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Artwork, other (1266)
Ceramic (766)
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Mixed media (518)
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Print (1658)
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Work on paper (2052)
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National Vietnam Veterans Museum (NVVM)
Painting, Search And Destroy Mission
an original painting of two soldiers and a tank in front of a building that has been destroyed. Lots of grass and trees also in the paintingpainting, vietnam lest we forget, soldiers -
National Wool Museum
Textile - McGregors Yarn, J.L. McGregor Pty Ltd, c.1988
The yarn was made in Geelong in the late 1980's or early 1990's by local woolen manufacturer J.L. McGregor Pty Ltd. The company closed in the early 1990s. The McGregor family still live in the Geelong area.A ball of grey yarn, 50% wool and 50% acrylic with a plastic label surrounding the wool with the product details.On Label: McGregors 50 Grams at standard condition 50% Wool 50% Flame resistant Acrylic Below Logo: Wool and Nu Acrylicwool, j.l. mcgregor pty ltd, yarn, geelong wool, geelong, geelong woollen mills -
Orbost & District Historical Society
Painting, Miss Dawson, late 19th century
Anne Dawson was a sister of Mrs Wally Gibbs and Mrs Alan Richardson. She was an aunt of the Slatters.This item has aesthetic significance and demonstrates the skill and craftmanship of the women of the earlt settler families.Fan-shaped oil painting on tin. Olive green background with 8 colourful flowers on front - 1 yellow,2 red with white tips, 1 dark red, 4 white and 1 variegated apricot. tin-painting art-craft -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on canvas, Sir Thomas Bent, 1909
Artist unknown, Sir Thomas Bent 1909, oil on canvas, 29.5 x 24.5 cm. Bayside City Council Art and Heritage Collection.sir thomas bent, mayor, policitian, portrait, brighton, speaker, premier, councillor, land speculator, local government, member of lower house, mayor of brighton, premier of victoria -
Kew Historical Society Inc
Textile - Bicentennial tapestry, 3. East Kew State School, 1988
This is one of eight embroidered panels, completed during the 1988 Australian Bi-Centennial, and carried out under the auspices of City of Kew Council and the Kew Historical Society. Nearly 600 residents, including many children, participated in their production by adding a few or more stitches. A book records their names and the panels upon which they worked. Artist: Joy Stewart / Co-ordinator: Dorothy Benyei.3. East Kew State School. A framed embroidery created by adults and children of the City of Kew as a Bicentennial project, based on a design by the artist Joy Stewart. Five of the six completed embroideries created in the project are/were displayed in the Kew Library. [The five embroidered panels have now been temporarily removed for conservation reasons].Inscription: "EAST KEW STATE SCHOOL / Typical country school attended by children from surrounding farms and market gardens." Embroidered signature of the artist: "(c) JStewart, 1988"bicentennial project (kew), joy stewart, charles grimes expedition, australian bicentennial -
Flagstaff Hill Maritime Museum and Village
Textile - Doily, Mary Jane Giles (Mrs Harry Giles), Late 19th to Early 20th Century
This doily 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.Doily, made of very fine lace, white. From the Giles Collection.Nonewarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, doily, haberdashery, manchester, linen, giles collection, henry giles, tower hill, cooramook, mailor’s flat, wangoom, 19th century household goods -
Bendigo Historical Society Inc.
Painting - PAINTING OF W.C. VAHLAND
Oil painting, in ornate gold frame, of W.C. Vahland. On bottom of frame is a brass plaque on which is engraved written 'W.C. Vahland, Pioneer Bendigo Architect' Painting by Ruth Ellis. Donated to BHS by Licensee of Shamrock Hotel. Given to Jim Evans. No paperwork. The painting was originally hanging in the Shamrock Hotel. Deframed -
Queenscliffe Maritime Museum
Painting - Framed Painting, Sailing Ship 'Kosciusko'
Pall Mall Gazette, 6 April 1866 One day early in December between the hours of 5.44 and 6.15 A.M., four first-class ships, the Roxburgh Castle, the Sarah Grice, the Kosciusko, and the Omar Pasha, laden with wool and gold, left Port Phillip on a race for England. There was heavy betting on the result, the Omar Pasha being favourite. These vessels have now reached their destination, and it is interesting to note the respective length of their passages. The Omar Pasha arrived in the Downs on the 14th of February, seventy-two days; the Kosciusko on the 23rd, eighty-one days; the Roxburgh Castle on the 7th of March, one hundred and eleven days. The first and second vessels are Aberdeen built vessels, and belong to Messrs. George Thompson, junr., and Co.One of several clippers trading from Port PhillipFramed print of Aberdeen Clipper Ship 'Kosciusko', 1,300 tonsAberdeen Clipper Ship 'Kosciusko' 1300 tons, Charles Stuart Commander Messrs. Geo. Thompson, Jun and Co. ownersaberdeen clippers, trade from port phillip -
Gippsland Art Gallery
Painting, Unknown Artist, Untitled, Undated
Donated from the estate of John Leslie OBE, 2017Oil on boardgippsland, artwork, permanent collection -
Federation University Art Collection
Painting - Oil, et al, [The Green Vase] by David Strachan, c1948
David STRACHAN (1919–1970) Born 25 June 1919 at Salisbury, Wiltshire, England Arrived 1920 Adelaide, Australia: 1921 Creswick, Victoria David Strachan attended Creswick State School and Geelong Church of England Grammar school. By the age of 16 he wanted to be an artist. Accompanying his mother to London in 1936, he enrolled at the Slade School of Fine Art, where he met Godfrey Miller. In 1937 he attended the Académie de la Grande Chaumière, Paris, and painted at Cassis on the Mediterranean Sea. He returned to Australia in April 1938 and studied at the George Bell School, Melbourne. He had a growing interest in classicism blended with a fascination for the dream-state which was reinforced in his work after he moved to Sydney in 1941. There he was befriended by Jean Bellette and her husband Paul Haefliger, who were to be driving forces behind the Sydney Art Group (founded 1945). He lived on the top floor of the Haefligers' house at Double Bay, and together the three artists drew from models whom the Haefligers hired. In this period Strachan painted and exhibited some of his most poetic works—mainly figurative and landscape subjects, and still-lifes of haunting beauty. His flowers, bowls of fruit, birds, and angelic figures glimmered out of the darkness as things not of this world, evoked faintly, like mythological personages in a gently spoken narrative. He 'spent an erratic war' painting camouflage at Bankstown aerodrome with other artists, among them (Sir) William Dobell, and dancing minor roles with Hélène Kirsova's ballet company. In 1948 Strachan settled in Paris. His paintings, included by Peter Bellew in an exhibition at the Musée National d'Art Moderne, had been well-received by French critics two years earlier. In 1950 he began tentative experiments in etching. These led to the formation of the Stramur-Presse, a business venture which published etchings and lithographs of leading French and English artists. His most important project was a series of twenty-two colour etchings illustrating Alister Kershaw's book of poems, Accent & Hazard (Paris, 1951). Strachan continued to exhibit in Australia and maintained a lively social life with Australian friends. From Paris, he went for weekend painting trips with Moya Dyring in her car and, after 1957, visited the Haefligers on Majorca. He lived in London in 1955-57. His paintings became progressively less soft in effect, his palette brightened, and his forms, especially the still-lifes, became spikier. In the late 1950s his attention drifted towards the study of Hindu philosophers and Jungian psychology. For most of 1957-58 he was enrolled at the C. G. Jung-Institut, Zürich, Switzerland. In 1959 he worked in Silvio Daneo's silkworm factory at Bricherasio, Italy. In May 1960 Strachan returned to Sydney. He lived at Woolloomooloo before buying a house at Paddington in 1963. Over the ensuing years he involved himself energetically with the art scene, exhibiting, teaching (1960-65) at East Sydney Technical College, fund-raising for memorials for Thea Proctor and Dyring, and as the last president (1965) of the Society of Artists. His paintings were out of harmony with the prevailing fashion for abstraction, but he won the Wynne prize for landscape painting in 1961 and 1964 (shared). Perhaps the most moving works of Strachan's last ten years were the mining landscapes, including those he painted near Hill End, leading up to his vast canvas, 'Lewers Freehold Mine'. This was a history picture, depicting the mine as it might have appeared in 1874. He presented it to the Creswick Historical Museum in 1970 in memory of his father. (Barry Pearce, 'Strachan, David Edgar (1919–1970)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/strachan-david-edgar-11786/text21083, published first in hardcopy 2002, accessed online 6 January 2016.) This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed still lifefeaturing fruit and flowers.art, artwork, strachan, david strachan, still life, flowers, flora, available -
Flagstaff Hill Maritime Museum and Village
Ceramic - Stoneware Bottle, 1890-1940
Stoneware is a rather broad term for pottery or other ceramics that is fired at a relatively high temperature. A modern technical definition is a vitreous or semi-vitreous ceramic made primarily from stoneware clay or non-refractory fire clay. Whether vitrified or not, it is non-porous, it may or may not be glazed. Historically, across the world, it has been developed after earthenware and before porcelain and has often been used for high-quality as well as utilitarian wares. As a rough guide, modern earthen wares are normally fired in a kiln at temperatures in the range of about 1,000°C (1,830 °F) to 1,200 °C (2,190 °F); stoneware's at between about 1,100 °C (2,010 °F) to 1,300 °C (2,370 °F); and porcelains at between about 1,200 °C (2,190 °F) to 1,400 °C (2,550 °F). Historically, reaching high temperatures was a long-lasting challenge, and temperatures somewhat below these were used for a long time. Earthenware can be fired effectively as low as 600°C, achievable in primitive pit firing, but 800 °C was more typical. Stoneware also needs certain types of clays, more specific than those able to make earthenware, but can be made from a much wider range than porcelain. A domestic item used to store food products as glazing makes the container non-porous, often used for pickling. Or larger containers for kitchen flour. Items age is difficult to determine given the same techniques for making stoneware are in use today. Stoneware containers were made by many potteries in Australia and England. They were in common domestic use before plastics were invented around 1940 to store goods so this subject item is probably from around 1900 to the 1940s.Item's significance is difficult to determine given it is not associated with a place, person, historic event, or manufacturer. Its significance lies with its use as a domestic object giving today a view into our social past.Brown salt glaze stoneware bottle None (possibly made by Royal Doulton UK)flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, flagstaff hill maritime village, great ocean road, bottle, stoneware bottle, storage, kitchen ware, salt glazed, stoneware, shipwreck coast -
Bendigo Historical Society Inc.
Textile - FLOUR BAG COLLECTION: CALICO UTILITY BAG, 1900-1950
Textiles. Calico utility bag made of four 25 lb flour bags. Flour bags have been unstitched, flattened and joined together to make a larger utility bag with top opening. Bags- Anchor, Thomas Bros, Jeffs Bros X 2.textiles, domestic, calico utility bag -
Bendigo Historical Society Inc.
Painting - JOHN HALL COLLECTION: NEW CHUM MINE
Watercolour by John Hall, in gold timber frame, cream mount board. Painting shows the New Chum Mine site. In foreground, open shaft with timber supports, in background mining chimneys and poppet head.John Hall, Eaglehawkbendigo, mining, new chum mine -
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, Ovate in shape. White fabric embroidered with a brown bowl with blue and pink flowers and trimmed with crocheted edge. 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 -
Federation University Art Collection
Painting - Artwork - Painting, Tully, Alison, [Untitled] by Allison Tully, 2002
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.If you can provide information on this artist or artwork please use the email link below.art, artwork, horsham campus art collection, alison tully, allison tully -
Federation University Art Collection
Painting - Gouache, Gude, Gilda, 'Nestle's Malted Milk' by Gilda Gude, c1935
Gilda Gude was a student at the Ballarat Technical Art School during the 1930s. She is the sister of Nornie Gude. This item is part of the Federation University Art Collection. The Art Collection features over 3000 works and was listed as a 'Ballarat Treasure' in 2007.Framed gouache poster showing a woman holding a glass of milk behind a tin of Nestle's Malted Milk powder.posters, art, artwork, gilda gude, nestle, ballarat technical art school, available -
Federation University Art Collection
Painting - Artwork, [Untitled]
artwork, artist, gippsland campus, churchill -
Falls Creek Historical Society
Painting - Lunchtime at Falls Creek 1954
One of a series of watercolour paintings by Gordon SmithThis painting is significant as it depicts an important historic building at Falls Creek,A framed copy of a watercolour painting showing skis and poles int the snow in the foreground and St. Elmo's Tow House at Falls CreekBelow painting:- Lunchtime at Falls Creek 1954 Gordon Smithgordon smith, nissen tow, st. elmo -
National Wool Museum
Textile - Quilt, Judith Oke et al, Isolation Quilt, 2020-2021
In 2020 during the period of lockdown due to COVID the National Wool Museum asked their volunteers to make and donate blocks made from a variety of materials found in their homes, for an ISO quilt. The NWM reached out to the patchwork and quilter community to find a local quilter to sew the donated blocks together. The quilt is sewn together and quilted by Judith Oke, 2020-2021. Judith is a local patchwork and quilter and a member of Geelong Patchwork & Quilters Guild. Through the process she was inspired by the tradition of wagga quilts, where bits and pieces are stitched together, sometimes lined with whatever the sewer found available, such as clothing and sacking, to provide warmth. In construction of the finished quilt the challenge was combining 10 inch blocks made from a variety of materials, with uneven sizing. The aim was to combine these very different blocks into a harmonious whole. To this end a light and dark pattern was planned, with the blocks to be sewn onto a blanket. The choice to layer the blocks over each other, rather than sew an even seam was aimed at emphasizing the make do nature of these ISO blocks. Due to the weight of the blanket a decision was made to sew the blocks onto a base before the whole was stitched onto the blanket. The blanket was sourced from NWM donations. The rich, red of the blanket provides a bright, warm background for the colourful squares. Some of the light weight blocks were backed with iron-on interfacing to strengthen them for sewing. The edges of two of the woven squares were blanket stitched with knitting wool. The 10 inch donated blocks/squares were machine sewn to a cotton sheet base, with liberal use of blanket stitching, as the blanket was too heavy to sew the blocks directly onto the blanket. The base with squares was then machine sewn onto the red blanket backing.Various multi coloured and designed patchwork squares sewn onto a red woollen blanket. isolation, covid, quilt, wool -
Horsham Regional Art Gallery
Painting, Phyl WATERHOUSE, In the studio, n.d
Mack Jost Bequest, 2001oil on board -
Bialik College
Mixed media (Item) - 1996-1999 Performing and Visual Arts mixed media
Bialik College students perform in theatre and musical productions annually. This box contains photographs, ticket stubs, floppy discs, student sheets, regarding the following plays and events: Charlie and the Chocolate Factory (1996), Bye Bye Birdie Camp (1997), Bye Bye Birdie cast and performance (1997), West Side Story (1998), The Family Tree Play photographs and scripts (1998), Photographs from the announcement of West Side Story (1997-8), and Year 4,5,6 Production (1999). For information regarding access or permissions concerning these records please contact the archive at [email protected] and performing arts, theatre, bialik college -
Horsham Regional Art Gallery
Painting, Jon CAMPBELL, Backyard, 2007
Purchased through the Horsham Art Gallery Trust Fund with the assistance of the Mack Jost Bequest, 2010 -
Castlemaine Art Museum
Painting, John Longstaff, Moonlight after Rain, Belle-Ile, 1890
Purchased 1940 -
Glenelg Shire Council Cultural Collection
Mixed media - Oral History Interview - Borthwick's, Ian Cook Interview - Borthwick's, c. 2014
DVD - unedited. Interview with Ian Cook. unedited interviews with former Borthwicks workers. These interviews appear in the DVD on Borthwicks, launched 5 DEC 2014. Interviews conducted by Gary Kerr and filmed by Noel Waugh.oral history, borthwicks employees, industry -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Banksia Tree Cloak (water and fire business), 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future).The sacred banksia tree was a favourite for Wadawurrung people. Flowering before deep Winter, the banksia was used for spear making and other wooden tools. The sap was drunk as a sweet drink and the seed pods used for water straining and fire sticks. The banksia tree flowers at the time when fire sticks farming is practiced marking the days before the coldest days and nights and the hotter days.White, orange, and yellow banksia design on outer cloak, yellow and white circle and diamond design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak -
National Vietnam Veterans Museum (NVVM)
Painting
An original coloured painting by C J V Cummings of a RAN ship D38 with a junk in the foreground. there are two large splashes of water. One behind the ship and one in front of the ship. Bottom left of the painting is the signature of the artist.painting, cerberus collection, ran -
Kew Historical Society Inc
Painting - Annie Halfey, c.1882
Annie Halfey (nee Marston) was the daughter of Carlington George E. Marston, a chemist of Smith Street, Collingwood. Marston had extensively speculated on land in Kew and in this way had made his money. Marston was the owner of 'Wimba' in Cotham Road, having purchased the house in 1879. Annie Marston married the eminent Victorian pioneer John Halfey, and together they made their home at Ordsall (later Southesk) in Cotham Road, Kew. She died in March 1909. (Rogers, 1973).Donated by Eileen Grigg, 2017Small, full-length portrait of Annie [Mrs. John] Halfey ( -1909) in an original gilded frame. Annie Halfey is depicted in a high necked black dress with a silver brooch at her throat. She stands in a room by an open window. The detailing of the face is highly rendered by the artist/s.annie halfey, john halfey, ordsall, marston -
Gippsland Art Gallery
Ceramic, Rye, Owen, Round White Jar, 2011
Purchased, 2017gippsland, artwork, permanent collection -
Darebin Art Collection
Painting - Adam Nudelman, Adam Nudelman, Towards Reconciliation, 2003
cartoon puppets, giant shoes -
Federation University Art Collection
Painting, Robert Jenyns, [Red Truck] by Bob Jenyns, c2008
Robert JENYNS (1944- 16/11/2015) Born Melbourne, Victoria Bob Jenyns' career spanned over four decades. Producing sculptures, prints, drawings, and paintings hee has participated in many of Australia's most significant art exhibitions including the first Biennale of Sydney (1973), the 1973, 1975 and 1978 Mildura Sculpture Triennials, the 1981 Australian Perspecta, the 2nd Australian Sculpture Biennale, and the 1990 Sculpture Triennial. Jenyns was a finalist in the 2006 Helen Lempriere National Sculpture Award, and in 2007 won the award with his work Pont de l'archeveche. Painting of a red truck painted onto a stretched canvas.truck, bob jenyns, robert jenyns, transport, available