Showing 215 items
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Federation University Art Collection
Painting - Mural, French, Leonard, 'The Tapestry' by Leonard French, 1959
Artist Leonard French said of this work:- "The centre panel suggests a tree of knowledge growing out of a jewelled fish (a spiritual accompaniment is intended), and from the tree birds rise, spreading out through the cloud shapes of the other panels. Hands and figures rise from the earth, reaching for the birds. The left hand panel depicts the journey of figures in a boat, the seeking after or journeying to the source of knowledge. The far right hand panel is the garden, figures in a primitive state, a sort of evolution of figures from a primitive garden (the first garden). Visualization, verbalization, music and dance are tools we have to express a concept. The analysis of an art work is a delicate and sensitive task and great harm can be done in an attempt to become verbal about a form which relies upon elements peculiar to itself for intrinsic meaning." Leonard FRENCH (OBE) (08 October 1928 - 10 January 2017) Born Brunswick, Victoria Died Heathcote, Victoria Known for his enormous dalle de verre (concrete and slab glass) ceiling in the Great Hall of the National Gallery of Victoria Leonard French produced a large body of work throughout his lifetime. French won the Sulman Prize in 1960, and the Blake Prize for Religious Art in 1963 and in 1980. He was also awarded a Harkness Fellowship in 1965. In the Queen's Birthday Honours of June 1968 he was appointed an Officer of the Order of the British Empire. In early 1959 Leonard French was commissioned by the Ballarat Teachers' College students to paint a mural. The students were responsible for the payment of the work. When unveiled artist George Bush remarked: "the 1959 students have left something not just to 'oooh' and 'ah' at, but something that is thought provoking, arresting and interesting. This work of art keeps something in reserve and draws you to search for deeper meaning behind the splendour of colour. This mural is not one which will not fade the interest of its beholders, but one which will provide intrigue for generations to come." Originally French intended the mural to be five panels, each entitled (left to right) 'the Journey', 'Man', 'The Tree', 'The Earth', 'The Garden'. The finished mural was reduced to four panels with the central tree incorporated into the panels 'Earth' and 'Man'. Ballarat Teachers' College Art lecturer Arch Cuthbertson explained that the artist:- "Aims at evoking emotional flashed, opening doors to simultaneous thinking and feeling. To accomplish this he juxtaposes the threads of conscious and unconscious images, thus effecting a tapestry that allows many points of reference to converge upon his singular images. Whether the colours offer metaphysical sensations or convey a literal meaning will depend upon the breadth and depth of the viewer's experience. Similarly with the bird - we might well ask is it a defiance of gravity, a metaphysical ascension or the elusive winged knowledge? Again the answer could well be that these three associations have a singular purpose. " 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.A four panel mural by Leonard French, commissioned and gifted by the Ballarat Teachers' College Student in 1959. Art lecturer Arch Cuthbertson was highly involved in this commission. Artist Charles Bush unveiled the mural at the Ballarat Teachers' College in Gillies Street, Ballarat. At that time he said:- "You have left behind you on object which will be full of interest to a lot of people. A work of art, so long as it is in existence, is constantly under review. Most of the good things that keep on going are usually to the uninitiated a little worrying. Many of you will be worried by this, because it does not make its message immediately clear. But come back and assess it again and again." art, leonard french, french, artwork, mural, ballarat teachers' college, class of 1959 -
Mont De Lancey
Mug
The Bailiwick of Guernsey Millennium Tapestry. One in a collection of ten tapestries produced by Island volunteers. Each canvas represents 100 years of Guernsey history. 'First Edition' The Fourteenth Century.White Mug with handle and depiction of The Bailiwick of Guernsey Millennium Tapestry (No. 4 in a Series of 10).mugs -
Dutch Australian Heritage Centre Victoria
Tapestry Dutch national costumes, 1971
Martijntje van Dooren created the tapestry in 1971. She migrated to Australia in 1952 from Rotterdam.Dutch cultural piece, accurate depiction national costumes. Used in DAHC displays. Rectangular log landscape shaped wooden framed tapestry, glass front.Dutch National Costumes. MvD'71 -
Federation University Historical Collection
Book, Sovereign City: A Ballarat Tapestry, 1974
Hard covered book of 80 pages with a yellow dust jacket. Many sketches including Armstrong Street, Lydiard Street, Montrose Cottage Eureka Street, Lauderdale, Ballarat Railway Station. Bailey's Mansion, Former Ballarat Gaol, Ballarat Town Hall, Camp Street Police Station. Ballarat East Post Office, Ballarat Synagogue, Lal Lal blast furnace, Sovereign Hill, Mount Buninyong, Dana Street Primary School. non-fictionballarat, buildings, architecture, edward heffernan -
Koorie Heritage Trust
Book, Bassett, Marnie, The Hentys : an Australian colonial tapestry, 1962
This book tells the remarkable story of a family who left England to settle in Australia in 1829 and 1831. The Henty family is well known in all ?ustralianStates, particularly in Victoria, Western Australia and Tasmania.pp.578; bibliography; Table; index; plates; maps; This book tells the remarkable story of a family who left England to settle in Australia in 1829 and 1831. The Henty family is well known in all ?ustralianStates, particularly in Victoria, Western Australia and Tasmania.henty family. | pioneers -- australia -- biography. | frontier and pioneer life -- australia. | western australia -- history -- to 1829. | victoria -- history -- 1834-1851. -
Stawell Historical Society Inc
Book, Robert Nash, A New Tapestry – Australian Huguenot Families, 2015
stawell -
Malmsbury Historical Society
Photograph (Item), Embroidery & Tapestry At Malmsbury Heritage Week =1exh0055r, Malmsbury ca1990
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Malmsbury Historical Society
Photograph (Item), Crochet & Tapestry At Malmsbury Heritage Week, Malmsbury ca1990
Buildings - Malmsbury Town Hall -
Malmsbury Historical Society
Photograph (Item), "M.H.S Exhibition, Barb Slimmon Tapestry Ex Dunkeld", Malmsbury 1991
Associated with - M.H.S Buildings - Town Hall People - "Slimmon, Barb; Bates, Mr" -
Gippsland Art Gallery
Textile, Wigan, Karin, Tapestry Weaving, Undated
Bequest of Lady Maie Casey, 1985Wool and cottongippsland, artwork, permanent collection -
Gippsland Art Gallery
Textile, Wigan, Karin, Tapestry Weaving, Undated
Bequest of Lady Maie Casey, 1985Wool and cottongippsland, artwork, permanent collection -
Ararat Gallery TAMA
Mixed media, Diana Wood Conroy, Study for tapestry - What must I do now?, 2013
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Eltham District Historical Society Inc
Photograph, Val Rogers, Vicar, (1989-1996), St Margaret's, Eltham wearing a butterfly stole made by the Tapestry Group, and parishoners 3 July 1996
Digital scan of photograph - Original Source Copy: St Margaret's Parish Archives. church of england, churches, eltham, st margarets church, val rogers -
The Mrs Aeneas Gunn Memorial Library
Book, Oxford University Press, The Hentys : an Australian colonial tapestry, 1955
A history of the Henty family, early settlers in Western Victoria.Index, bib, ill, maps, p.578.non-fictionA history of the Henty family, early settlers in Western Victoria.victoria - history - 1834-1851, henty family - history -
Kew Historical Society Inc
Book, Marnie Bassett, The Hentys : an Australian colonial tapestry, 1962
Biographical work by Marnie Bassett on the history of the Henty familyParkville, Vic., Melbourne University Press, 1962 578 pages ; 22 cm. non-fictionBiographical work by Marnie Bassett on the history of the Henty familyhenty family, the hentys, marnie bassett, victoria -- histories -
Ballarat Heritage Services
Photograph - Colour, Tapestry made by Alice Webb Russell in 1854
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Mentone Grammar School
75th Anniversary Tapestry
Tapestry made for the School's 75th Anniversary celebrating four locations of significance on the campus of Mentone Grammar -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Book, Brown, Beth, Tapestry of the Frontier, 1989
Personal accounts of nursing in the bush and outback, with the Australian Inland Mission Frontier Services. Illustrated.aboriginals -
Federation University Art Collection
Tapestry, Unknown, Bolton Abbey in the Olden Time
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.art, artwork, tapestry, hattersly loom, hattersley, loom, machine tapestry -
Whitehorse Historical Society Inc.
Newspaper - Article, Prize work, 10/09/1990
Article on Blackburn resident and tapestry maker Gina Yuer.yuer, gina, tapestry -
Bendigo Military Museum
Artwork, other - TAPESTRY, FRAMED, Post 1998
The Bendigo cenotaph is a scaled down version of the Cenotaph in London England.Framed tapestry showing the Cenotaph and fountain in Central Bendigo Victoria.brsl, smirsl, cenotaph, tapestry -
Tatura Irrigation & Wartime Camps Museum
Bag, 1940's
Made for Wally Wagner in Camp 3.Tapestry knitting bag within wooden framework. Handles formed at top to which tapestry material is attachedbag, tapestry, knitting, liebeskind w, camp 3, tatura, ww2 camp, handcrafts -
Wangaratta Art Gallery
Textile, Valerie Kirk, Roots + Leaves
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 roots and leaves handwoven using a colour palette of black, grey, and white.valerie kirk, textile, tapestry -
Flagstaff Hill Maritime Museum and Village
Textile - Tablecloth, unknown
Tapestry is a form of weaving and is most commonly made on a loom, but traditionally, from 11th to the 19th centuries, made by hand. When used as a table cover, items such as this one were often covered and protected by a lighter weight, easily washable tablecloth. This tapestry tablecloth has a soft velvet feel. It has seen many days and has been lovingly repaired in several places with dark patches on the underside. This tapestry tablecloth represents heavy duty table coverings used to protect furniture and as a form of decoration. It is an example of what was used in the Colonial and Early Settler days in Australia.Tablecloth or table cover, rectangular tapestry in burgundy and red tones. A burgundy is around all sides with a floral inner border, framing a decorative oval centrepiece of floral design on a red background. the short sides are reinforced with tape on the underside. The cloth has been carefully repaired on the underside. There are pin marks on the tape in one corner.flagstaff hill, warrnambool, shipwreck coast, flagstaff hill maritime museum and village, maritime museum, tablecloth, tapestry, table cover, table linen, manchester, vintage, arts and crafts -
Glenelg Shire Council Cultural Collection
Artwork, other - Tapestry, The Portland Fibre Group & Valerie Kirk et al, From the Land to the Sea, 1996-2004
Woven by The Portland Fibre Group, proposed for installation in the foyer of the Glenelg Shire Council Offices, opposite the entry to the Council Chambers.Tapestry woven in wool on twine warp. Cream coloured background with pale blue flecks of colour, central motif of coat of arms features two birds standing on grey platforms, either side of shield. Central to the shield is a masted sailing vessel sitting atop blue and white horizontal lines representing the ocean. Around the sails of the vessel are radiating yellow rays and a blue surrounds representing sunburst against blue sky. The top third of the shield shows a pair of sheep heads against a red background. Above the shield is depicted a helmet, crowned with a whale. Blue plumage is shown coming from the helmet and framing the whale. -
Wangaratta Art Gallery
Textile, Britt Salt, Middle Distance, 2019
Middle Distance is part of an ongoing project that uses the visual language of architecture and tapestry processes to create jarring spatial experiences. Contrary to its dense materiality and clear-cut linear construction this work appears unstable and in flux. The focus of the viewers’ eye is bucked from point to point and forced to soften in much the same way that one stares into space, disengaged with one’s immediate surroundings. In the end, as Mark Wigley says, “What is experienced is the atmosphere, not the object as such.”1 1. Mark Wigley, The Atmosphere of ArchitectureWangaratta Art Gallery Collection. Donated by Isabel Dunstan.A small black and white cotton tapestry that depicts various styled lines to form a spatial design.britt salt, tapestry, textile -
Clunes Museum
Craft - NEEDLEWORK & NEWSPAPER
.1 EMBROIDERED WALL HANGING IN BLACK FRAME WITH DECORATIVE GOLD COLOURED MALTESE CROSS - SHAPED EMBLEMS IN EACH CORNER. BEIGE COLOURED COTTON WITH RED SHADED EMBROIDED "MY GRACE IS SUFFICIENT FOR THEE" .2 NEWSPAPER CUTTING FROM BALLARAT COURIER.. CUTTING WAS USED AS BACKING FOR TAPESTRY. IMPRINT OF TAPESTRY ON THE PAPER AFTER YEARS OF BEEING USED AS BACKING, DATED WEDNESDAY JULY 19 1893. THE NEWSPAPER CUTTING DATES THE TAPESTRYtapestry, needlework, newspapercutting19/07/1893 -
Wangaratta Art Gallery
Textile, Tim Gresham, Resonance in Ochre, 2012
Wangaratta Art Gallery Collection. Acquired with the assistance of The Robert Salzer Foundation.A small hand-woven tapestry featuring a jagged line pattern in shades of blue on a ochre coloured background.tim gresham, tapestry, weaving -
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 -
Wangaratta Art Gallery
Textile, Valerie Kirk, Tree + Roots
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 tree and its root system handwoven using a colour palette of black, grey, and white.valerie kirk, tapestry, textile