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Peterborough History Group
Mixed media - Peterborough Fire Brigade
Collection of items donated by Barry Jenkins, key personality in the community and in the Fire Brigade. Fires were a regular occurrence in the timber buildings in times gone by, so was a welcome addition to the community services.Volunteer Fire Brigade was and still is an important asset to the community.Collection of various items, documents and photos including the 'Country Fire Authority Act 1958' and copies of newspaper articles about various fires attended by the Peterborough Fire Brigade. Photographs include different fire trucks and of members of the brigade over the years.cfa, peterborough, fires, peterborough cfa, country fire authority act 1958, bruce fennell, barry jenkins, terry mulder, ronald irvine, gavin delaney, castle fimmel, gordon cumming, kathy burl, tups ryan, lorna bourke, bill saunders, frnak hughes, don bradshaw, john irvine, graham bourke, mick schroeter, ned ryan -
Bendigo Historical Society Inc.
Print - FRAMED PRINT OF SANDHURST
Framed print of Sandhurst Unable to be located 30.08/2023 -
Churchill Island Heritage Farm
Textile - Lace Trim
This is a very dense machine made lace reminiscent of a Valenciennes style. The folk art style roses and interconnecting six petal flowers are set into quite a dense net ground. The trim appears to have been made on a Pusher machine - although it was only able to make the lace pattern and the net. Any outline had to be filled in later by hand using an embroidering machine. Nottingham stopped making Pusher lace probably in the early 20th century but it continued to be made in France. The Pusher machine was a variation on John Heathcoat’s Bobbinet machine developed by Samuel Clark and James Mart in 1812. It takes its name from the rods which pushed the carriages through the machine. The Jacquard apparatus was adapted to it in 1839. The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by four generations of Amess women. section of lace trim, with very dense valenciennes pattern, small lowers and leaves interwoven with larger motifschurchill island, lace, janet amess lace collection, trim, amess, machine -
Beechworth RSL Sub-Branch
Print - Plate Identification Vehicle
This plate was designed to slide into the brackets of a military vehicle for purpose of signifying which regiment was operating it. Square metal plate with regiment sticker. The sticker has one gold horizontal stripe between two green horizontal stripes and features an image of the English Crown above an image of a kangaroo jumping in-front of two crossed swords. brakets, vehicle plate, regiment -
Federation University Art Collection
Mixed media, Simone Maynard, Looking East, 2006
Simone MAYNARD (1974- ) Melbourne based contemporary artist SIMONE Maynard is primarily influenced by the 1980s, reflecting a period of increasing global capitalisation, political upheaval, world-wide mass media, wealth discrepancies and distinctive music and fashion characterised by hip hop and electric pop music.Portrait of a womanVerso: Looking East 40x3 20060 inches; acrylic, ink & collage, hand stitching on canvas. SIMONE MAYNARD DEC 2006available, portrait -
Flagstaff Hill Maritime Museum and Village
Textile - Jug Cover, ca 1910
The jug cover was made by overlapping two squares of net fabric and joining them together. The beads on the cover’s border are used to weigh the cover down and keep it on the jug. 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.” It was a tradition for brides to have a 'glory box' containing linen and embroidered articles to take to their new home. Many of the items were made by Daisy, a skilled dressmaker. Daisy began her apprenticeship at two shillings and sixpence per week at Miss A. E. Emery's dressmaking establishment at 150-152 Liebig Street, Warrnambool. Considered to be the leading house of fashion in Warrnambool, Miss Emery employed about eight young women who worked long hours to sew elaborate gowns for clients, including wives of graziers who would attend the race carnivals and social functions in Warrnambool. (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 significant for its association with a ‘glory box’ or hope chest’, a tradition of single ladies making and collecting a range of linen and other domestic items in preparation for their future marriage. The item is a fine example of early 20th-century needlework and handmade domestic items.Jug cover, square shape, net fabric with blue beads along the 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, handmade, craft, manchester, linen, haberdashery, needlework, crochet, jug cover -
Ringwood and District Historical Society
Mixed media - Video, RDHS Guest Speaker Presentation - "Healesville's Historic Guest Houses" - Bryn Jones
Digitised video (3.11GB). Duration: 57 minutes. Recorded November, 2023 (Video is available for viewing at Ringwood & District Historical Society Archives by appointment)Presenter: Bryn Jones, President of Healesville Historical Society, takes us back through the ages uncovering the origins and growth of Healesville's attraction as a local and international tourism destination, with a mix of tall tales and true stories associated with some of the guest house goings-on. -
Ringwood RSL Sub-Branch
Print (item) - Photograph of Queen Elizabeth II
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Ararat Gallery TAMA
Mixed media, Irusaq Presenter at Arm's Robe, 1986-1989
“All Irusagi robes of office are highly symbolic. Generally black or dark blue, they are richly jewelled and embroidered; each one individually designed for its owner, as he, or she, takes office at the central court. The miniature is a record of this office. This, the Armourer’s Robe is typical of the richly decorated formal styles of the 10” to 12" Centuries Post Imperium. The symbolism is obvious: oversleeves of silver, to indicate one of the metals used in the making of weapons; decorative daggers, indicative of the famous throwing and fighting knives; studs, symbolising protective armour; and touches of red alongside the predominating metal, to represent the shedding of blood, (a minor theme, because bloodshed is undesirable). The Void, the centre of Irusaqu worship is always shown on this Robe, because all fighting men or women have a deep religious responsibility to obey the Voidic code. Lastly, the jewel, with its elongated triangle, forms the ancient symbol of Man, at the base of the Void, but not subordinate to it.” -Inga Hunter -
RMIT Design Archives
Mixed media - Magazines, Fast Forward, number 4, April 1981
Fast Forward was an audio-cassette based music magazine conceived and edited by Bruce Milne and Andrew Maine. Both had music programs on radio station 3RRR and Milne ran the successful independent record label Au Go Go Records. Michael Trudgeon joined them as the designer for the magazine. Each issue comprised a cassette tape interspersed with music and was packaged with printed artwork. The magazine was distributed in record shops for $3.50. Thirteen issues were produced between November 1980 and October 1982. Regular contributors included Jeff Holland, who created elaborate sound collages which were combined with elaborate illustrations in the booklet that accompanied the audio cassette. Many ground breaking Australian bands were first published on Fast Forward tapes including Hunters and Collectors. An international audience was first exposed to music from Australian bands including Laughing Clowns, the Go-Betweens, Rowland Howard’s ‘Shivers’ as performed by The Young Charlatans, The Scientists, the M Squared label, Dead Can Dance and Pel Mel’s ‘No Word from China’ recorded as a ‘demo’. Fast Forward was the world’s first audio-cassette music magazine. As the magazine’s presence and reputation grew, international acts began to submit material for publication including The Cure. Interview subjects included Nick Cave, The Cure’s, Robert Smith, Mark E Smith of The Fall, and the manager of The Clash.Cassette magazine in vinyl cover. Contents includes one magazine, one audio cassette, one crossword, one subscription pamphlet, and one pamphlet titled 'The Kmart Herald'.music, design, magazines -
Horsham Regional Art Gallery
Print, Irena SIBLEY, Fuschias, n.d
Donated through the Australian Government's Cultural Gifts Program by Katherine Littlewood, 2019hand coloured linocut on paper -
Ararat Gallery TAMA
Textile, Julie Montgarrett, Woomelang, 1977
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Gippsland Art Gallery
Print, Welch, Robin, Ceramic Design, 1980
Purchased, 1980Monoprint on papergippsland, artwork, permanent collection -
Ringwood and District Historical Society
Mixed media, Ringwood CWA at Eastern Foothills Group Creative Arts exhibition in 2019
Kindly scanned from Ringwood Branch archival collection -
Latrobe Regional Gallery
Print, PIPER, John b. 1903 d. 1992 Buckinghamshire, United Kingdom, Eye and Camera: Claret and Blue, 1973
ScreenprintSigned 'John Piper' in lower right corner under printed image. Edition 33/70 in lower left corner. -
Gippsland Art Gallery
Print, Etty, William (after), Cupid, 1857
Donated from the estate of Dora Greenwall, 1975Steel engraving on papergippsland, artwork, permanent collection -
Ringwood and District Historical Society
Mixed media - Video, RDHS Guest Speaker Presentation - A Taste of Australian Climate History - Don Garden
Digitised video (2.84GB). Duration: 43 minutes. Recorded October, 2019 (Video is available for viewing at Ringwood & District Historical Society Archives by appointment)Presenter: Don Garden, OAM FFAHS, FRHSV, historian and author, examins the history of climate in Australia as researched for his book "Droughts, Floods & Cyclones - El Ninos that Shaped our Colonial Past". -
Swan Hill Regional Art Gallery
Print, BOWEN, Dean, The Rough Nuts, 1995
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Gippsland Art Gallery
Print, Gardiner, Ian, Untitled, 1970
Gift of Judith Gardiner, 2017Coloured linocut on papergippsland, artwork, permanent collection -
Flagstaff Hill Maritime Museum and Village
Print - Lithograph, Cruiser Melbourne Rescuing crew from the "Helen B Stirling" off Three Kings Islands New Zealand in January 1922, 1924
Lithography is a method of printing, originally based on the immiscibility of oil and water. The printing is from a stone or a metal plate with a smooth surface. It was invented in 1796 by the German author and actor Alois Senefelder and was initially used for musical scores and maps. There were two sailing ships with the name Helen B Sterling a six masted vessel and an earlier four masted Helen B Stirling that is the subject of the lithograph depicting the rescue of the crew and passengers by the Australian light Cruiser Melbourne in a gale off three Kings islands 55 kilometres Northwest of Cape Reinga New Zealand. This Helen B Sterling was built as a four mast wooden auxiliary screw Schooner, known as a wind jammer of 1608 tons. The vessel was formally known as the “Tacoma” and owned by the Washington Shipping Corporation based in Seattle USA in 1917. This original Helen B Sterling was caught in this storm and eventually sunk after being abandoned by the crew. The second generation relatives of those who were passengers at the time of the foundering advise that the storm was more like a cyclone. The Zeehan and Dundas Herald reported on January 26th 1922 that the abandoned vessel was still afloat and drifting towards the New Zealand coast. The Kalgoorie Miner newspaper also had an article reporting that on the 7th Feb 1922 the crew, captain, first mate and their families after being heroically rescued by the crew of the Australian light Cruiser Melbourne were arriving in Sydney today aboard the steamer the “Maheno” from New Zealand.Lithograph appears to be by an unknown artist A M Duffield produced in 1924. It is significant in that it depicts the rescuing of the passengers and crew of the schooner “Helen B Stirling”. At the time this was a significant event that made most Australian and New Zealand papers because of the involvement of the Australian cruiser “Melbourne”.Lithograph framed of cruiser Melbourne rescuing crew from Helen B Stirling off New Zealand coast. By A.M. Duffield."Australian Cruiser Melbourne Rescuing crew of (undetermined text _ _) Schooner Helen B Sterling of (Halifax Nth Canada Tons 1343 in a gale in the Pacific Ocean" (this last potion of text is incorrect see note sec this document) Lithograph signed bottom right hand corner in black "A M Duffield Nov 19th 1924"warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, lithograph, a.m.duffield., helen b stirling, schooner, cape reinga new zealand, alois senefelder, cruiser melbourne, three kings islands -
Warrnambool and District Historical Society Inc.
Mixed media - Audios, Warrnambool, City by the Sea Warrnambool by the sea x 2, 1980
These records of two songs sung by John and Mary Kopke, has been made as a souvenir of Warrnambool during the time it won the Premier Town Award 1979-1982. This award was given to a town or city that showed excellence in official environmental practice. The promotion song, ‘City By the Sea’ celebrates Warrnambool and mentions the May Racing Carnival with its Grand Annual Steeple Race, the Melbourne to Warrnambool Cycle Race and Flagstaff Hill Maritime Museum. The other song is about the Mahogany Ship, a ship that was first found wrecked on the coast near Warrnambool in 1836. There were many sightings of the wreck until the 1890s when it disappeared. There has been speculation ever since about the ship’s origins – Spanish? Portuguese? Chinese? The search for the wreck continues. This record is an interesting one – a memento of the celebrations in Warrnambool during the time it won the Premier Town Award 1979-1982. These are two identical records. .1 This is a paper cover for a 45 R.P.M. record. It has black printing, the logo of Warrnambool Premier Town, a blue-coloured image of the harbour at Flagstaff Hill Maritime Museum Warrnambool with an inset black and white photograph on one side and a blue-coloured image of the Mahogany Ship and black printing on the other side. .2 This is 45 R.P.M. record with recordings on both sides and inset with black printing on an aqua background. ‘Warrnambool City By the Sea’ ‘The Ship Mahogany’ ‘John and Mary Kopke’ warrnambool premier town 1979-82, mahogany ship, john and mary kopke -
Wangaratta Art Gallery
Textile, Valerie Kirk, Gum Leaf + Root
I draw inspiration from the world around me and from particular aspects of life. Previously my work dealt with my experience as a Scottish migrant – looking back and forward, north and south, here and there, between two countries. This ‘in-between-ness’ of the migratory experience, while not unique to me or other Australians, contributes to my sense of being made up of many parts, a kind of fragmentation where certain components come into play at different times. There is an eternal mismatch or sense of being out of place in my world as I am recognized as Scottish in Australia when people hear me speak but in Scotland people comment on my Australian accent. In a wider sense Australia’s history and culture is made up of many examples of people and things brought together without a good likeness or fit. Woven tapestry allows me to combine my interests in textiles and visual art using the tactile qualities of materials in the highly complex woven form. It allows be to create realistic images, but change format, composition and placement to create images which invite the viewer to question. The intricate nature of multiple wefts twined between warps parallels the complexities of life and tapestry’s building /constructed process embodies the advancement of time.Wangaratta Art Gallery CollectionA small tapestry of a gum leaf and a singe root system handwoven in a colour palette of black, grey, and white.valerie kirk, tapestry, textile -
Gippsland Art Gallery
Textile, Ingrouille, Marie, Wild Flowers, 1977
Purchased, 1977Ink and textile (Batik)gippsland, artwork, permanent collection -
Flagstaff Hill Maritime Museum and Village
Print - Lithoprint
This art work is an example of an Art Deco print created through lithoprint / lithograph techniques. As a print it would have been more affordable than an original artwork and hence could be purchased by a wider cliental. Little is known about the artist, but Jean Lasalle is listed as producing another print used by Tuck & Sons in their Oilette postcard series.This item is significant socially as an example of artwork that may have been displayed in homes around the 1910s- 1930s. The Oilette logo carries significance, linking the print to a business that was influential in the early production of postcards.Unframed print on board with some framing tacks still attached to the back of the board. Print area is in fair condition. The print has been stuck to a ‘paper frame' which has been attached to the backing board. The subject of the print is a lake view, with steep mountains in the background and two female figures on a bench in the foreground in the Art Deco style. Colours are muted. The print has the artist's signature 'Jean Lasalle' (looking at the print bottom left) and the words 'Oilette' (looking at the print bottom right) with a small logo composed of an oval and square underneath.flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, lithoprint, lithograph, oilette, golden dawn, art deco, jean lasalle, print, day dream -
Gippsland Art Gallery
Print, Turner, J.M.W. (after), The Vale of Ashburnham, c.1859-78
Purchased, 2013Engraving on papergippsland, artwork, permanent collection -
Wangaratta Art Gallery
Textile, Sharon Peoples, Lake Tuggeranong 2, 2019
In 2019 Peoples undertook a residency at the Tuggeranong Arts Centre, Canberra. The original proposal was to explore the suburban gardens. However, it was the man-made lake with a different bloom, blue-green algae that held her attention. The still waters of the lake in the early mornings are tranquil. Becoming more familiar with the Lake, details caught Peoples’ eye. However, she realised the only interaction by humans with the Lake were two men who motored a small boat to the centre of the Lake, a hint as to the connection between tranquility and blue/green algae.Wangaratta Art Gallery Collection. Donated by June Brown.A small embroidery using a colour palette of green, orange, blue and brown depicting a scene of Lake Tuggeranong mounted into a purple spectacle case.sharon peoples, textile, embroidery, lake tuggeranong, landscape -
Gippsland Art Gallery
Print, Turner, J.M.W. (after), St. Agatha's Abbey, Easby, c.1859-78
Purchased, 2013Engraving on papergippsland, artwork, permanent collection -
Tatura Irrigation & Wartime Camps Museum
Mixed media - USB (memory stick), Wilhelm Manzke
Wilhelm Manzke was a German POW held at Camp 13 Murchison Victoria during WW2. USB contains photographs of him prior to WW2, during WW2 as a POW, a family tree of him and his wife and their children, a photo album and letters sent to his wife whilst interned at Murchison. Compiled by his children. Also a copy of a document on the heritage of Murchison Camp 13 (C3594).Lexar usb (white with green plastic cover) containing photographs and information on Wilhelm Manzkewilhelm manzke, german pow, murchison camp 13, manzke family tree, hildegard manzke, hildegard marake -
Wangaratta Art Gallery
Print, James Jacques Joseph Tissot, Berthe, 1883
James Tissot is most famous for his artwork that depicts the European bourgeois society of the late 19th century. This societal period is often referred to as La Belle Époque, where affluent bourgeoisie living created a complicated mode of manners and dress. This subject matter used in his art made Tissot popular with the bourgeois society, however it made him unpopular with critics who deemed his works as of loose morals due to his subject matter. Tissot’s art style of Realism also put him at odds with his fellow artists and friends such as Degas and Manet who were greats of the European Impressionist movement. This print was made using the printmaking technique of etching, which allowed Tissot to make multiply prints of a particular artwork to sell on mass at a more affordable price to the general population who wished to emulate the bourgeoisie lifestyle of the wealthy.RealismRural City of Wangaratta Collection, Purchased with funds from the Wangaratta Art CouncilA rectangular portrait etching of a 19th century European young lady dressed in her best attire seated in a fashionable manner, printed in black ink on white paper. Obverse: J J Tissot/ 1883 (Artist's signature and date - located in the bottom right corner of the print)james tissot, 19th century, print, etching, portrait, tissot, wangaratta art gallery -
Mission to Seafarers Victoria
Print (item) - Calendar, Mission to Seafarers Australia 2017, 2017
co-produced publication serves as a record of 21st C. collaboration of the MTSV with associated organisations such as The Anglican Church and Australian Seafarers Welfare Centre.'Caring for the world's hardworking seafarers visiting our 28 ports' is printed in two rows along the bottom of the calendar with a Q logo in the left hand corner and the Mission to Seafarer's logo in the right hand corner.mts, aswc, anglican church, calendar, 2017