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Artwork, other (1265)
Ceramic (766)
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Print (1657)
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Work on paper (2050)
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Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on canvas, I.M. Stone, Sandringham Beach, 1924
I.M. Stone, Sandringham Beach 1924, 43.6 x 90 cm. Bayside City Council Art and Heritage Collection.sandringham, beach, coast, port phillip bay, yacht -
Bendigo Military Museum
Print - Print of Fortuna Villa by Bill Walls, Bill Walls
Print of a painting by Bill Walls. Fortuna Villa was the home of the Army Survey Regiment from 1942 - 1996. This print was printed by the Army Survey Regiment. A number of prints were produced at various sizes including the Unit Christmas cards.Print on heavy paper, laminated and printed by the Royal Australian Survey Corps, Army Survey Regiment, BendigoLabelled "Fortuna Villa" signed by Bill Wallsroyal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr -
Ararat Gallery TAMA
Print, Nanette Bourke, Grasstrees, a different perspective, 1992
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Mixed media, Inga Hunter, The Forest People - Three Quivers, 1986-1989
"The Forest People use poison on their darts, and on some of their arrows, to stun or kill small prey. Poison Brewers distil the venom, which is obtained from roots, bark, leaves, and the skin of a certain frog-like creature. Alchemancers distribute the venom to hunters and healers. Poison-impregnated darts are kept in special pouches or quivers, blessed by the Alchemancer or the Guardian with special spells and incantations to prevent accidents and the perversion of the tools by evil spirits. Each of these quivers carries amulets of protection. The quivers themselves, were made by a specially trained craftsman who is able to sing incantations into the actual structures themselves, ensuring double and sometimes treble protection from danger, as well as increased effectiveness, sureness of flight, efficacy of the poison etc. Quivers such as these are kept on the belt, on the side away from the dominant hand, to ensure considered, careful use, and to prevent the wrongful use of poison when a simple arrow would be sufficient." - Inga Hunter -
Gippsland Art Gallery
Print, Eaton, John Bertram, Calm Evening, c.1932-40
Donated by Janina Green, 2018Photographic print on original backing cardgippsland, artwork, permanent collection -
Wangaratta Art Gallery
Painting, Donald Cameron, The Yarrawonga Scout Hall, 1983
Rural City of Wangaratta Collection. Gift of Mayor Lance Bullus, 1983.A landscape that features the scout hall in Yarrawonga, painted using oil in greens, blues, whites, browns, and reds.Obverse: DONALD CAMERON/ (bottom right corner)wangaratta art gallery, donald cameron, yarrawonga scout hall, landscape, painting -
Federation University Art Collection
Mixed media, Andrews, Noelene, Basket of Flowers
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.art, artwork, mixed media, flora, flowers, noelene andrews, basket, still life -
Gippsland Art Gallery
Painting, Foard, Patsy, Lunar Landscape, 1979
Purchased, 1981Acrylic, Canvasgippsland, artwork, permanent collection -
The WAMA Project : The National Centre for Environmental Art
Painting, Marianne Wehl (1867 - 1926), Untitled (Epacris impress - Common Heath), c1887 to 1924
The artist: Marianne Louise Charlotte Amalie Wehl (19 Sept. 1867, Mt Gambier; 26 Oct. 1926, Melbourne), a flower painter who was active in South Australia and Victoria, and not to be confused with Marie Magdalene Wehl. Connection with Baron von Mueller: Von Mueller’s younger sister, Clara married Doctor Eduard Wehl and they lived in South Australia. They had 14 children, 6 of whom collected and painted botanical studies – some now in the National Herbarium, Melbourne. A cousin of Doctor Wehl – Carl Wehl – married Sophia Caroline (née Gorte) and one of their daughters was Marianne Wehl. It is recorded that von Mueller visited the Wehls and D’Altons in Halls Gap (Henrietta D'Alton was also a painter of wildflowers), so it is hard to believe that there is no influence at least. Von Mueller had over 1,400 collectors/artists working for him and 225 of them were women and children. Their work is housed in the National Herbarium, Melbourne. The donor believes that Marianne contributed to this work. There is no record of that, however, as only 169 of the artists have been identified, it may be a possibility. Marianne was one of six children of Carl Jakob Wilhelm Wehl (1830–1899) and Sophia Caroline Wehl (née Gorte) (1843–1920). She never married. https://data.environment.sa.gov.au/Content/Publications/JABG34P001_Dowe.pdf The plants: All of the plants painted by Marianne Wehl's in this donation were identified by Botanist Neil Marriott & Wendy Marriott, in July 2022. Neil Marriott said that the quality and beauty of these botanical studies made it easy for them to identify all the plants. He suggested they may be some of the first paintings of Grampians wildflowers. This makes the paintings highly important scientifically and botanically. Visitors to WAMA will be able to compare them with today’s plants in the Endemic Garden. Neil marvelled that Marianne found the specimens, as some of them are endemic and found only in the highest parts of the Grampians (Mt Rosea, Mt William and Major Mitchell Plateau) and are listed as rare and endangered. Some of these same rare plants have now been propagated by the WAMA team and in winter 2022 were planted in WAMA's Endemic Garden. Neil identifies this plant as Epacris impressa - Common Heath - white flower form. Common and widespread. NB In some records she is called Marianna (as the donor calls her) and in others Marianne.Wildflower art, Wildlife artGift of Barbara Crick in memory of Marjorie and Lachlan McLennanPainting of white heath spray, on brown paperLL ' MW' (underlined)wildflowers, flowers, marianne wehl, marianna wehl, flower painter, botany, works on paper, baron von mueller, von mueller, henrietta d'alton, wama, wildlife art, painter, goache, halls gap, wildlife art museum australia -
Gippsland Art Gallery
Print, Turner, J.M.W. (after), Hannibal Crossing the Alps, c.1859-78
Purchased, 2013Engraving on papergippsland, artwork, permanent collection -
Queenscliffe Maritime Museum
Mixed media - B & W photos of the Blessing of the Fleet [BoF] January 1969, Black & white photographs & newspaper articles re BoF Jan 1969, unknown
Queenscliffe - Blessing of the Fleet 1969Blessing of the Fleet 1969Black & white photographs x 2 and newspaper articles of the BoF 1969Reverse - " ".historical references -
Gippsland Art Gallery
Print, Shimmen, Heather, Falconer, 2013
Purchased, 2015Linocut print and ink on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Painting, Dridan, David, Grey Range and Jackson Creek, c.1982
Esso Collection of Australian Art. Donated by Esso Australia Pty Ltd, 2018Acrylic, Boardgippsland, artwork, permanent collection -
Federation University Art Collection
Painting - Artwork - painting, 'Portrait of Emeritus Professor Geoffrey Blainey' by Michael Henwood, 2000
Michael HENWOOD 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 academic portrait of Chancellor Geoffrey Blainey, inaugural Chancellor of University of Ballarat (now Federation University Australia).Signed lower left art, artwork, michael henwood, henwood, geoffrey blainey, blainey, chancellor, academic portrait -
Mission to Seafarers Victoria
Painting, Jack Woods, Heading to a Safe Port, 2011
Jack's marine art covers a wide spectrum of maritime subjects, but with a focus on paintings of classic yachts that ventured over long distances to remote parts of the world. This painting was an entry for the 2012 Maritime Art Prize.Maritime art, Marine artOil painting on linen covered wooden frame, incorporating several features: from left to right a tanker vessel, a windjammer and the galleon wind vane restored to the roof of the Mission in 2020.safe, jack woods, painting, port, artwork, windjammer, windvane, cargo ship, galleon, weather vane, anl, maritime art prize, 2012, artwork-paintings -
Federation University Historical Collection
Painting - Illumination, john Sands Limited, Illuminated Address Presented to William Crabb of the Beacon Gold Mine, 1899, 05/1899
William Crabb was later a well respected manager of the Victoria United GMC, Ballarat after leaving the Bucca Bucca region in Queensland.Digital copy of an illumination presented to William Crabb, mine manager at Beacon Gold Mine, Bucca Bucca. We also wish to record our appreciation of the interest you have always shown in the progress of the District, and more particularly the Mining industry. As a Mine Manager, we have found you to be equitable and just to your Employees, whilst at the same time faithfully serving our Employers. We know that you have always had the welfare of your men and the District at heart, and we are as heartily sorry at our loss, which your departure necessitates." (signed) William S Bryce James Demming Thos. G. Fraser, A. Griffith, A. Moncrieff, John Parry, N. Danvers Power, H Skinner, G. Strathen, Trevor W. Alley, William Peter J.P., James Marles, Joseph Smith and 45 others.illumination, william crabb, victoria united gold mine, beacon gold mine, upper bucca bucca, william s. boyce, james dennings, thomas f. fraser, a. griffith, a. moncrieff, john parry, n. daery-porter, h. skinner, c. strather, trever w. alley, william peter, james marles, joseph smith -
Darebin Art Collection
Painting - Richard Bell, Richard Bell, Me, c2010
In Me Me Dreaming, the series from which this painting comes, Richard Bell explores the relationship between self-identity and society, referencing Emily Kngwarreye’s art through an intentional beauty that encapsulates how collectivism inevitably leads to capitalism in our society. The series’ notable motif of layers “Me, Me, Me,” relates to ideas of self-obsession and consumerism. Bell further plays with perspective, transforming “Me” into “We” at certain angles, highlighting the importance of community alongside individual identity. Contemporary Aboriginal Art -
Queenscliffe Maritime Museum
Mixed media - Lost sailor off RAN survey ship KIMBLA and Lifeboat 'siltation' issues, News articles re KIMBLA lost sailor & Lifeboat siltation, c 1946 & 1979 newspapers
Man-overboard and shipwreck rescue problemsHMAS Kembla sailor & Queenscliffe Lifeboat issues.Lost overboard sailor and siltage preventing lifeboat launching c 1946 & c1979Reverse " NIL ".historical references -
Federation University Art Collection
Painting, [Abstract Painting], c2015
If you can assist with information on this artist or artwork please use the email link below.abstract, alumni -
National Wool Museum
Sculpture - Bollard, Jan Mitchell, The Lost Bollards, 1999
Geelong is famous for its bollards. Created by local artist Jan Mitchell, the colourful bollards spot the foreshore, representing a fascinating and fun chronicle of the city’s past. Few people know that Mitchell planned for a flock of sheep to be part of her public art project. The wool industry is an important part of Geelong’s history, so Mitchell thought what better than a flock of sheep to welcome people to the city. The flock (and a Shepard) were to be placed out on the Melbourne-Geelong highway, near Lara, to welcome travellers to the city. The sheep would then be scattered along the road as a wayfinding signal to bring people to Geelong. When traffic authorities heard the plan for bollard sheep along the road, they squashed the project as a potential distraction for drivers. Another flock was also suggested for the hills of the eastern gardens, overlooking the bay. This was also disapproved; so Mitchell only ever partially completed four sheep bollards. The bollards are remnants of Jan Mitchell’s flock of sheep. The sheep also show the evolution of one of Geelong’s most iconic art installations. From the first sheep showing the raw timber of the old Yarra Street pier, to the sheep without a face, through to the completed sheep, it is possible to trace Mitchell’s process in the preparation of the bollards. The lost bollards form part of the National Wool Museum’s unique collection. The first bollard is the least complete, still in its original timber colour. From the central cylindrical shape, an additional wedge protrudes. This unpainted wedge forms what would have been the face of the sheep, with an ear present on either side that would have been painted white. Presently they are a bare metal. No legs are present on this bollard. The second and third bollard are completed to a similar level. They have a central cylindrical shape with an additional wedge protruding from the front of the timber. This wedge forms what would have been the face of the sheep, with an ear present on either side. The face and ears have been painted white but the finer details such as the eyes have not been added. These bollards bodies have also been painted white and have their legs attached. The legs are thin metal cylinders, approximately 50mm in diameter and 500mm long. The fourth bollard Is complete. It has the same central cylindrical shape with an additional wedge protruding from the front of the timber. This wedge forms the completed face of the sheep, with an ear present on either side that has been painted white. The face also features completed painted eyes. This bollard has its legs attached. The legs are thin metal cylinders, approximately 50mm in diameter and 500mm long. geelong, bollards, geelong's bollards, jan mitchell -
Glenelg Shire Council Cultural Collection
Sculpture - Bas-relief, Untitled (Early Forestry Industries), n.d
Commissioned by State Bank to produce 5 copper bas-reliefs for 73 Percy Street, Portland. Spoke with Miss Betty Vivian (Member of the Portland Historical Society) re Portland's history. Commonwealth Bank stored objects in Melbourne (c.1991). Negotiations between Portland Historical Society and Commonwealth Bank of Australia led to gift of works to People of Portland. Stored at Council depot c.1998, retrieved for Maritime Discovery Centre display.Copper relief work. View of a man from behind sawing a tree. He is flanked by two tree trunks, and is leaning to his right while pulling a band saw through the tree on the left. Leaning against tree on right is a large axe. Houses are rudimentarily designated by lines in the background visible between the trees.sculpture, bas-relief, copper, industry, forestry, forest -
Swan Hill Regional Art Gallery
Painting, CUTHBERTSON, Arch, Cape Otway, 1988
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Ballaarat Mechanics' Institute (BMI Ballarat)
Print (item) - Photograph by Percy Hartmann, Eureka Stockade, Ballarat, 1939
Ballarat History Ballarat HistoryEureka Stockade, Ballarat, 30/09/39ballarat, ballaraat, eureka, stockade, hartmann -
Federation University Art Collection
Print - Artwork, David Frazer, The Text Message [study] by David Frazer, 2015
David FRAZER (1966- ) Born Foster, Victoria, Australia David Frazer works in painting, wood engraving, etching, lithography and bronze. He studied a B.A. Fine Arts (Painting) at Phillip Institute of Technology, followed by a Diploma of Education (Secondary- Art/Craft) at Latrobe University in 1991. He completed an Honours Degree in Fine Art (Printmaking (at Monash University in 1996, and between 1998 and 2000 Frazer undertook a Master of Arts (Visual Arts) by research: “Pastoral Melancholia”, at Monash University. One of Austalia's foremost printmakers David Frazer's highly detailed woodblock and linocut prints often explore the emotional and fragile state of the human condition. His work offers a nostalgic image of Australia through its examinations of landscape, Australian buildings, sheds, and itinerant travellers. He has held seven solo exhibitions between 1996-2006 in Melbourne, Sydney and a survey show curated by the Horsham Gallery, which toured Victorian regional galleries from 2004-2005. David Frazer’s work was seen in 37 group exhibitions between 1996-2006 including the 5th British International Miniature Print Exhibition in the UK, in the 2003. He more recently held a solo exhibition with Rebecca Hossack in London 2011. (http://www.thestockrooms.com/, accessed 06/03/2015) David was awarded the Keith Wingrove Bookplate Design and in 2002.Framed limited edition linocut on paper.lls '2/36' lc 'The Text Message (study)' lrs 'D. Frazer 15'artist, artwork, david frazer, parallel prints, printmaking, linocut -
Gippsland Art Gallery
Painting, Struss, Elsie, Self Portrait, c.1929-33
Donated from the estate of Wemyss Struss, 2016Oil on canvasgippsland, artwork, permanent collection -
Clunes Museum
Painting, FORD, RICHARD [DICK]
Painting of Clunes with Methodist Church and P.O. in foregroundNilrichard ford, historia buildings in clunes -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on linen, Alice Wormald, Restless interactions, 2021
Winne of Bayside Acquisitive Art Prize 2022Alice Wormald, Restless interactions 2021, oil on linen, 122 x 97 cm. Bayside City Council Art and Heritage Collection. Winner of Bayside Acquisitive Art Prize 2022.painting, bayside acquisitive art prize, alice wormald, restless interactions -
Gippsland Art Gallery
Painting, Struss, Elsie, Head Study - Young Woman, c.1929-33
Donated from the estate of the artist, 1987Oil on canvasgippsland, artwork, permanent collection -
Port Melbourne Historical & Preservation Society
Mixed media, Robert Frost, Toxic Flat - Port Melbourne, 1987
Produced by Robert Frost of Alfred Street for use in Bay Street informational stalls by Port Melbourne 'Residents' Picket Group' against the SCDC Bayside development, 1988Large black display board with captions of environmental information connected by string to points on an aerial photo of Port Melbourne/Fishermen's Bend; indicates sources of contamination in Port Melbourne and on the bend.public action campaigns, environmental issues, town planning - proposals shelved - bayside, fishermans bend, industry - manufacturing, robert frost, residents picket group, british petroleum group, elders ixl, glazebrook paints, csiro, state electricity commission -
National Vietnam Veterans Museum (NVVM)
Print, 11th Armoured Cavalry Regiment (US)
Montage of pen and ink sketches of Regimental history. Includes a coloured Regimental Badge in a black plastic frame11th Armoured Cavalry Regt11th armoured cavalry regiment