Showing 6761 items
matching art
Artwork, other (1260)
Ceramic (763)
Decorative object (703)
Drawing (4604)
Mixed media (514)
Painting (2472)
Print (1654)
Sculpture (401)
Textile (1394)
Work on paper (2040)
-
Camberwell Historical Society
Drawing (series) - Architectural drawing, 4 Stanhope Grove, Camberwell, 1997
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Melton City Libraries
Drawing, The first 100 years of Melton State School 430, 1970
The Melton State School No. 430 built in 1869-70, with the bluestone additions constructed in 1877 and the brick additions in 1924.It is the only remaining nineteenth century school in the Shire of Melton. Sketches were part of preparation for production of Red Book 'The first 100 years'.education, local identities, local significant events -
Moorabbin Air Museum
Drawing (Collection) - Farman Shorthorn technical drawings, Farman Shorthorn Scale Drawings
Farman AircraftSchematic drawings of Farman Shorthorn WW1 fighter -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 10 Zodiac Street, Burwood, 2002
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 52 Great Valley Road, Glen Iris, 1991
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Moorabbin Air Museum
Drawing (Item) - Parts of the Short Magazine "Lee Enfield" rifle with bayonet fixed E11707
-
Moorabbin Air Museum
Drawing (Item) - De Havilland Airscrew hub Drawing
-
Whitehorse Historical Society Inc.
Ceramic - Border Tile
See 359Glazed border tile with black edge and pattern of green, dark orange and cream.'576' 'E6' (on back)ceramics, earthenware -
Latrobe Regional Gallery
Drawing, WRAY, Jennifer, #27 Tree trunk, 1998
Charcoal on paper -
Ararat Gallery TAMA
Textile, Frances Burke, Periwinkle
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. -
Moorabbin Air Museum
Drawing (Item) - RAAF Station Diagram for Jindivik Mk II
-
Federation University Art Collection
Ceramic - Wheel thrown pottery, [Bowl]
Australian Studio CeramicsWheel thrown bowl decorated with glazes. Artist unknown.ceramics, bowl -
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.Cream piece of lace used for demonstration purposes.On display stand ' C. R. Eichhom Plaven I. V.handcrafts, lacemaking -
Gippsland Art Gallery
Ceramic, Shigeo, Shiga, Vase, Undated
Donated by Robert McDougall through the Australian Government Cultural Gifts Program, 2019gippsland, artwork, permanent collection -
Kew Historical Society Inc
Textile, 68 Eglinton Street, Kew, 1980-2000
Framed embroidery, 68 Eglinton Street Kew. Undated. Home of the Bogle family during the First World War. Thomas Bogle Reg No. 479 Church of England, Single, Labourer, Father William Bogle (same address), enlisted 1915 29th Battalion B CompanyNoneSmall framed tapestry of 68 Eglinton Street, a single-fronted weatherboard cottage in Kew.68 EGLINTON STREEThouses - eglinton street - kew (vic), tapestries -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 12 Atkins Avenue, Glen Iris, 1989
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Ararat Gallery TAMA
Textile, Frances Burke, Angel Fish, 1951
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
Ceramic, WORCHESTER, Moonflask, unknown
-
Churchill Island Heritage Farm
Textile - Lace Trim
A broad and luxurious lace this length would be a beautiful trim on a lady’s gown. It appears to be a copy of a Carrickmacross Irish lace where - when handmade - the motifs are embroidered onto a muslin and net sandwich and the excess muslin is cut away. This 142.5cm length however is machine made and was very likely made on a Leavers machine which was another adaptation from John Heathcoat’s machine with the Jacquard patterning device being adapted to it in the 1830s. It was developed by John Levers in Nottingham but the ‘a’ was added to the name for ease of pronunciation in France. The Leavers machine is one of the most versatile of all machines for making patterned lace and Leavers lace was Nottingham’s chief lace product until recently.The Amess family owned Churchill Island from 1872 to 1929Length of lace trim with scalloped edge and straight selvage edge, floral design on net ground. Machine madechurchill island, lace, janet amess lace collection, trim, amess -
Bendigo Historical Society Inc.
Textile - FLOUR BAG COLLECTION: JEFFS BROS LTD, 1900-1950
Textiles. Calico flour bag with brown and yellow printing on one side, '' GOLDEN CRUST SELF RAISING FLOUR'' 6lbs nett. Manufactured and Packed by Jeffs Bros Ltd., Gawler - South Australia.Prepared with Phosphate Aerator''. Includes pictures of a plate of scones and a wheat sheaf. Collection has another sample (very faded) Uncatalogued. In 1933 Jeffs Bros Ltd., millers and grain merchants of Gawler, South Australia, purchased the well-known "Golden Crust and "Sterling'' Self Raising Flour process from North Adelaide.textiles, domestic, jeffs bros ltd calico flour bag -
Moorabbin Air Museum
Drawing (Item) - United Aircraft of Canada Engine Installation (Basic Engine) 3007900
-
Federation University Art Collection
Ceramic - Artwork - Ceramics, Bruce Stewart, Set of Five Salt-glazed Pots, by Bruce Stewart, 1979
Bruce STEWART A Diploma Student in Ceramics at the Gippsland Institute of Advanced Education from 1977 to 1979. Jan Feder is an alumna of Federation University having studied ceramics at the Gippsland Institute of Advanced Education (now Federation University Gippsland campus). Jan Feder was respected by all students for her diligence and technical ability. Her tragic death in 1981 evoked an immediate response from her peers for a memorial. Students discussed a number of memorial options, such as funds for equipment, scholarships and awards. The decision to commence a collection was made based on the idea that all future students could benefit from the availability of a collection, whereas only a very few individuals could benefit from a scholarship. Students immediately set about raising money by selling 'seconds' called 'Junque Sales'. A total of $760.00 was raised and the first two works purchased were by Victor Greenaway and Victoria Howlett. Ceramic works were purchased from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught at the Gippsland Campus. The Artist in Residence Program assisted the collection, with many resident artists contributing to the Collection (ie Robin Welch, Anna Zamorska, Sandy Brown), as well as international guests. Ceramic events such as 'Strzelecki Spotkanie 1984' and 'Woodfire 86' also resulted on major contributions to the collection. Salt-glazed pots. Presented to the Jan Feder Memorial Ceramic Collection by Bruce Stewart jan feder memorial collection, jan feder, ceramics, gippsland campus, artwork, artist, bruce stewart, alumni -
Moorabbin Air Museum
Drawing (Item) - Nomad Special Exterior Scheme N24A N-00-366
-
Mont De Lancey
Textile - Tablecloth
White cotton round tablecloth, with crocheted centre and edges.tablecloths, cloths, table lined, tablewares -
Ballarat Tramway Museum
Drawing - Illustration/s, Andrew Foy, drawing of Ballarat 17, 1972
Demonstrates an artists impression of Ballarat tramways at the time of the closure by the SEC. Prepared for sale by the BTPS.Print of an illustration of Ballarat No. 17 possibly in Wendouree Parade prepared for sale by the Ballarat Tramway Preservation Society (BTPS) by Andrew Foy c1972. Notes on the base of the illustration about the goals of the BTPS, membership and address. Printed on 130gsm embossed buff paper. 2230.1 - printed in red, with copyright notice on rear, signed by Andrew L. Foy and dated 25/1/1972. 2230.2 - printed in black, as above. See Reg Item 8223 for an illustration of No. 40 in the same style.Copy right notice on rear of 2230.1 - photocopied on.trams, tramways, ballarat, illustrations, sketches -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 47 Cotham Road, Kew, 1995
After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c.1983 and c.2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink architectural drawing on drafting film of 47 Cotham Road, Kew by Margaret Picken.47 COTHAM RD., KEW / MARGARET PICKEN ~95 / WOODARDS ~ BALWYNartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 47 cotham road -- kew (vic.) -
Moorabbin Air Museum
Drawing (item) - CAC ,CA -31 COCKPIT DRAWING, CA-31 ?
-
Working Heritage Crown Land Collection
Ceramic - Ceramic shard, Mint ceramic shard
Ceramic shard with glazed white finish -
Ararat Gallery TAMA
Textile, Diana Wood Conroy, What must I do now?, 2013
-
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 84 Disraeli Street, Kew, 2001
After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c.1983 and c.2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink architectural drawing on drafting film of 84 Disraeli Street Kew by Margaret Picken.84 DISRAELI STREET, KEW / MARGARET PICKEN 2001 / WOODARDS ~ HAWTHORNartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 84 disraeli street - kew (vic)