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Artwork, other (1260)
Ceramic (763)
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Mixed media (514)
Painting (2472)
Print (1654)
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Textile (1393)
Work on paper (2040)
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Friends of Ballarat Botanical Gardens History Group
Work on paper - A Plan for a Presentation on Botanical Gardens by John Garner, The Botanical Garden: 'A Living Museum'
john garner collection, ballarat botanical gardens, gardens, ballarat -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Painting - Portrait, Lt-Col L E Reeder
Lt-Col Reeder was Commanding Officer of 4/19 Prince of Wales's Light Horse Regiment from 1970 to 1975One of a collection of portraits of former Commanding Officers of the RegimentFramed oil painting of Lt-Col L E Reeder EDportrait, reeder -
Ararat Gallery TAMA
Textile, Frances Burke, Jungle, 1945
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. -
Australian Lace Guild - Victorian Branch
Textile - Irish Crochet, Early 20th Century
Use: Domestic. Probably home madeCrochet edged rectangular mat. -
University of Melbourne, Burnley Campus Archives
Work on paper (item) - Student Work, Iroshan Gangodawialge, Blackney Residence Garden Landscape Design, 2017
It was made as an assessment for HORT90035 Landscape Construction and Graphics, a subject at Burnley Horticultural College coordinated by Andrew Laidlaw. assignment, burnley horticultural college, hort90035 -
Warrnambool and District Historical Society Inc.
Painting, Hopkins River - Mary Norman - Clifton Banks
Clifton Banks is the name given to a bank on the Hopkins River Estuary, about one kilometre upstream from Proudfoots Boathouse. It is at the foot of the property, Clifton, which dates from 1850s. There are several works of art and photographs of Clifton Banks dating from the late 19th and early 20th centuries. Mary Norman (later known as Mary Norman=Bail) came to Warrnambool in 1901, residing with Canon and Mrs McGeorge. She studied art with Samuel Pearce Fuller and later taught art at Fuller's studio and at a local private school. She produced several seascapes and landscapes while she was in Warrnambool, leaving the town in 1905. She devoted the rest of her life to art as an artist and teacher. In 1922 she married Jess Bail. This art work of Clifton Banks won first prize at the 1902 Annual Ararat Art competitions. It was reported at the time that the work was not a copy but had been drawn from nature. The Warrnambool and District Historical Society has five of Mary Norman-Bail's art work.This is a most significant item as it is one of Mary Norman's art works and she was known in the early 20th century as a competent artist and a member of the Victorian Artists' Society. This art work also has historical significance as one of a number of Clifton Banks representations still surviving. Mary Norman also had an impact on the cultural life of Warrnambool during her short stay in the town. She also returned to teach in the town several times for short periods during the summer vacation times.This is a water colour mounted on art board and with a gilt framed and three outer layers of wooden gilded ornamental frames. The sides of the frames are broken in places and the guided material is somewhat discoloured. There are Les O'Callaghan handwritten notes and some typed material on the back giving information on Mary Norman and the art work. The back is sealed with pasted paper and there are both string and wire attached for hanging the pictureBack of art work: 'Diamond Bros, Photo Enlargers, Importers of Mouldings, Mounting Boards, Albums, Mirrors etc, Picture Framers. Mount Cutters and Plush Workers, Studio - 27 Bridge Road, Melbourne, Factory- 45 and 47 Duke Street, Richmond, Armstrong Street, Ballarat, Pirie Street, Adelaide, Brisbane, & Freemantle W.A.'mary norman, clifton banks, warrnambool -
Australian Lace Guild - Victorian Branch
Textile - Tape Lace, 1880-1920
Use: Domestic. FashionTape lace collar -
Australian Lace Guild - Victorian Branch
Textile - Machine made lace, Late 19th or early 20th Century
Machine made "Chemical" lace motif. Cotton thread embroidered onto a base fabric which is later dissolved away. -
Whitehorse Historical Society Inc.
Textile - Duchess Set
Three piece Duchess Set of fine white lawn with hand made torchon lace edging. Yellow ribbon threaded eyelet lace and finished with a bow.manchester, furnishings -
Whitehorse Historical Society Inc.
Textile - Two Lace Samples
Received anonymously by a teacher of the Lace Guild of Australia, Victorian Branch. Karolina Jeffers of Vermont. Donor told Karolina that the lace had belonged to her aunt. The aunt had worked in a dressmakers in Flinders Lane in the 1930s where she acquired the lace. Donor was in her 80s when she gave the lace to Karokina.1. Small white round piece of Irish crochet. Donegal. A three leaf clover in centre of piece with close pattern around it with sixteen three looped picots on edge. This piece is attached to a blue felt covered board. 2. Small cream piece of needle lace. Ten looped circles around edge with close worked centre piece. This piece is also attached to blue felt covered board.'Irish Crochet Donegal' Puerto Lumbretas Spainhandcrafts, crocheting or crochet work, lacemaking -
Federation University Art Collection
Work on paper - Artwork - Printmaking, 'Poinsettia' by Richard Spare
Richard SPARE (1951- ) Born and lives England Richard John Spare studied at Maidstone College of Art (1971-1974). Primarily a printmaker who draws directly onto copper plate before creating a dryplate etching which is then hand coloured.Framed limited hand coloured drypoint of three red flowers. flowers, poinsettia, printmaking, richard scarce, available -
Merri-bek City Council
Work on paper - letterpress print, Commoners Press, Untitled, 2022
This image of Coburg Olympic Swimming Pool represents my connection to Merri-bek / Moreland. Being brought up around water, swimming has played a key role in my family and I feel a sense of the community when swimming in a public pool. The gum trees and the proximity of this pool to the river reminds me of my home town, Albury. For me, a public pool is a gathering place, a place of leisure and play, somewhere to learn and grow, spend time and let go.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print -
Queenscliffe Maritime Museum
Painting - MV Fairsea, Dacre Smyth, MV Fairsea, Sitmar Line
History of the post World War II Migrant Ship Fairsea. The Fairsea made several journeys to Australia under the International Refugee Organisation (IRO) from 1949 to 1951, carrying displaced persons affected by World War II. She was later chartered by the Australian Government to transport assisted immigrants from Britain and also New Zealand between 1949 and 1969.MRs B SmythA framed oil painting of the migrant ship MV FairseaFairseamv fairsea, migrant ships -
Port Melbourne Historical & Preservation Society
Mixed media - Placard, Anti-amalgamation protests, 1993
Made by the City of Port Melbourne for the demonstrations before and after the forced amalgamation by the Jeff Kennett State Government of the City of Port Melbourne with the Cities of South Melbourne and St Kilda to form the City of Port Phillip. First demonstation was against the City of Melbourne Act which excised 42% of Port Melbourne's rate base (Fishermens Bend) and so laid the groundwork for amalgamation afterwards because Port Melbourne could not survive on the remaining rates. Refer to Pat Grainger, Liana and David ThompsonWhite cardboard attached to a wooden stick with hand lettered anti-amalgamation slogan in black. "Government Action Without Proper Thoughtt"public action campaigns, amalgamation, local government - city of port melbourne -
National Wool Museum
Textile - Dress
Long coffee coloured wool lace evening gown with long sleeves and train. According to the donor (see correspondence in supp. file), this gown was made from Australian wool woven in Bradford and made up in Paris. It was given to the Melbourne Legacy Wives Association by Mr Ken Clarke (former head of the Wool Board and a Legatee) for use in a parade of garments by the Legacy Wives Association. This particular gown won an award (Wool Award/Gown of the Year?) in c.1957 and was on display in the window of the Georges department store in Melbourne.Long coffee coloured wool lace evening gown with long sleeves and train. Slip under coffee coloured lace dress. Detail of bodice of coffee coloured lace dress. Photograph from C of A: Ministry of Post War Construction Report c1945 "Wool"AC / AUST WOOL BOARDfashion, australian wool board, lace -
Whitehorse Historical Society Inc.
Mixed media - Picture
Ornate gold frame depicting girl in blue dress with dogsillustrations, prints -
Geelong Gallery
Painting - Graveyard scene / the beauty and sadness of bones, BENYNON, Kate, 2014-15
Synthetic polymer paint on canvas -
Bass Coast Shire Council - Art Collection
Work on paper - Point Lonsdale, Do Noble
Australia 1996WatercolourSigned -
Wangaratta Art Gallery
Painting, Eve Laing, Camelias, 1999
Rural City of Wangaratta Collection, Wangaratta Art Prize Grand Winner 1999.A realistic watercolour painting of white camelias.Obverse: Eve Laing/ (beside an oriental stamp in the bottom right corner) 1999 GRAND WINNER/ CAMELLIAS/ By EVE LAING/ Judge WYKEHAM PERRY/ (plaque on mounting board)wangaratta art gallery, eve laing, camelias, flower, painting, watercolour -
Marysville & District Historical Society
Work on paper (item) - Print of wood engraving, Ebenezer and David Syme, Road Making on the Black Spur, Road to Wood's Point, 1867
A copy of an early wood engraving of the construction of the road over the Black Spur in Victoria.A copy of an early wood engraving of the construction of the road over the Black Spur in Victoria. The Black Spur is known to be one of Victoria's most scenic drives. The road winds through a majestic forest of trees and tree ferns from Healesville to Narbethong and is part of the Maroondah Highway.black spur, wood's point, narbethong, maroondah highway, victoria, wood engraving -
Bass Coast Shire Council - Art Collection
Work on paper - Summer, Ramon Horsfield
Australia - 2000PastelSigned -
City of Greater Geelong
Work on paper - Pastel on Cartridge, David Nash, Sunset at Clifton Springs
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Ringwood RSL Sub-Branch
Work on paper - Poster, Australia under threat
Battle locations around Top end of Australia and surrounding islands -
Friends of Ballarat Botanical Gardens History Group
Work on paper - Our Ballarat Heritage, James Oddie, Ballarat's founding Father. The News, April 20, 1983
James Oddie is an archetypal example of the young men of British origin who came to the Ballarat diggings hoping to make their fortune during the Gold Rush and stayed on to establish the foundations of the regional centre that became the modern city of today.James Oddie witnessed the Eureka Stockade and played a significant role in the formative years of Ballarat's development.Part of a single newspaper sheet, folded, yellow with age.Nonechartists, eureka stockade, geelong, buninyong, doctor lang, foundry business, storeman, licences, estate agent, benefactor, ballarat benevolent asylum, rachel riding, female refuge, ballarat bank, mount pleasant observatory, electric light, trams, ballarat botanical gardens, railways, ballarat art gallery, john garner collection, gardens, ballarat -
Hymettus Cottage & Garden
Work on paper - booklet, A Guide to Ballarat
Nineteen page promotional booklet for Mc Dougal and Chisolm Ballarat c. 1953. -
Moorabbin Air Museum
Work on paper (Item) - Royal Aeronautical Society Melbourne Branch reports, Aircraft Project Design in Australia
Royal Aeronautical Society -
Horsham Regional Art Gallery
Painting, Judy CASSAB, Remembering things past, 1977
Gift of Mack Jost, 1992 -
Whitehorse Historical Society Inc.
Textile - Pillow Sham
White pillow sham with wide crochet border. Centre piece of Mount Mellick embroidery in white.handcrafts, crocheting or crochet work, manchester, bedding -
Ballarat Heritage Services
Painting, Madge Anderson, "The Old Bakery' by Madge Anderson
Madge ANDERSON (02 February 1911- 17 September 1994) Madge Anderson was a painter and printmaker. She died in Castlemaine Hospital aged 83 and is buried in Chewton Cemetery, Victoria.Framed townscape featuring a yellow car. bakery, madge anderson, streetscape -
Federation University Art Collection
Painting, Gareth Sansom, 'Metropolis' by Gareth Sansom, c1975
Gareth SAMSOM (19 November 1939- ) Born Melbourne Sansom describes a desire to constantly surprise and challenge himself as an artist. He had his first exhibition in 1959. His paintings of the 1960s were characterised by a distorted use of line, shape and colour and were influenced by abstract expressionism, Francis Bacon and Sidney Nolan. Over time, his work has also drawn on punk, dada, Basquiat, T.S. Eliot, urban graffiti, classical Greek philosophy and art theory across a variety of media ranging from drawing, printmaking and collage to photomontage and photography. Sansom lectured in Art at the Ballarat Teachers' college, and was appointed Head of Painting at the Victorian College of the Arts from 1977-1985, and Dean School of Art at the Victorian College of the Arts from 1986-1991. He was artist-in-residence at the University of Melbourne in 1985, which was when he resumed his full-time painting practice with a series of large works on canvas. 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.A large abstract painting.art, artwork, garth sansom, sansom, abstract