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Artwork, other (1266)
Ceramic (766)
Decorative object (715)
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Print (1658)
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Textile (1395)
Work on paper (2052)
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Federation University Art Collection
Painting, Adam Rish, Anjing Gila, 2007
Adam RISH (1953-) Sydney based artist Adam Rish completed a BA (Hons) in Fine Art at MFA and has exhibited in Australia since 1975. He has been the recipient of a Visual Arts Board Studio Residency in 1981 and 1984 and an Asialink Residency in Indonesia in 1997. He is interested in cross-cultural collaboration as 'world art' to affirm indigenous culture and regional diversity.Timber Sculpture of a dog like firm.available, adam rish, sculpture -
Bendigo Historical Society Inc.
Mixed media - Bendigo Tramways 100th Anniversary National Trust DVD, 1990
The Sandhurst and Electric Tramway Company was the first to blaze a trail when it introduced battery trams to Bendigo in June 1890. Unfortunately they had made a serious miscalculation, as the batteries quickly proved inadequate for the hilly terrain of Bendigo. After a couple of months battery trams ceased running and were later replaced by steam trams in February 1892. Steam trams were a reliable means of transport and successfully moved Bendigonians around for ten years, but the onset of the recession forced the Bendigo Tramways Company to sell up in 1899 to the Electric Supply Company of Victoria (ESCo) who continued to run steam trams until 1902. This turn-of-the-century sale led to the introduction of electric trams to Bendigo in April 1903. These were a success from the very beginning. During peak hour people would be standing in the aisles, in the doorways, even on the running boards on the outside of the tram. In addition, the trams were also the first option for deliveries. Parcels, newspapers, movie reels for the picture theatres and even mail bags found their way onto the trams; sent from outlying post offices to the GPO in the city centre. At the end of World War I the Victorian Government constituted the new semi-government instrumentality, the State Electricity Commission of Victoria (SEC). The SEC was to take over all privately owned power generating companies in Victoria and operate as a state owned monopoly ... Bendigo's tramway system was an integral part of the deal.Bendigo Tramways 100th Anniversary National Trust 31 minute DVD. Content includes brief history of the Bendigo trams from 1890 to 1990; driver's view movies of each of the four Bendigo Lines; and the set up of the tourist trams after the closure of the lines by the State Electricity Commission of Victoria.history, bendigo, bendigo trams -
Gippsland Art Gallery
Print, Fullard, Alison (Ali), 4am Out the Window, 2013
Donated by Freestone Press, 2016Photo-etching and drypoint on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Frazer, David, Fly Me to the Moon, 1996
Purchased, 1996Wood, Paper, Inkgippsland, artwork, permanent collection -
Swan Hill Regional Art Gallery
Print, CUMMINGS, Elizabeth, My Dog at home in the bush, 2014
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Federation University Art Collection
Painting - Artwork, Decker, Roshelle, 'Repulsion' by Rochelle Decker, 2000
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.Black background with an abstract image of a crying face and hands in a blend of red, orange and yellow. art, artwork, rochelle decker, school of human movement, alumni, available -
Horsham Regional Art Gallery
Painting, James CLAYDEN, Untitled, 1989
Gift of Corbett and Yueji Lyon, 1996enamel on canvas -
Greensborough Historical Society
Painting - Portrait, William Dargie, Queen Elizabeth II, 1954
Colour print of a portrait of Queen Elizabeth II wearing the "wattle" dress, by William Dargie, painted for the Royal Tour of Australia 1954, with explanatory leaflet.Copy of colour portrait, with explanatory leaflet, in cardboard folderroyal tour of australia 1954, queen elizabeth ii, william dargie, royal family -
Darebin Art Collection
Painting - Pro Hart, Pro Hart, Tired Shed Hand, 1979
shearing -
Kew Historical Society Inc
Print, Cr Henry Weedon MLA, & Suburban Mayors, 1907
An article in the Box Hill 'Reporter' (11 October 1907, p.2) refers to the presentation of the artefact to the Kew Town Hall. The report records: 'Presentation to Kew's Ex-Mayor In the mayor's room at Kew on Tuesday evening, Ex-Mayor Cr Wishart was made the recipient of a handsomely-illuminated and exquisitely-framed testimonial as a mark of appreciation by his colleagues of the highly satisfactory manner in which he had discharged the duties appertaining to the mayoral office. .... A framed group of the metropolitan mayors was subsequently presented by Cr Wishart as an addition to the pictures hung in the mayor's room.'The newspaper report in the Box Hill Reporter positively identifies the artefact and how it was placed in the Mayor's Room in the Walpole Street Town Hall. The collage is historically significant as it may include the only photograph of a mayor of a city at this period of time.A large framed photographic collage of Henry Weedon surrounded by the Mayors of Greater Melbourne (holding office for the year 1906-07). The photograph was assembled in recognition of the ‘slight favours to them’ showed by the Lord Mayor. The photograph is dated August 1907. Surrounding the central medallion is, from left to right: Cr. C. C. Mercy (Camberwell), Cr. T. L. Taylor (Northcote), Cr. Thos. Smith (Port Melbourne), Cr. W. Flintoft (Prahran), Cr. W. Collings (Fitzroy), Cr. C. D. Lloyd (Caulfield), Cr. W. Wishart (Kew). Cr. Eli Williams (Coburg), Cr. C. Pattison (Essendon), Cr. A. E. Wells (South Melbourne), Cr. H. B. Gibbs (St Kilda), Cr. J. F. Hamilton (Brighton), Cr. C. Dalley (Hawthorn), Cr. C. L. Davey (?), Cr. J. C. Hill (Heidelberg), Cr. D. Phillips (Brunswick), Cr. M. Alexander (Richmond), Cr. W. Johns (Collingwood), Cr. W. H. Edgar MLC (Malvern), Cr. T. P. Hannah (Williamstown) and Cr. A. A. Harris (Footscray). henry wheedon, c. c. mercy, t. l. taylor (northcote),thomas smith, w. flintoft, w. collings, c. d. lloyd), w. wishart, eli williams, c. pattison, a. e. wells, h. b. gibbs, j. f. hamilton, c. dalley, c. l. davey, j. c. hill, d. phillips, m. alexander, w. johns,w. h. edgar, t. p. hannah, a. a. harris, mayors, kew, henry weedon -
Gippsland Art Gallery
Painting, Markham, Arthur, Untitled, c.1970s-80s
Donated, 1983Watercolour on papergippsland, artwork, permanent collection -
Kew Historical Society Inc
Print, Dight's Mill, Yarra Yarra
"In 1839 John Dight purchased Melbourne block 88, which included 26 acres of land along the Yarra River for £481 at the Port Phillip land sales held in Sydney. Dight was already in the business of flour milling and had a mill near Campbell Town in New South Wales called ‘Ceres’. In April 1840, he notified his customers through The Sydney Herald that he was leaving to go to Port Phillip. The first steam powered flour mill was constructed in Melbourne in 1841. Dight built his water powered mill, soon after, from bricks bought over from Tasmania. Dight used the river to power his mill: Water flowed along an inlet channel to turn an undershot water wheel. In order to regulate flow or to ensure flow for times when river levels were low, Dight constructed a rough stone weir. " (https://www.melbournewater.com.au/whatwedo/projectsaroundmelbourne/Documents/A_Short_History_of_Dights_Falls_Fact_Sheet.pdf) This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.An engraving of Dight's Mill on the Yarra. The image was originally published in Sands & Kenny, Melbourne & Sydney. Dorothy Rogers reproduced the print in 'A History of Kew' (1973). It faces page 8.Published by Sands & Kenny, Melbourne & Sydney, 1856dight's mill, dorothy rogers, dight's falls, yarra river, kew, john dight -
Glenelg Shire Council Cultural Collection
Print - Contact Print - Beechwood Dutton Way, 1960-1979
Sheet of 6 black and white contact prints from glass plate negatives. 3 pairs of stereoscopic prints. Top: 2 pairs: Views of gardens with clipped edges, 'Beechwood', Dutton Way. Bottom pair: Man in foreground, coat, top hat, umbrella. Houses in background. -
Tatura Irrigation & Wartime Camps Museum
Painting - Painting - Watercolour, Red Gum Firewood
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Gippsland Art Gallery
Painting, Dodd, James, Mill Painting (Dusty Caramel), 2018
Purchased, 2018Acrylic, Canvasgippsland, artwork, permanent collection -
National Wool Museum
Textile - Blanket, Godfrey Hirst, 1950s
Collector says: Godfrey Hirst Diamond blankets from the mid-1950s are always delight to find. Some of these were found in the Geelong area but one came back with me from an op shop road trip around Tasmania, another from the St Pauls op shop in Romsey. I love this pattern and find the lemon and grey colourway particularly special. 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." King sized Diamond blanket, pink, mint and lemon Mothproofed/Godfrey Hirst/Pure Wool Pelage Blanketwool, blanket, blanket fever, diamond blanket, godfrey hirst, geelong -
Bendigo Historical Society Inc.
Painting - FRAMED PRINT, 1900
Colour Print of child with flower under glass, in black and gold timber frame, Donated by Mr Atkinson related to Mary Reibypainting, print, portrait, print, framed prints -
Bendigo Historical Society Inc.
Decorative object - HAND PAINTED CHINA PLATE
Hand painted china plate with grapes and vines in autumn tones and gilt edging.Zena ( Cohn)domestic equipment, table setting, plate -
Mont De Lancey
Decorative object - Glassware
A small rectangular Windsor patterned clear glass container for a dressing table, possibly used for hairpins in the 1930's or 40's. It has 4 angled pieces that protrude from each bottom corner. Three rows of hexagonal shapes are part of the pattern on all sides. There are chips and cracks. It may have had a lid.Hexagonal cuts to the pattern on all sides of the container.glassware, domestic object -
Moorabbin Air Museum
Mixed media (Item) - AgustaWestland Advertising Disc 2004-2005, Interactive CD ROM 2004-2005 AgustaWestland
Contents include photographs, press information, videos and brochures. -
Bendigo Art Gallery
Painting, Arthur T WOODWARD, Portrait of the Artist's Wife (Emma Jane Stokes), 1901
l.r; Arthur T Woodward/MDCCCCIpainting, bendigo, wife, woodward, kathleen kate conner, marriage, portrait -
Wangaratta Art Gallery
Painting, Ramon Horsfield, Golden Summer, 2001
Rural City of Wangaratta Collection. Wangaratta Art Show Grand Winner 2001.A pastoral landscape of a farming property painted in oil using a colour palette of yellows, greens, blues, browns, and creams.Obverse: RAMON HORSFIELD/ (bottom left corner) Grand Winner - 2001/ "Golden Summer"/ By Ramon Horsfield/ Judge Kevin Taylor/ (plaque mounted on frame)wangaratta art gallery, ramon horsfield, landscape, pastoral, painting -
Gippsland Art Gallery
Painting, Wood, Daisy, Early Nancies, c.1970
Donated by Angus & Jenny Stewart, 1990Watercolour and ink on papergippsland, artwork, permanent collection -
Latrobe Regional Gallery
Print, DUXBURY, Lesley b. 1950 Lancashire, England. Arrived Australia 1983, Another Day, 2003
Inkjet print 5 edition number 11/40Signed and dated lower right corner. Edition 11/40 in lower left corner.clouds, text, perception, weather, environment, climate -
Whitehorse Historical Society Inc.
decorative object - Doyley
Small cream crocheted lace doyley with female head in centrehandcrafts, lacemaking -
Whitehorse Historical Society Inc.
Textile - Handkerchief
Silk piece donated by Adele Grey from the collection of the late Jenny Lang. Jenny was a member of the Embroiderers Guild of Victoria and held exhibitions of her work at the Arts & Crafts SocietyCream silk square with scalloped edge. Each corner is embroidered with a design of flowers, leaves and butterflies. The scallop edging is embroidery os hand worked with silk thread.costume accessories, female -
Darebin Art Collection
Painting - Ddarra Baksh, Ddarra Baksh, Untitled, 2004
painting -
Swan Hill Regional Art Gallery
Painting, WALKER, Alan, Winter afternoon, Swan Hill, 1974
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Bendigo Art Gallery
Painting, Carl Hoff, The Golden Wedding, 1883
Signed and dated, l.r.,brown oil, "Carl Hoff/83". -
Churchill Island Heritage Farm
Textile - Lace Trim
This sample of lace trim is Torchon lace in the Cluny style with the geometric pattern and the classic wheat ears/leaves appearing between the filled ‘v’ shapes. At 5cm in width, it would be a beautiful trim or insert piece on bed linen and undergarments. It would certainly have been made on a Barmen machine. The Barmen lace machine was developed in Germany on the 1890s. Its bobbins imitated the movement of the bobbins of a handmade lace maker and it made perfect copies of Torchon and other similar bobbin laces. This style of bobbin lace was the simplest to make and therefore the cheapest lace to buy. In the Elizabethan era, the wearing of lace was reserved for the nobility and anyone of lesser standing than a knight who dared to wear lace would be publicly whipped. As the years passed, the restrictions lessened gradually and in the late Georgian and Victorian eras, ladies of the nobility sought to perform good deeds by teaching women and girls of the poorer classes to make lace and thus it became known as beggars lace. Bobbins were expensive and use was made of animal bones and even fish bones to perform as bobbins therefore another common name was bone lace. Many noble women entered a religious order and these nuns would also teach to skill to willing participants as well as making lace for clerical garments. Although the monarchy restricted the wearing of lace for some time, many royal figures in history did a great deal to popularise it. Two noteworthy examples were Queen Adelaide (1792-1849) and Queen Victoria (1819-1901).The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by three generations of Amess women - Jane, Janet and Unity. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island.machine made Torchon and Cluny lace trim with both edges similar, v shape design and 8 braid geometric design in centrechurchill island, lace, janet amess lace collection, amess, trim, torchon, cluny