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Artwork, other (1265)
Ceramic (766)
Decorative object (714)
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Painting (2482)
Print (1657)
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Gippsland Art Gallery
Print, Krausmann, Rudi, Critic, 1979
Donated by Charles Nodrum, 2019Screenprint on papergippsland, artwork, permanent collection -
Bendigo Military Museum
Print - PRINT RAAF, FRAMED, Echuca Frame Workshop & Gallery, Possibly post WW2
Coloured print of a WWII RAAF Sunderland, 4 engine sea plane mounted with grey border. Brown wooden frame with gold inner edge, glass front, fawn paper backing & white cord hanging strap attached.Underneath print: “A World War II RAAF Sunderland on patrol from an original by Peter Connor” Handwritten in black ink on backing: “Donated by Rick Hattam”print, sunderland, raaf -
Darebin Art Collection
Print - Luke Cummins, Luke Cummins, Mooki (Mother Nature), 2001
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Phillip Island and District Historical Society Inc.
Print, At Cowes, Phillip Island
Very early scene of Cowes showing the jetty, Isle of Wight Hotel and jetty shed. Charles Turner was an English mezzotint engraver and draughtsman who specialized in portraiture. HistoricalA4 colour photocopy of a print of a wood engraving by Charles Turner of the Cowes jetty. Large beige frame around print.At Cowes, Phillip Island. from the commemorative work, Victoria in 1880, published in Melbourne to mark the International Exhibition held that year. Fine prints of notable buildings and street scenes, as well as views of the country and suburban areas of the colony. Wood engraving.cowes jetty, charles turner, isle of wight hotel, jetty shed, wood engraving -
Glenelg Shire Council Cultural Collection
Print, The Groom, 1983-1984
CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of seated male in black suit. Background is a pale pink covered with an ornate orange and dark pink vine-like pattern. This pattern is continued in the man's suit by using two shades of black.Front: Portland Commemorative Print 5/20. The Groom. Signature of John Cain Premier of Victoria. Back: 14 -
Swan Hill Regional Art Gallery
Print, JACKS, Robert, Untitled, 1985
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Latrobe Regional Gallery
Print, FRENCH, Leonard OBE b. 1928 Brunswick, Victoria d. 2017 Melbourne, Victoria, Fish over Landscape, 1964
Silkscreen printSigned and dated lower right corner beneath print, pencil "Leonard French 63" Titled and edition lower left beneath print, "Fish over Landscape" 2/50 -
Gippsland Art Gallery
Print, Frazer, David, Wounded Wood I, 2017
Purchased, 2017Etching on papergippsland, artwork, permanent collection -
Glenelg Shire Council Cultural Collection
Print, Albert Henry Fullwood, Portland Victoria, c. 1886
Scene of Portland Harbour. View includes people walking on beaches, jetties, morred boats (some with sails, some without). Upper centre of image shows a town, with a church to the right. To the left centre is a planned garden with people promenading. In foreground is empty land with a few seagulls. A train track enters the image on bottom centre. Print is predominantly in shades of blue, grey and brown. Framed, no glass.Front: A. H. Fullwood Back: (no insciptions)print, portland harbour -
Gippsland Art Gallery
Print, Fraser, Susan, Rock of Ages, 2013
Purchased, 2016Linocut print on papergippsland, artwork, permanent collection -
Bendigo Military Museum
Print - SONG LYRICS - Copy of Lyrics - songs from Alamein, Rats of Tobruk Association
Refer to Cat 4575PSingle sheet of paper, printed on both sides. Black ink. It has the lyrics for 12 WW2 favorite songs.Nilww2, tobruk, alamein. -
National Vietnam Veterans Museum (NVVM)
Print - Framed print, Signals, C.1978
Colour print of an oil painting in a gold frame with cream mat.The painting depicts a scene where army personnel lay cables in an erea where an aerial is up. On the horizon Helicopters come in, including a chiook, with supplies for the growing base.Signals operations being set up /run from back of APC'S'Signals in Vietnam' 1965 -1972 By Ken Mc Fadyen.print, helicopters, ken mcfadyen -
Flagstaff Hill Maritime Museum and Village
Print - Religious Portrait, Herbert Beecroft, artist, The Lord turned and looked upon Peter … and Peter remembered, 1947
This print of Christ is slightly smaller than the original 1927 oil painting by Herbert Beecroft, which is titled “Christ” and measures, in centimetres, 60 high by 50 wide. The original is displayed at John Wesley’s House & The Museum of Methodism in Islington, England. The title of the print is taken from the Holy Bible, from the New Testament book of Luke, chapter 22 verse 61, which is a famous Christian account of Jesus being betrayed by Peter, which leads to Jesus’ crucifixion; “And the Lord turned, and looked upon Peter. And Peter remembered the word of the Lord, how he had said unto him, Before the cock crow, thou shalt deny me thrice.”. The print was published in 1942 by the National Sunday School Union in England, now known as the National Christian Education Council. The NSSU was established in Britain in 1803 to promote Sunday Schools in Britain and overseas. The organisation produced many publications including training manuals and materials for Sunday School teachers. Herbert Beecroft 1864-1951, also known as Lawrence Herbert Beecroft, was an early 20th-century artist. He and his wife emigrated from England to Sydney, Australia, in 1905. He worked as a painter, illustrator, miniaturist ‘lightning cartoonist’, and lecturer. From 1927 Beecroft painted a series of portraits of Jesus Christ, prints of which made many worldwide sales. He entered a miniature portrait in the 1921 inaugural Archibald Prize competition. It was one of forty-one entries but the title was unknown. It is highly probable that it was JF Archibald, the person who endowed the prize, first awarded in 1921. This print of Christ, originally painted by Herbert Beecroft, represents the social movement in the early 20th century to educate all children in good morals and Christianity.A religious portrait of the artist’s impression of Jesus. The print is in a gilt timber frame behind glass. The frame has eyelets and wire for hanging. The backing paper lifts to reveal a handwritten pencil inscription. The portrait shows a male figure from the waist up facing the viewer but turned slightly to his right. He has long wavy blond hair, a moustache and a beard. He wears a blue-grey robe over a collarless white shirt. The background is red-brown. It is the artist’s impression of Jesus. The whole frame-mat has script text above and below the print, giving its title, and details of the publisher and producer. This print was produced from an original 1927 oil painting by Herbert Beecroft. It was published in 1942 by The National Sunday School Union in London and produced by Frost & Reed Ltd. England. Handwritten script on the mat; “Published in 1942 by the National Sunday School Union, 4 Black Friars Lane, London, EC4. Produced by Frost & Reed Ltd., Bristol & London. Printed in England. Copyright.” and, “The Lord turned and looked upon Peter … and Peter remembered” Signature on bottom left “Herbert Beecroft” In pencil on backboard under back paper “H 89 / 12”. Pen on white tape “155”flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, print, religious, vintage, 1942, herbert beecroft, lawrence herbert beecroft, archibald prize winner, early 20th-century, artist, oil painting, luke 22:61 -
Gippsland Art Gallery
Print, Walker, Murray, Walking, 1985
Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Linocut print on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Prout, John Skinner (after), Avoca River, Victoria, c.1873
Gift of Ted and Gina Gregg, 2012Hand-coloured steel engraving on papergippsland, artwork, permanent collection -
Flagstaff Hill Maritime Museum and Village
Print - Lithograph Picture, Madagascar Indiaman, Unknown
Madagascar was a large British merchant ship built for the trade to India and China in 1837 that disappeared on a voyage from Melbourne to London in 1853. The disappearance of Madagascar was one of the great maritime mysteries of the 19th century and has probably been the subject of more speculation than any other 19th-century maritime puzzle, except for the Mary Celeste. Madagascar, the second Blackwall Frigate, was built for George and Henry Green at the Blackwall Yard, London, a shipyard that they co-owned with the Wigram family. A one-eighth share in the vessel was held throughout her 16-year career by her first master Captain William Harrison Walker Walker. Madagascar carried freight, passengers, and troops between England and India until the end of 1852. In addition to her normal crew, she also carried many boys being trained as officers for the merchant marine. Known as midshipmen from naval practice, their parents or guardians paid for their training, and they only received a nominal wage of usually a shilling a month. Due to the Victorian Gold Rush, Madagascar, under the command of Captain Fortescue William Harris, was sent to Melbourne with emigrants. She left Plymouth on 11 March 1853 and, after an uneventful passage of 87 days, reached Melbourne on 10 June. Fourteen of her 60 crew jumped ship for the diggings, and it is believed only about three replacements were signed on. She then loaded a cargo that included wool, rice, and about two tonnes of gold valued at £240,000, and took on board about 110 passengers for London. On Wednesday 10 August, just as she was preparing to sail, police went on board and arrested a bushranger John Francis, who was later found to have been one of those responsible for robbing on 20th July the Melbourne Private Escort between the McIvor goldfield at Heathcote, Victoria and Kyneton. On the following day, the police arrested two others, one on board the ship and the other as he was preparing to board. As a result of these arrests, Madagascar did not leave Melbourne until Friday 12 August 1853. After she left Port Phillip Heads Madagascar was never seen again. When the ship became overdue many theories were floated, including spontaneous combustion of the wool cargo, hitting an iceberg and, most controversially, being seized by criminal elements of the passengers and/or crew and scuttled, with the gold being stolen and the remaining passengers and crew murdered. There have been many rumors as to what happened to Madagascar over the years but what really happened is still a mystery. The lithograph was made around 1950 from an original painting of Madagascar a Vessel with a notorious past and is interesting and a significant item for the ships part in early Victorian history. The picture is it’s self not valuable or can be associated with a significant person in history. The interest lies in the events that are linked to the ship in the mid 19th century.Lithograph of the ship Madagascar, in a wooden frameThe Madagascar East Indiaman 1000 tonsflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, lithograph, the madagascar, east indiaman -
Latrobe Regional Gallery
Print, PHILIPS, Tom b. 1937 London, United Kingdom, Benches, 1982
ScreenprintSigned in lower right under printed image. Edition 49/85 lower left under printed image. -
The 5th/6th Battalion Royal Victoria Regiment Historical Collection
Print - Book, Battle Leadership
Battle LeadershipYellow Cover - black writing on front Battle Leadership5/6 rvr, officer's mess, sergeant's mess -
Gippsland Art Gallery
Print, Turner, J.M.W. (after), Mount Edgecomb, c.1859-78
Purchased, 2013Engraving on papergippsland, artwork, permanent collection -
Tramways/East Melbourne RSL Sub Branch - RSL Victoria Listing id: 27511
Print - Black and White pencil, hand drawn, MEDCAP, Uruzgan, Afganistan, 2010
The artist is currently a member of the Tramways / East Melbourne RSL, and has donated these prints himself. Framed print of the image created by 'Andrew Archibald'. Print is signed by the artist and editioned as 11/ 100. Image shows a young child receiving medical attention in AfghanistanPlate states 'Donated by Craig Horne' andrew archibald, afghanistan, medcap, children, medical treatment, doctors, artworks, war -
Gippsland Art Gallery
Print, Turner, J.M.W. (after), The Goddess of Discord, c.1859-78
Purchased, 2013Engraving on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Waters, Pat, Homage to Black Madonna II, 2015
Purchased, 2017Monotype on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Durrant, Ivan, Saigon, 1987
Donated by Lesley Duxbury through the Australian Government Cultural Gifts Program, 2017Screenprint on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Komjati, Julius, Ava Maria (Christmas Card), 1937
Donated from the estate of Miss Marion Paterson, 1980Etching on buff papergippsland, artwork, permanent collection -
Latrobe Regional Gallery
Print, Bird II and Moon, 2003
EtchingSigned and dated 'Jennifer Mullett, 003' lower right under printed image. Edition 2/10, and title "Bird II and Moon" lower left corner under printed image. -
Glenelg Shire Council Cultural Collection
Print, Coca-Cola, 1983-1984
CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint which features various images on a blue and green background. The images from the top are: high tension wires and supports; numerous 'Coca-Cola' cans that descend in size; a war memorial statue; bluestone building; several orange sheep with one black sheep.Front: (no inscriptions) Back: 30 -
National Vietnam Veterans Museum (NVVM)
Print, Fire Support Base Coral - May 1968
Coloured photo in black wooden frame with brown matt board depicting 3 U.S. Army self-propelled artillery & 3 soldiers in the foreground in a sand bagged defensive position.54GP 3F35 , A-16 (on artillery piece). My Vietnam collection @Fred Bowden; Fire Support Base Coral, May 1968.fire support base - coral -
Gippsland Art Gallery
Print, Dunn, Richard, By Leaves We Live #3, 2009
Donated by the artist, 2017Paper, Moab Entrada Cotton Papergippsland, artwork, permanent collection -
Swan Hill Regional Art Gallery
Print, IRVING, Tony, Niagara Lane, 1990
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Mission to Seafarers Victoria
Print - Reproduction, Johnston, P&O 'Iberia' - 29,600 Tons, c.1960
SS Iberia was an ocean liner completed in 1954 for the Peninsular and Oriental Steam Navigation Company (P&O). Along withother liners, Iberia mainly provided passenger service between the United Kingdom and Australia. In the Annual Report 1954, Padre Oliver mentions: " Two fine new P & O ships made their maiden voyages during the year: "Arcadia" and "Iberia". In each case I was privileged to help to represent the Mission at the official luncheon."Marine artColour printed reproduction of a painting or lithograph print featuring 20th C passenger liner, hull and superstructure primarily painted white, under steam at sea. Small tug/fishing vessel in foreground. Larger steam ship on horizon. Print on plain board backing with plain mitred timber frame. Eyelet screws with wire.Printed signature lower right. 'JOHNSTON'iberia, passenger ship, p&o, marine painting, passenger ships, artwork-paintings, peninsular and oriental steam navigation company