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Artwork, other (1312)
Ceramic (770)
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Print (1673)
Sculpture (407)
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Work on paper (2111)
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Gippsland Art Gallery
Painting, Rogers, Muriel, Untitled, 1974
Donated from the estate of John Leslie OBE, 2017Oil on boardgippsland, artwork, permanent collection -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on canvas, Elizabeth Prior, Passage - Dandenongs, 1974
landscape, dandenongs, trees, ferns, hill, vegetation, elizabeth prior -
Gippsland Art Gallery
Painting, Huntington, Isabel, Composition with Lilliums, c.1970
Donated by the artist, 1970Watercolour on papergippsland, artwork, permanent collection -
Darebin Art Collection
Painting - Dorca Charles Sewell, Dorca Charles Sewell, Ships in Sail, c. 1970s
ships, marine studies -
Bialik College
Textile - Rabbi and children tapestry 1981
Created in 1981A framed tapestry showing a rabbi and young boys studying.Label is indistinct, but states: from Mr & Mrs J ---- Tapestry by Mrs ---Eutzerstudying, judaism, bialik college, 1980s -
Wangaratta Art Gallery
Painting, Ailsa Seargent, The Junction, 1969
Rural City of Wangaratta Collection.A rural river landscape painted in blues, greens and browns.wangaratta art gallery, ailsa seargent, painting, landscape, river -
Australian Lace Guild - Victorian Branch
Textile - Milanese lace, 1700-1750
Use: Domestic. Household trimmingBobbin lace edging -
Bendigo Historical Society Inc.
Textile - FLOUR BAG COLLECTION: ROBERT HARPER AND COMPANY, 1900-1950
Textiles. Calico flour bag printed on one side in red and blue''EMPIRE SELF RAISING FLOUR 25 lbs nett weight. Contains phosphate Baking Powder. Robert Harper & Company Incorporated Victoria, Australia''. In the background is a lighthouse with three beams of light extending from each side. Printed on the light beams- ''LIGHT BREAD, LIGHT PASTRY, LIGHT PUDDINGS, LIGHT LABOUR, LIGHT HEARTS, LIGHT HOMES''. Robert Harper (1842-1919), businessman and politician, was born in Scotland. He migrated to Melbourne with his family in August 1856. He worked for J.F.McKenzie & Co., roasting and grinding millers. In 1865 he established Robert Harper & Co., trading in tea, coffee and spices from the East Indies and later in oatmeal and flour.textiles, domestic, robert harper & co flour bag -
Ararat Gallery TAMA
Textile, Frances Burke, Shields (pair of curtains), 1965
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. -
Benalla Art Gallery
Painting, E. Phillips FOX, Spring blossoms, Not dated
Born: Fitzroy, Victoria, Australia 1865; Lived and worked: France and England 1887-1892, France 1901-1913; Died: Melbourne, Victoria, Australia 1915ImpressionismMajor Basil MacNay Bequest, Gift of Arts Victoria, 1998Oil on wood panel depicting pink spring blossoms in a field. Carved gold brushed timber frameRecto: Signed "E. Phillips Fox" in purple oil in l.l.c of composition; Not dated; Not titledpaiting, landscape, garden, trees, cherry blossom, fence, impressionist -
Whitehorse Historical Society Inc.
Painting
Painting was found in hard rubbish collection in Myrtle Grove Blackburn and given to Simon CleggSmall water colour painting of 36 The Avenue Blackburn in a white square frame. There is a white timber fence in the foreground, with many trees green brown and yellow with a building amongst them. Painting signed E.PerepE Perep- 36 the Avenue prior to extensionhandcrafts, hand painted -
Australian Lace Guild - Victorian Branch
Textile - Machine Muslin appliqué lace, 1850-1900
Use: Domestic. FashionMachine lace bonnet veil -
Wangaratta Art Gallery
Textile, Tim Gresham, Ripple in Aqua, 2012
Wangaratta Art Gallery Collection. Acquired with the assistance of The Robert Salzer Foundation.A small tapestry featuring dark blue and white rippling lines on a light blue and aqua background.tim gresham, tapestry, weaving, textile -
University of Melbourne, Burnley Campus Archives
Painting - Paintings
2 paintings in watercolour of similar scenes."three" handwritten on both copies. -
Swan Hill Regional Art Gallery
Painting, KEATS, Julianna Louise, Room with iris, 1978
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National Wool Museum
Textile - Blanket, Laconia Woollen Mills
Collector says: It was always satisfying to reunite matching blankets. One of these was acquired from a garage sale in Castlemaine and the other from The Mill Market in Daylesford.Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Double sized blanket, cream with salmon stripesThe Laconia Blanket/Guaranteed Odorless and Free From Filling/Made in Australia/Wool 70% Cotton 30%wool, blanket, blanket fever, laconia, cotton -
Federation University Art Collection
Painting - poster, Don Refshauge, Victorian Centenary Band Contest (Ballarat), 1934
Donald REFSHAUGE (1912-1952) A Senior Technical Scholarship recipient, Donald Hamilton Refshauge studied Commercial Art between 1929 and 1935. He was a highly successful student, winning multiple prizes at competition. His father, John Henry (Johann Heinrich) Refshauge, was headmaster at the Ballarat Agricultural High School. Donald Refshauge worked as a commercial artist near Ballarat, until he moved to Hamilton with his aging mother, Donella, in 1949. Sadly, within three years he died, aged 40. His probate notice labelled him a ‘retired farmer’. 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.Commercial artFramed original poster by Don Refshauge of the Ballarat Technical Art School. In the 1936 Ballarat School of Mines Annual Report it was stated: "It is my pleasure to report a most successful year in the Technical Art School. I the Annual Poster Competition for Technical Schools, organised by Wiltshires Pty Limited, 16 prized valued at 33 pounds 8 shillings - out of 23 prizes valued at 56 pounds - were won by our students.art, artwork, don refshauge, brass band, ballarat, competition, ballarat town hall, uniform, south street, south street competitions, donald refshauge, boer war memorial, coats of arms, band contest, available -
Ararat Gallery TAMA
Textile, Frances Burke, The Hunter (place mat), 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. -
Swan Hill Regional Art Gallery
Painting, JACK, Kenneth William, P.S. Oscar W towing P.S. Gem to Swan Hill, 1968
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National Wool Museum
Textile - Quilt, Harry Walter Hewitt Wilton, 1885 - 1915
The quilt, alternatively known as a wagga due to its improvised nature of creation, was made by Harry Walter Hewitt Wilton (great grandfather of donor), b.1872, d.1950. Harry joined the Essex Regiment and served in the British Military in India, as well as seeing action in the Boer War. Married wife Mary Elizabeth in India in 1895, she was a seamstress. Harry was injured during a battle and made this quilt as part of his rehabilitation. Quilt was made using woolen army singlets. Harry and Mary moved to Victoria, near Orbost, in 1914. Patchwork style quilt with coloured pieces of dyed woolen singlets stitched together over a backing. Features feather stitching between pieces and around border edges. Size of a double bed.wagga, harry walter hewitt wilton -
Flagstaff Hill Maritime Museum and Village
Textile - Bedspread, Vera and Aurelia Giles, 1880+
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.Bedspread, double bed size, white self-embossed floral pattern.warrnambool, flagstaff-hill-maritime-museum, giles collection, henry giles, tower hill, cooramook, mailor’s flat, vera & aurelin giles, bedspread, double bed bedspread, bed linen, quilt, embossed cotton -
Vision Australia
Painting - Artwork, Portrait of Thomas Marks, 2001
Framed portrait of Thomas Marks who was President of the Association for the Advancement of the Blind 1900, 1935-1937. It is part of a series of paintings commissioned by the VAF Board to commemorate the work of past presidents of the organisation. Mr Marks sits at a table, wearing black tails and pants, a white pleated dinner shirt and black evening dress bow-tie. One hand rests next to a cup and saucer, the other rests on his lap. Tom Marks was educated at the Royal Victorian Institute for the Blind. He was a founding member of the Association for the Advancement of the Blind (now Vision Australia) at its establishment in 1895. He went on to serve as President of organisation in 1900 and was later appointed as a part time paid secretary – an office he occupied from 1904 to 1927. He again served as President from 1935 to 1937 during which time he celebrated his 80th birthday. As the living conditions of many blind people were deplorable at this time – they were often confined to a room or shed without any social contacts – it was realized that support for blind persons was needed to serve as a refuge for the oppressed, a home for the indigent, a rest home for the sick and a convalescent home to provide both respite care and permanent accommodation. Mr Marks had a reputiation of having good contacts and being able to use people with more knowledge than himself. An able musician, Tom Marks was often employed in the homes of wealthy families. As a result he met Mr and Mrs Grimwade who were already supporters of Vision Australia. They organized a gymkhana to raise money for the nucleus of a building fund. From this time Tom Marks was involved in the finances of the centres at Brighton, Ballarat and Bendigo, which were the ultimate result of the fund. He was also part of a team that negotiated the financial agreement between the RVIB and Vision Australia over fund raising and the allocation of money, which lasted from 1930 to 1939. 1 art original in gold frameThe plaque at the base of the painting reads 'Mr Thomas Marks / President 1900, 1935-1937/ Association for Advancement of the Blind'. association for the advancement of the blind, thomas marks -
Bendigo Military Museum
Painting - ANZAC 100 YEARS, Bret Belot, 2014/2015
This oil painting by Bret Belot was an initiative of his to put something on canvas to celebrate the centenary of ANZAC in 2015. The images depicted on the painting are mostly from the collection of the Bendigo Military Museum in the Soldiers Memorial Institute Pall Mall Bendigo. Some of the figures are Brothers Jack Grinton & Bert Grinton DCM, Bill Durward 38th Bn, the Wright Brothers, Albert Jacka VC, MC and Howard, Poliness & DeAraugo who volunteered to go with Jacka when he won the VC, 38th BN men in Dog Trench, graves of 38th Bn soldiers, a letter written home about the Armentieres raid in 1917 by Robert Suggett 38th Bn. The painting was first unveiled at the Bendigo District RSL Sub Branch Inc pre ANZAC Day 2015. It is now on display in the Foyer of the Bendigo Military Museum.Painting oil on canvas, with numerous images from WW1 covering various aspects of the Great War.“Bret Belot”brsl, smirsl, painting, 2015 -
City of Whittlesea Art Collection
Painting - Watercolour & gouache on Fabriano paper mounted on board, John Borrack, Cravens Road, Mernda, 1987
“Like "Red Gums, Hunters Lane", this painting is a deliberate attempt to infuse some new qualities into my work of that period, particularly in the painting of local subject matter. The heightened chroma and simplification of forms accentuated by a more rhythmic quality, endow the picture with a decorative characteristic which places it outside the category of the picturesque. Such colour harmonies, despite the heightened intensities, particularly in the road, do nevertheless exist, and it is the artist's prerogative to select and emphasize these certain qualities in his quest for expression. Unlike oil painting, watercolour and gouache can be unforgiving media, and once a commitment is made to the initial marks and washes on the paper, one must employ a certain deftness of touch to develop the work and retain the initial freshness. Some technical planning before painting is essential.” John BorrackPart of the John and Gillian Borrack Federation Bequest, donated to the City of Whittlesea in December 2001 by Gillian and John BorrackJohn Borrackmernda -
Gippsland Art Gallery
Painting, Markham, Arthur, Untitled, c.1970s-80s
Donated, 1983Watercolour on papergippsland, artwork, permanent collection -
Swan Hill Regional Art Gallery
Painting, CANTRILL, Ivor, Vancouver Flower Market, 1981
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Federation University Art Collection
Painting, "Tiger, Tiger" by Leslie Dumbrell, 1994
Leslie DUMBRELL (1941- ) LEslie Dumbrell was a pioneer of geometric abstraction in Australia. After completing a Diploma of Art (Painting) at the Royal Melbourne Institute of Technology (RMIT) in Melbourne in 1962, Leslie Dumbrell adopted the international style of colour field and hard-edged abstraction. She taught alongside Peter Booth, James Doolin and Alun Leech-Jones at RMIT and Prahran College of Advanced Education. In 1966 Dumbrell was appointed to the Prahran College of Advanced Education teacing with Alan Leach-Jones and Jim Doolin. 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 painted canvas.art, artwork, dumbrell, hard-edged abstraction, colour field, leslie dumbrell -
City of Whittlesea Art Collection
Painting - Oil on canvas, Bashar Gibraeel Yousif, The Lord's Prayer
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Flagstaff Hill Maritime Museum and Village
Textile - Sideboard Cover, Mary Jane Giles (Mrs Harry Giles), Late 19th to Early 20th Century
This cot cover is one of 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 Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940.The Giles family collection is of social significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it’s establishment. But the Giles collection also gives us today a snapshot into what domestic life was like in early colonial times prior to Federation.Sideboard cover, white with crocheted lace on three sides.Nonewarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sideboard cover, giles collection, henry giles, tower hill, cooramook, mailor’s flat, wangoom, 19th century household goods, textile -
Flagstaff Hill Maritime Museum and Village
Textile - Doily, ca 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, round shape, white cotton fabric centre with a crocheted edge of twelve circular shapes. 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, linen, haberdashery