Showing 2374 items matching art
Artwork, other (1199) Ceramic (733) Decorative object (657) Drawing (4541) Mixed media (449) Painting (2340) Print (1641) Sculpture (382) Textile (1009) Work on paper (1982)-
Darebin Art Collection
Print - Victor Majzner, Victor Majzner, Images of Tanya (Chapter 3), 2001
screenprint -
Gippsland Art Gallery
Print, Seidel, Brian, Clifton Hill, Saturday Morning, 1978
Donated from the estate of Patricia Marie White, 2013Etching on papergippsland, artwork, permanent collection -
Federation University Art Collection
Print - Artwork, Ricordi Souvenir Series by Antoinetta Covino-Beehre, 2013
Antoinetta Covino-Beehre A triptych of three framed artworks. One features a kangaroo, one Pinocchio and another a lyrebird.kangaroo, lyrebird, animals, pinocchio, fauna, antoinetta covino-beehre, available -
Latrobe Regional Gallery
Print, PAOLOZZI, Eduardo b. 1924 Scotland d. 2005 London, Elvis, 1995
ScreenprintSigned and dated 'Eduardo Paolozzi 1995' in lower right under printed image. Edition 19/30 in lower left under printed image. -
Federation University Art Collection
Print - Printmaking - Etching, Evans, Lorelle, 'Come With Me' by Lorelle Evans, 1991
Lorelle EVANS Lorelle Evans was a Printmaking student at Ballarat Univeristy College in 1991. 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 limited edition print.art, artwork, lorelle evans, printmaking, evans, etching, ballarat university college, available, available set -
Benalla Art Gallery
Print, Ethel CARRICK, (Houses. Water. Boats), Not dated
Born: Uxbridge, Middlesex, England 1872; Arrived: Melbourne, Victoria, Australia c.1914; Lived and worked: France 1905-1913, Australia: 1908 and 1913, Europe, Middle East and Asia 1916- c.1936; Died: Melbourne, Victoria, Australia 1952ImpressionismMajor Basil MacNay Bequest, Gift of Arts Victoria, 1998Hand-coloured lithograph depicting colourful buildings, boats and figures along shoreline. UnframedRecto: Signed "Carrick Fox" in black pencil in l.l.c of composition; "1/25" in black pencil in l.r.c of compositon; Not dated; Not titledprint, waterscape, boats, houses, bridge, figures, europe, trees, hill, water -
Latrobe Regional Gallery
Print, YOSHIDA, Chizuko b. 1924 Yokohama, Kanagawa Prefecture, Star Dust - Silver, 1992
Colour serigraphSigned and dated 'Chizuko Yoshida '92' in lower right corner under printed image. Edition 5/100, numbered to the left below printed image. -
Bendigo Military Museum
Print - NURSE PRINT, FRAMED, Post WW2
This print was originally hanging in the foyer at the entrance to the Billiard room pre the SMI becoming a Military Museum.A Sister of the Army Nursing Service Maple coloured timber glass front, cardboard back. Coloured print by Ivor Hele with white boarder. Female figure in sitting position in nurses uniform.with steel helmet in left hand. Under the print, “A sister of the Army Nursing service” On label under print. “In Memory of Able Seaman W Haas RAN This print along with the overhead flag display was presented to the Bendigo RSL Sub Branch by Cpl J ROWELL in memory of Able seaman W.HAAS. R.A.N”. brsl, smirsl, ivor hele, nurse -
Flagstaff Hill Maritime Museum and Village
Ceramic - Dish, Johnson Bros, Circa 1883 (very early Mark)
Johnson Brothers were a British tableware manufacturer and exporter that was noted for its early introduction of "semi-porcelain" tableware. It was among the most successful of the Staffordshire potteries which produced tableware, much of it exported from the 1890s through the 1960s. They were also important manufacturers of large bathroom ceramics. The company was founded in 1883, but from 1968 to 2015 it operated as a part of the Wedgwood Group. However, after the Wedgwood Group was acquired by Fiskars in 2015, the production of Johnson Brothers was discontinued. The company's name derives from the names of the company's founders. The four original "Johnson Brothers" were Alfred, Frederick, Henry, and Robert. Their father married the daughter of a master potter, Alfred Meakin. In 1883, Alfred and Frederick Johnson began production at defunct pottery, known as the Charles Street Works, that they had purchased at a bankruptcy sale in Hanley, Stoke-on-Trent. At first, they specialised in the manufacture of durable earthenware, which they called "White Granite". The success of this venture led to rapid expansion. In 1888, the Rev. Henry Johnson joined them, followed ten years later by a fourth brother, Robert Johnson. Having established a solid reputation producing basic "whiteware", the company developed a product known as "semi-porcelain", a range of pottery that had the characteristics of fine china, but the durability of ironstone ware. This kind of tableware soon became very popular in the United States due to its durability and low cost. In 1889, the Hanley pottery was opened, later the Alexander pottery, and in 1891 the Imperial Works Pottery. In 1896, the Trent Sanitary Works was opened for the production of non-tableware products, and Alfred Johnson left the business to establish his pottery. By 1898, Robert Johnson had relocated to New York City to manage Johnson Brothers' rapid expansion into the North American market. An item that gives a snapshot into the emerging market for tableware that was reasonably priced and serviceable. The company produced "whiteware" but the innervation of the pottery line called semi-porcelain changed the industry. This allowed potteries to produce fashionable pottery items that were affordable to all social classes of the time. Bowl white ceramic decorative with floral decoration around lip. On base, "Royal Ironside China, Johnson Bros England" & crest of lion and unicorn flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, bowl, china bowl, lion and unicorn crest, table ware, kitchen ware, white ware, johnson brothers -
Latrobe Regional Gallery
Print, BOYD, Jamie b. 1948, Man in the Bush, Not dated
ScreenprintSigned 'Jamie Boyd' in lower right corner under printed image. Edition A/P in lower left corner under printed image. -
Glenelg Shire Council Cultural Collection
Print - Print - HM Queen Elizabeth II (reproductive), c. 1954
Portrait of Queen Elizabeth II with crown, jewelry, blue sash and short-sleeved floral dress. In heavy wooden frame, gold-coloured.Front: (no inscriptions) Back: (no inscriptions)queen elizabeth ii -
The 5th/6th Battalion Royal Victoria Regiment Historical Collection
Print - Reproduction, framed, The Menin Gate at Midnight
'Menin Gate at midnight' was painted by Will Longstaff to commemorate those soldiers with no marked graves on the Western Front during the First World War; also known as 'Ghosts of Menin Gate'. Longstaff attended a ceremony dedicating the Menin Gate memorial to the soldiers of the British empire forces, just outside the town of Ypres, Belgium, on 24 July 1927. The memorial was dedicated to the 350,000 men of the British and Empire forces who had died in battles around Ypres, and bears the names of 55,000 men with no known grave, over 6,000 of whom were Australians. Longstaff was profoundly moved by what he witnessed and that night, unable to sleep, Longstaff returned to Menin Road and later claimed to have had a vision of spirits of the dead rising out of the soil around him. On returning to his studio in London he painted 'Menin Gate at midnight' in a single session. Today 'Menin Gate at midnight' has achieved the status of a national icon. The painting retains its ability to provoke an emotional response and to communicate the scale of the loss of life and the devastation of war. However as people now have a very different understanding of war, the painting serves a slightly different function. Whereas in the past people responded to the painting as it related to the loss of a loved one and their own personal grief, now the painting communicates the loss experienced by a whole generation. The vast number of those who were killed, and the immensity of the damage wrought during the First World War, requires that those who sacrificed their lives should not be forgotten. Longstaff used well-known motifs to trigger emotion. His scarlet poppies are flowers that could be found in the Flanders fields, but they also carry the traditional connotations of shed blood and remembrance; they represent a floral blanket covering the bloodied bodies of unknown soldiers; at the same time, like the paper poppies worn on Remembrance Day, they are a tribute from the living to the dead. The portrayal of the steel-helmeted soldiers rising from the cornfields extends the range of visual emblems used by Longstaff: the plentiful harvest; the harvest of men; the steel-helmeted crosses covering the graves of many soldiers; and the helmeted bayonets raised in cheer and victory.ww1, menin gate, wark vc club -
Federation University Art Collection
Ceramic, Jug by Christopher Headley, c1985, 1989
Wheelthrown glazed jugchristopher headley, ceramics, jan feder memorial ceramics collection, gippsland campus -
Numurkah & District Historical Society
Print - King George V Print
Print of a coloured painted portrait of King George V in military uniform. Print is mounted in gold wooden frame -
Creswick Campus Historical Collection - University of Melbourne
Print - Framed print - 'Hospital and Spring Hill from Church Street, Creswick' by T.G. Moyle, 1881, Hospital and Spring Hill from Church Street, Creswick, 1881
Framed print - 'Hospital and Spring Hill from Church Street, Creswick' by T.G. Moyle, 1881. Limited edition print number 84 of 200. Published by Trustees of Creswick Historical Museum 1981.Print -
Glenelg Shire Council Cultural Collection
Print - Label - Henty: Lemon Delight, n.d
(Previous collection, Exhibitions, Prizes, etc.) Displayed at History House. Used by Henty cordial company in PortlandLabel with design of a ship of choppy waters in a roundel in upper right corner. Name of drink is in a white banner across lower centre.Front: (text on label includes brand name, flavour of drink, etc...) -
Federation University Art Collection
Ceramic, Pilven, Peter, 'Ceramic Vessel' by Peter Pilven, 2004
Peter PILVEN (1956- ) Born Ballarat Peter Pilven is acknowledged by his peers for his high level of tacit skills, including throwing, and for his sound technical knowledge of materials.Training with John Gilbert's Edinborough Pottery from 1972-1975, Pilven trained with Joan Campbell in Fremantle in 1976. In 1977 Peter Pilven obtained a Diploma of Fine Art (Ceramics) from Ballarat College of Advanced Education (now Federation University). The following year he worked with Ian Dowling at Geraldton, WA, and with the Western Australian Aboriginal Education Unit in 1979. He next trained with Alan Cagier-Smith in England between 1980 and 1981. Peter Pilven established his own studion in 1982. 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.art, artwork, peter pilven, ceramics -
Federation University Art Collection
Ceramic, Unknown, Jill, [Vessel] by Jill ?
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. We are currently looking for information on the artist who created this work. If you are able to assist please leave details in the comments link below.art, artwork, jill, ceramics -
Swan Hill Regional Art Gallery
Print, DENT, John, Displaced objects III, 1981
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Gippsland Art Gallery
Print, Kempf, Franz, Untitled, 1969
Purchased, 2019Colour offset lithograph on papergippsland, artwork, permanent collection -
Federation University Art Collection
Ceramic, Kirk, DiannE, "Two Jollied Plates" by Dianne Kirk, 1996
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.Two jollied plates framed together for display purposes. art, artwork, dianne kirk, plates, ceramics, available -
Buninyong Visitor Information Centre
Print - Photograph, Workers at the Case Factory, 1920s Learmonth Street Buninyong, Circa 1900
Howards Box factory. The Howard family (owners) resided at Netherby 606 Warrenheip Street and were involved in the Methodist Church, football, bowls and the fire brigade. James Howard owned the factory. he had two sons, Arthur and Charles. Early Buninyong. This is a rare image of early industry. Circa 1900. Framed photocopy of early photograph of workers at the case factory. Approximately 48 employees. Wood pile and trees in background, rail line in foreground.box factory, fruit boxes, factories, industry -
Gippsland Art Gallery
Print, Hilton, William (after), The Triumphal Entry of the Duke of Wellington into Madrid, 1825
Purchased, 2014Mezzotint on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Simpson, John (after), His Grace, Arthur Duke of Wellington, 1839
Purchased with the assistance of the Gippsland Art Gallery Society, 2013Mezzotint print on papergippsland, 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 -
Gippsland Art Gallery
Print, Schmeisser, Jorg, Rosedale Beach, 2002
Donated from the estate of the artist, 2014Soft-ground etching and aquatint from two plates on papergippsland, artwork, permanent collection -
Federation University Art Collection
Ceramic - Artwork - Ceramic, [Large Bowl] by Vesna Medavarsky
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.Large wheel thrown terracotta bowl with abstract decoration including text and gold lustre glaze. art, artwork, vesna medavarsky, ceramic, terracotta, wheelthrown, oxides, gold luster, pottery, bowl, large bowl -
Gippsland Art Gallery
Ceramic, Hoashi, Koji, Water Jar, c.1970s
The Richard Knight Collection of Australian Ceramics. Donated by Dr James Baxter through the Australian Government Cultural Gifts Program, 2019Iron-glazed tenmoko chun ceramicgippsland, artwork, permanent collection -
Flagstaff Hill Maritime Museum and Village
Ceramic - Serving Dish, J & G Meakin, 1880 to 1900
J & G Meakin was an English pottery manufacturing company founded in 1851 and based in Hanley, Stoke-on-Trent, Staffordshire. In the 19th century, J & G Meakin was known for the vast quantities of cheap ironstone china it produced for the domestic English market and export to Australia, Canada, New Zealand, and the United States and one of these pottery lines was called "EMPRESS" and was in production through the 1930s. From around 1970, designs included Liberty, Sterling, Trend, Classic, and Heirloom. Some of these were influenced by earlier designs. The newer wares can be distinguished by back stamp markings such as 'permanent colours', 'everlasting colour', or 'dishwasher proof'. J & G Meakin had close family and corporate affiliations to the potteries Johnson Brothers, and Alfred Meakin Ltd, which explains why many patterns are similar, if not almost the same. There was a takeover by J. & G. Meakin in 1968 of Midwinter Pottery. The firm was then taken over by the Wedgwood Group in 1970. In 2000 production under the Meakin name ceased and their long-established works, Eagle Pottery, was then used for the production of Johnson Bros pottery. Eagle Pottery closed in 2004 when production was transferred abroad; the works were demolished in 2005.Item is significant as today the "EMPRESS" china pattern from the 1930s by Meakin is today a collectable item and a good example of the Meakin range of china.Serving vegetable bowl with two handles on either end, plus a lid with a handle on the top lid also has a pattern around the edge.Inscription to base "J & G Meakin Manley England " warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, alfred meakin, staffordshire potteries, iron stone pottery, serving dish -
Flagstaff Hill Maritime Museum and Village
Ceramic - Bowl, Prior to 1950
A mass produced utilitarian item made for domestic use no history or manufacturing provenance currently available. Over 1500 pottery firms have operated in Stoke-on-Trent since the early 1700's - Some lasted only a few years and some for well over 200 years. Some potters built and owned their own works. Many others were tenants in works built by others and a succession of potters occupied the same works. It was also a common practice for a works to be split between two different pottery companies or for a larger manufacturer to let out a smaller section of his works to a potter who would make wares which were not of interest to the pot works owner. Some potters purchased 'blanks' from other manufacturers and put their own decoration on them some items have two back stamps some have no marks at all. This adds to the confusion and frustration of trying to trace details of a particular manufacturer such as the subject item.Item at this time cannot be associated with an historical event, person or place, provenance is unknown, item assessed as a collection asset given it was produced before 1950.White earthenware bowlNoneflagstaff hill museum, shipwreck coast, ironstone pottery, earthenware, bowl