angle view of the Bay, with water tower / lighthouse on the right, the harbour with a docked ship in the centre, and the end of the peninsular and ocean on the left.Front: "Portland Bay" (lower left) Proof (lower right centre) A Gee '83 (lower right) (pencil) Back: 12 -
Benalla Art Gallery
Painting, George W. LAMBERT, Mountain landscape with Maurice, 1913
Born: St Petersburg, Russia 1873; Arrived: Sydney, New South Wales, Australia 1887; Lived and worked: England, France, Wales, Egypt, Palestine 1900-1921; Died: Cobbity, New South Wales, Australia 1930EdwardianGift of C.J.R. Ansett, 1980Mountain and valley landscape with figure and animals. Painted timber frame.Recto: Signed and dated "G. W. LAMBERT. 1913" in black paint on l.l.c of composition; Not titledpainting, figure, boy, dog, animal, mountains, landscape, lizard, snow -
Melbourne Tram Museum
Print - PTC Scratch Ticket Proof Copies, Public Transport Corporation (PTC), c.1990s
Used for proofing the design of PTC scratch tickets. Scratch tickets were in use during the 1990s, replaced by Metcard. The reference article gives a good background to their poor acceptance.Printed object belonging to a now-superceded transit agency (since the 1990s) at the time that scratch tickets were in use.A large rectangular piece of laminated paper. A total of 40 copies of 2-hour adult zones 1+2 tickets are printed on top. This is indicated on the left front side of the paper, along with the logo of the PTC and a disclaimer: "This is not a valid ticket." On the reverse side is the condition of use for the tickets (as would appear on actual scratch tickets).public transport, ptc, public transport corporation, tickets, scratch tickets -
Wangaratta Art Gallery
Painting, V. R. Watt, Untitled (Pastoral landscape with sheep), unknown
Rural City of Wangaratta Collection. Gift of Leslie Morrison. Donated in memory of Bruce Morrison, Shire Engineer.A realistic pastoral landscape, painted in watercolour using a colour palette of green, blue, brown, yellow, and white.Obverse: VR WATT/ (bottom left corner)wangaratta art gallery, v. r. watt, landscape, pastoral, painting -
Gippsland Art Gallery
Painting, Lyon, John, Beach at Seaspray, 1965
Acquired as winner of the Sale Festival Prize, 1966Oil on boardgippsland, artwork, permanent collection -
Glenelg Shire Council Cultural Collection
Print - Print - She-Oaks, 1983-1984
CEMA Art Collection Part of "A Community View" 150 years in Portland Screenprint Exhibition Part of Angela Gee Residency 1983 and 1984Laminated screenprint of a seascape with water and trees (she-oaks) in the foreground. The background illustrates a calm ocean meeting a cloudy sky. Only two colours have been used within the print, a light blue and a dark green.Front: 8/20 (lower left) She-oak (lower centre) Signature (lower right) (pencil) Back: 6 -
Glenelg Shire Council Cultural Collection
Print, Sails, 1984
CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of six sail shapes. Printed on a blue background the sails all have horizontal stripes. The patterns on the sails alternate from sails with yellow, white and aqua stripes to sails with red, white and blue stripes. The sails are various sizes.Front: 21/60 (lower left) "Sails" (centre) CJ Snook 84 (lower left) (pencil) Back: 38 -
Kew Historical Society Inc
Print - Walmer Street Foot Bridge
A bridge to Walmer Street, Kew, from Abbotsford was located at the northern end of Burnley Street. It was a foot bridge.Photographic print of the Walmer Street Bridge. The view of the Bridge is from the Abbotsford side of the Yarra. A section of pipe on the near side of the bridge is a remnant of the irrigation pipes that carried water from above Dight's falls to the Melbourne Botanic Gardens. The former bridge, constructed in 1896 was swept away in the 1901 Flood. It has two major brick piers while the remainder of the trestle supports are metal. The original photograph from which this copy was made was taken after 1901 as it shows the second bridge under construction. Houses in Young Street, Kew, can be seen on the far side of the river.Written on reverse: "Walmer St. Bridge. Erected 1896. Being rebuilt after 1901 flood damaged it. Houses on left are in Young St."bridges -- kew (vic.), walmer street bridge, melbourne botanic gardens -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on canvas, Charles Douglas Richardson, The Lodden at Laanecoorie, 1892
oil on canvaslandscape, lodden, river, laanecoorie, charles douglas richardson, trees, victoria, boat, cd richardson, c douglas richardson -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on board, Margaret Baskerville, The rehearsal, 1910
oil on boardrehearsal, singing, margaret baskerville, portrait, figure, music, piano -
National Vietnam Veterans Museum (NVVM)
Painting, John Bryant on the trail
Painting of soldier John Bryant carrying ammunition along jungle trailpainting, soldier, john bryant -
National Wool Museum
Print, Chris McClelland, Shearing the Rams – Tuppal Station, 210
Chris was invited to be artist in resident for the historic re-enactment of “Shearing the Rams” at the North Tuppal Station woolshed held on the 4th and 5th June 2010. The celebration attracted record crowds to witness the shearing of the station rams by 72 blade shearers. Over a single weekend in 2010, thousands of people queued for hours to see a piece of Australian history recreated at North Tuppal Station near Tocumwal, NSW. In 1900, Francis Faulkner invested a staggering £4000 to extend his shearing shed on Tuppal Station, making it the biggest in the country. Over the next decade more than three million sheep trod its pine boards and were shorn in its 72 stands. After years of drought and the Great Depression, the property fell into disrepair and the station was split up. When North Tuppal Station was sold to the Atkinson family in 1928, just five of the 72 stands were in operation. In 2010, Sport Shear Australia approached the Atkinson family about holding an event in the historic shearing shed to raise money for a team of Australian shearers to go to the world shearing title in Wales. An army of volunteers restored the T-shaped shed and yards and organised a weekend of events. Over two days, 6,000 sheep were shorn and all 72 stands of the restored North Tuppal shed were brought back to life. A total of 117 shearers shared the boards with 90 wool handlers who skirted 19 fleeces every minute. For a period on each day of this historic weekend, the machines were then silenced, and 72 shearers picked up their old blade shears to recreate past shearing methods. “When they fired up and got the blades out there was deathly silence on the board - you could hear a pin drop because normal shearing you have all the machines and it is quite noisy. Here you could just hear the click, like in the song Click Go the Shears Boys. People had tears in their eyes. It was quite an emotional thing to see that and very proud to be here.” George Falkiner, grandson of Francis FalkinerColoured framed print of shearing scene in the Tuppal station, Ferrrier’s wool press on the left-hand side and station on the top. Print in framed in a light-coloured wooden frame with white coloured matte.Under artwork - In 1891 Tuppal Station, a sum of 176,000 acres threshold, was bought by Mr Fiane Sadlies Falkines, Under the management of his eldest son F.B.S. Falkines, the 72 stand woolshed was build in 1900 and powered by a 16 horsepower steam engine. Sheep were pure Boonoke blood and the average numbers of sheep shorn over nineteen years to 1909 was 152,780. Around 7200 sheep could be shorn daily. The largest clip totalled 3326 baled of greasy and scoured wool and was sold in London. Bottom right corner - Chris McClelland 181/720 Shearing The Rams – Tuppal Station -
Bendigo Military Museum
Print - PHOTOGRAPH, FRAMED, SMIMM 2011
Albert VIctor Grinton No 5024 enlisted in the 21st reinforcements 13th Batt AIF on 21.1.16 age 18 years. When he got to England he transferred to the 38th Batt to be with his brother Jack. Embarked for France 22,11,1916, WIA 28.5.1917 SW Face, rejoin unit 19.6.1917, WIA 12.10.1917, rejoin unit 10.5.1918, promoted CPL 3.9.1918, hospital 14.9.1918 Nasal Obstruction, rejoin unit 3.10.1918, promoted Sgt 7.10.1918. He was awarded the Distinguished Conduct Medal for actions near Clery on 31.8.18. John William Grinton enlisted in C Coy 38th Batt AIF on 3.2.16 age 23 years. Both became Sergeants and both were WIA twice. They came home together on the same boat. Part of the Grinton collection which included hundreds of negatives and developed photos taken by Jack during the War. Refer 1280 for Jacks full service records also 1317P, 1319.3.A4 size B & W copy of the original photo. The frame is black. On the left is Albert Grinton "DCM" and on the right Jack Grinton. The original was taken in England in 1916.photographs, military, ww1 -
Tramways/East Melbourne RSL Sub Branch - RSL Victoria Listing id: 27511
Print - Black and White pencil, hand drawn, MEDCAP, Uruzgan, Afganistan, 2010
The artist is currently a member of the Tramways / East Melbourne RSL, and has donated these prints himself. Framed print of the image created by 'Andrew Archibald'. Print is signed by the artist and editioned as 11/ 100. Image shows a young child receiving medical attention in AfghanistanPlate states 'Donated by Craig Horne' andrew archibald, afghanistan, medcap, children, medical treatment, doctors, artworks, war -
Federation University Art Collection
Painting - Artwork, Decker, Roshelle, 'Repulsion' by Rochelle Decker, 2000
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.Black background with an abstract image of a crying face and hands in a blend of red, orange and yellow. art, artwork, rochelle decker, school of human movement, alumni, available -
Bendigo Art Gallery
Painting, Victor MAJZNER, Modern Room, 1983
l.r; V MAJZNER 83painting, australian artist, abstract, surreal, interior, window, chair, colourful