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Artwork, other (1304)
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Painting (2488)
Print (1671)
Sculpture (406)
Textile (1400)
Work on paper (2105)
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Federation University Art Collection
Painting, Proverbs 11 : 14
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.A large painting on canvasart, artwork, painting, landscape -
Ballarat Heritage Services
Painting - Artwork - Painting, Arthur Lindsay, [Landscape] 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 landscape by Arthur Boydarthur lindsay, painting, landscape -
Whitehorse Historical Society Inc.
Textile - Doyley, c1934
Purchased by Valda Arrowsmith on behalf of the Society.Crochet sandwich tray doyley in white cotton. Centenary of Victoria 1834 - 1934 crochet in pattern, fillet type crochet with picot edge.handcrafts, crocheting or crochet work, manchester, table linen -
Ararat Gallery TAMA
Textile, Frances Burke, Goanna, c. early 1950s
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, 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. -
Tatura Irrigation & Wartime Camps Museum
Painting - Painting - Watercolour, Sunset, Tatura Camp 4
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National Wool Museum
Textile - Quilt, India Flint, Red Blanket Wagga, 2008
Created for and entered in the 2008 ‘Expressions: The Wool Quilt Prize’- “The quilts connect us to our past and to our future, by interpreting Australian themes and telling our stories.”- Judy Hooworth, Quilter and Judge of the Prize. Donated to the National Wool Museum after the conclusion of the exhibition.Eucalyptus dyed woolen blanket base with salvaged fabrics hand sewn to create a patchwork effect. The eucalyptus dye has been used to create different tones of brown and red throughout the design with further dyeing used to create leaf imprints on the fabrics. A running stitch has been used to quilt the wagga, the stitching is imperfect, in places tied on the surface of the wagga.On reverse: INDIA FLINT RED BLANKET WAGGAexpressions: the wool quilt prize, quilt, india flint, wagga -
Glenelg Shire Council Cultural Collection
Painting, Elizabeth King, On the Edge, 2004
Exhibited by the artist at the Wood, Wine & Roses Festival, Heywood, 2004.Acrylic paint on canvas depicting birds and fish, water lilies and other vegetation, and stylised designs associated with early settlement of Aboriginal people in the Portland/Glenelg wetland area. Black painted border with white dot pathways, a circle of white dots in each of the four corners. Centre area in blues and greens featuring two birds, painted in black with red and ochre bandings.Front: nil -
Whitehorse Historical Society Inc.
Textile - Sugar Bowl Cover
Circular net sugar bowl cover. Wire frame. Blue crocheted netting holding crystal, blue and white beadsdomestic items, crockery -
Wangaratta Art Gallery
Painting, Ross Paterson, Riverbank Shepparton, 2007
Rural City of Wangaratta Collection, Wangaratta Art Show Grand Winner 2007.A pastoral landscape of cows grazing beside a river, painting with oils in shades of brown, green, yellow, red, and blue.Obverse: Ross Paterson/ (bottom right corner)wangaratta art gallery, ross paterson, landscape, painting, pastoral, riverbank, cows -
Bendigo Historical Society Inc.
Textile - GRAYDON COLLECTION: CALICO COTTON MEAT BAG, 1870-1890
Textiles. Calico cotton meat bag.''K'' embroidered in red cotton near opening. ''MEAT BAG'' written in ink on hem.textiles, domestic, calico cotton meat bag -
Federation University Art Collection
Painting - Artwork, John A. Gardner, [Landscape with Mountains] by John A. Gardner
John Andrew GARDNER (1906-1987) Born Camperdown, Victoria John Gardner studied at the Nataional Gallery School Melbourne. He later travelled with Rex Battarbee through central and eastern Australia. He initially worked as a commercial art before taking up painting full time and became known for painting bush landscape and Aboriginal life in oils. 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 landscape featuring mountains. art, artwork, john comoner, john a. comoner, landscape, mountains, available -
Wangaratta Art Gallery
Painting, Angelo Quabba, Doct J. Colin Angus, 1995
Rural City of Wangaratta CollectionAn portrait of John Colin Angus in his later years sitting in a wooden armchair, painted using oils in a small colour palette of reds, blues, pinks, and yellows.Obverse: A Quabba 95/ (top left corner)wangaratta art gallery, painting, portrait, john colin angus, angelo quabba -
Nillumbik Shire Council
Painting, Frank Werther (b.1922 - d.2010), Near Tibooburra, c. 1995
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National Vietnam Veterans Museum (NVVM)
Painting, Framed Painting
Framed painting of nine RAEME Light Aid detachment troopers leaning on a landrover. An ambulance, landrover is in the backgroundraeme lad -
Mission to Seafarers Victoria
Painting, Dr Larisa (Lara) Bardsley, The Spirit at the Station, 2013
On a drizzly day, viewed from from the beach at Port Melbourne, the Spirit of Tasmania sits waiting for her cargo at Station Pier.Maritime ArtLarge black and white painting depicting the Spirit of Tasmania in Port Melbourne"Greyer than ..."anl maritime art prize, lara bardlsey, 2013, larisa bardsley, spirit of tasmania, port melbourne, station pier, artwork-paintings -
Mont De Lancey
Textile - Antimacassar, Circa 1880
From home of the Late Mrs. Wm Henderson, crochet work possibly made by her mother, Mrs Henry Sebire Snr. Antimacassars were draped on back of lounge chairs to protect the fabric.White rectangular antimacassar crocheted with fringed edges.antimacassars -
Federation University Art Collection
Painting - artwork, [Untitled]
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 abstract mixed media. If you can provide information on this artist or artwork please use the email link below.art, artwork, meg gray, alumni, horsham campus art collection, horsham available -
Australian Lace Guild - Victorian Branch
Textile - Bedfordshire Maltese lace, 1800-1900
Use: Domestic. FashionBobbin lace cap and lappets -
Bendigo Art Gallery
Painting, Lucy Walker, Cactus and Jar, 1884
Signed and dated, l.r., brown oil, "L. Walker 1884". -
Kew Historical Society Inc
Textile - Household Textile, Lace Jug Cover, 1930s
Covers were used in the early 20th century to protect milk and sugar from flying insectsSquare net cover edged with alternate blue and white beads. A central bow is surrounded with a circular pattern at the edges. Beads inserted in crotched edgehandicrafts, food protection, jug covers, bowl cover -
Glenelg Shire Council Cultural Collection
Textile - Banner - Sydney Olympics Torch Relay, n.d
The 2000 Summer Olympics was held in Sydney, Australia. The torch relay was the transferral of the Olympic Flame to Sydney, Australia and this was also part of the build up to the Games. The torch travelled to several island nations in Oceania before beginning an extensive journey around Australia. This included many regional areas including across the Glenelg Shire.Printed banner, shiny fabric, blue with white print and design used in towns across Glenelg Shire where the Olympic torch relay passed throughFront: 'Sydney 2000 Olympics Torch Relay, presented by AMP'olympics, sydney 2000, torch relay, regional, glenelg shire -
Gippsland Art Gallery
Painting, Piggott, Owen, Spring, 1995-96
Donated from the estate of the artist, 2016Oil on canvas on boardgippsland, artwork, permanent collection -
Darebin Art Collection
Painting - Uncle Ray Thomas, Ray Thomas, Bimba Dowera, 2005
painting -
Port Melbourne Historical & Preservation Society
Painting - Court House Port Melbourne, watercolour by SM, 1985
One of ten framed watercolour paintings of Port Melbourne buildings by 'S.M.' c 1985: 'Court House - Port Melbourne'built environment - civic, built environment - commercial, piers and wharves - town pier, arts and entertainment - visual arts, tony hill, mcclusky and associates - solicitors, 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 -
Gippsland Art Gallery
Painting, Fitzpatrick, Samuel Charles, The Farmyard, 1981
Donated by the artist, 1983Watercolour on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Painting, Fox, Emanuel Phillips, Untitled, c.1892
Donated from the estate of Mary Meyer, 1976Oil on canvasgippsland, artwork, permanent collection -
Darebin Art Collection
Painting - Richard Bell, Richard Bell, Me, c2010
In 'Me Me Dreaming', the series from which this painting comes, Richard Bell explores the relationship between self-identity and society, referencing Emily Kngwarreye’s art through an intentional beauty that encapsulates how collectivism inevitably leads to capitalism in our society. The series’ notable motif of layers “Me, Me, Me,” relates to ideas of self-obsession and consumerism. Bell further plays with perspective, transforming “Me” into “We” at certain angles, highlighting the importance of community alongside individual identity. Contemporary Aboriginal Art -
Ararat Gallery TAMA
Textile, Carole Mules, Women at Lake Buninjon, 2020