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Melbourne Legacy
Flag, Legacy, 2012
The flag was made to replace an existing Legacy flag (at the insistence of Myra Healey) that was stolen. Myra was a member of the Upper Yarra Legacy Widows Club. The flag was flown next to the Australian flag in the RSL Memorial Garden. The symbol of Legacy is the Torch and Wreath of Laurel. The Torch signifies the undying flame of service and sacrifice of those who gave their lives for their country.The Legacy flag was a reminder that Legacy was still active in its work for families of ex-service and serving personnel.Large rectangular synthetic flag with the word Legacy and the torch logo, canvas binding down the left hand edge. Also a short history of how the flag was flown at an RSL typed on white paper x 2 pages.The word Legacy (in blue), underlined in orange. Legacy torch (in blue) on the righthand side of the flag. Lower righthand side of Legacy Torch is registered trade mark symbol.legacy promotion, logo, flags -
Ballarat Tramway Museum
Painting - Framed Painting of tram 26, Lerrick Quinn, c2018
Painting of Museum tram 26 at St Aidans Drive. Note the man in a wheel chair, a man alongside leading a dog above the signature.Has a strong association with the artist and demonstrates activities the Ballarat Tramway MuseumFramed painting - decorative wood frame with black plastic outside frame with gold inside edge, glass sheet, acrylic? on canvas of tram 26 in Wendouree Parade at St Aidans Drive. Painted by Lerrick Quinn. Plywood backing with light brown tape. No hanging wire installed at the time of donation.trams, tramways, wendouree parade, painting, art work -
Otway Districts Historical Society
Photograph, Narrow gauge construction camp near Colac, c.1900
Construction of the Colac-Beech Forest railway line commenced in 1900 and the first activities were the work gangs and their camps. About 100 men were engaged in laying and ballasting the track while others formed the earthworks and the building of culverts and bridges. The first camp was established eight kilometres from Colac, the second 12 km south, and the remainder spaced at similar distances as the work progressed. The camps were served by butchers and bakers from Colac that visited them as many times each week to satisfy the mens' requirements. Many of the men had their families with them. They all lived in tents that consisted of a wooden floor around which the canvas cover was built. A calico partition divided the eating and sleeping quarters, and all cooking was done in camp ovens or at open fires.B/W. 158mm x 203mm. Near Colac, a narrow gauge construction camp comprising 21 workmen, a horse, and two tipping trays.construction camp; railways; colac; -
Bendigo Historical Society Inc.
Photograph - HILDA HILL COLLECTION: BLACK AND WHITE PHOTOS, 1919-1923
Hilda Hill Collection. Combination of Sepia and Black & White Photographs on double sided card total of 10. Images. Uncle Jack foreground wearing suit and hat and sitting on a stool, lady to the right wearing a light coloured dress and white shirt with dark coat over her shoulders, behind lady on right back of a man in dark clothing, other people behind Jack are indistinguishable, 'Kilmuir' December 19th 1920. Five men standing in a group, all dressed in suits with collar and tie, four men wearing hats other is bare headed, to left is garden bush setting. Two men in dark suits with white shirts and ties bare headed, two ladies wearing white blouses and dark coloured dresses with young girl in white seated on the ground, large tree to right of group, 'Durvol' December 1920. Three young ladies all dressed in white and white large brimmed hats in a bush setting, left background has a number of people playing a game, the girls a standing next to a rocky outcrop, December 27th 1920. Two men in dark suits wearing hats a lady and two young girls wearing white dresses, young girls to the left is looking to her left and wearing a broad brimmed hat with a hat band, the lady is wearing a white broad brimmed hat and the young girls next to her is wearing a black broad brimmed hat, at a swimming carnival December 27th 1920. Moll Doreen Hilda each wearing white blouses and dark coloured skirts seated in a garden setting, large tree to background right with glimpse of a large decorative fence line and roadway, 'Durvol' October 1920. Old car, Durant', with fold back canvas roof and without side panels, wooden spoke wheels, running boards, three occupants all male two in front seat wearing black suits and hats, man in rear seat wearing a white shirt, background is gable roofed house with decorative lace work below the gutter, white picket fence, trees right background in front of gable roofed house, 1923. Jonah dressed in white dress standing at the end of a verandah, verandah post to the left, gable roof and chimney in background showing above the garden enclosure, 'The Ranche' November 1922. Doreen wearing a large brimmed hat dark coat white blouse, sitting on a log, two baskets of flowers one each side, background left show trunk of a large tree, three posts with a wire attached to the top of each, background right shows a tree trunk laying on the ground. Two men and two boys, one man is down on his haunches with his hands clasped together in front, wearing a dark suit with white shirt and black tie, other man is lying on the lawn wearing a dark suit, both boys are sitting on the lawn, black shorts white shirt and dark ties, dark socks and boots, boy on left holding puppy between his legs, background is garden and shrubs, 'Durvol' 14 February 1919.Hilda Hill Private Collectionaustralia, history, post war life, https://en.wikipedia.org/wiki/durant_motors -
Queenscliffe Maritime Museum
Equipment - Hand operated divers air pump
Standard diving dress (also known as hard-hat or copper hat equipment, or heavy gear) is a type of diving suit that was formerly used for all relatively deep underwater work that required more than breath-hold duration, which included marine salvage, civil engineering, pearl shell diving and other commercial diving work, and similar naval diving applications. Standard diving dress has largely been superseded by lighter and more comfortable equipment. Standard diving dress consists of a diving helmet made from copper and brass or bronze, an air hose from a surface-supplied manually operated PUMP or low pressure breathing air compressor, a waterproofed canvas suit, a diving knife, and weights to counteract buoyancy, generally on the chest, back and shoes. Later models were equipped with a diver's telephone for voice communications with the surface.Hand operated divers air pump for one or two diversdiving, air pump -
Queenscliffe Maritime Museum
Functional object - A large timber fid, 20 March 2018
... . It is used to work with rope and canvas.... of wood or bone. It is used to work with rope and canvas. Fids ...A fid is a conical tool traditionally made of wood or bone. It is used to work with rope and canvas.Fids where traditionally used for working with rope and/or sails on sailing ships. They are still in use today for working with rope.Large timber fid with a metal ring attached to wide end for strength used for splicing rope or cable.fid, sail making, rope splicing -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on canvas, Jessie Constance Alicia Traill, Beach scene, early 20th century
This work depicts the coast at Black Rock. Figures in early 20th century outfits are dotted on the oxide rocky outcrops in the foreground and beyond the water the hazy Red Bluff cliff dominates the coast.Impressionismoil on canvasbeach, coast, figures, jessie traill, red bluff, bayside, black rock, bathers, port phillip bay, bay, water -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on canvas, Charles E. Gordon Frazer, Sir Thomas Bent, 1892
When Thomas Bent, politician and land speculator, was appointed Speaker of the Victorian Legislative Assembly in 1892, a number of local Brighton constituents and supporters raised money to present him with an oil portrait. Bent had been a member for Brighton for 21 years, and the painting was seen as a way of showing their appreciation of his services to the Brighton constituency, as well as congratulating him to his new position as Speaker. In June 1892, British/Australian landscape and portrait artist Charles E. Gordon-Frazer was given the commission to paint the portrait. Thomas Bent is depicted as standing in his Speaker's robe on the dais beneath the canopy in the Legislative Assembly Chamber in the act of addressing the House. He wears the traditional Speaker’s dress of a black silk and gold laced robe over a three-piece black suit, lace jabot and cuffs, buckled shoes and a ceremonial long wig. The top of the gold parliamentary mace sits on the right of the work near the frame's edge.sir thomas bent, thomas bent, speaker, mayor, premier, brighton, moorabbin, land speculator, local government, councillor, official, member of lower house, portrait, parliament, ceremonial robes, legislative assembly, jabot, wig, mace -
Bendigo Historical Society Inc.
Administrative record - Work Book
The item is a hard cover book recording weekly work of T.J. Connolly, Ironmongers, Sandhurst. Each handwritten page is dated at the top and records the customer surname and price of goods. The total for the week is recorded at the end of the entries. Some entries include a description of the goods or equipment. Each page is signed and or checked off in red pencil or pen near the total. The hard cardboard cover has a worn blue material cover. The spine of the book is leather, with a canvas binding under the leather. The inside front and back pages are purple with a green and red marbling pattern. The book is full and includes the date range of 02 January 1885 to 24 December 1891. This item is part of the Margaret Roberts Collection.margaret roberts collection, ironmongers, forest street, bendigo businesses -
Bendigo Historical Society Inc.
Administrative record - Invoicing book
The item is a hard cover invoicing book of T.J. Connolly, Ironmongers, Sandhurst. Inside the front cover is an index page listing customer name and customer number. The following pages are carbon copy records of work completed for each customer, recording date and description of work along with price. The pages are printed with the numbers 01 to 99 in the top right-hand corner. Pages 01 to 94 have been used. Pages 95 to 99 are blank. The descriptions of work mostly relate to work completed on cars but also includes hiring out of cars, destination and miles travelled. The customers include army personnel and recruiters. Each page is signed and or checked off in red pencil. The brown hard cardboard cover is worn and marked. The spine of the book is brown canvas. The pages are stapled together. The book includes the date range of 01 - 30 (?) November 1917. This item is part of the Margaret Roberts Collection.Written in grey lead pencil on the front cover is "November 1917". A red line has been ruled underneath this inscription.margaret roberts collection, ironmongers, forest street, bendigo businesses, motor vehicles, world war 1 -
Kew Historical Society Inc
Painting, Farmyard Scene, 1900-1920
The painter of the work is unidentified. While the frame was made in Brisbane, the artwork is likely to be European in origin. The framer, William Lewis Hamilton, trading as A.L. Hambleton is listed in a Commonwealth of Australia Gazette of 1917. (No.113) in an application for copyright. The donor's ancestors, who included a number of amateur artists, lived in Coorparoo, Queensland.Oil on canvas mounted in an elaborate gilt wooden frame. The painting depicts a donkey and chickens in a barn. Donated by Rosemary Vaughan-Smith. A label on the frame is partly readable. It indicates that the frame was supplied by A.L. Hambleton, Kents Building, cnr Adelaide and Albert Streets, Brisbane.See note on label abovevaughan-smith collection, farmyard scenes, oil paintings -
Brimbank City Council Art Collection
Oil on canvas, Gary James, Maribyrnong River, 1984
James worked as a tutor in art with Sunshine community arts program.Oil on canvas -
Federation University Art Collection
Ceramic, Bowl by Robin Welch, 1980
Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth and brilliant light, its grittier textures and luminous colour, qualities he sought to convey in-the-round and on canvas. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood, Midwinter and Denby. Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965.Stoneware bowl with split flange, glazed with matt white, black and a touch of copper red Tobin Welch stamped on basejan feder memorial ceramics collection, ceramics, robin welch, gippsland campus, jan feder -
Federation University Art Collection
Artwork, Troy Firebrace, 'A Galaxy Swirl' by Troy Firebrace, 2015
Troy FIREBRACE (c1994-) Country/Language: Yorta Yorta Troy is a Shepparton born Yorta Yorta man, whose career is on the rise after winning the prestigious Federation University Acquisitive Award for Work by a Victorian Regional Artist at the 10th Victorian Indigenous Art Awards. He completed Year Twelve at Shepparton Secondary College in 2010, and in 2015 Troy was studying Creative Arts at La Trobe University, Bendigo where he has pursued his interest in his Aboriginal identity and art. He is largely influenced by the art of his Uncle Chris Firebrace and he enjoys the design aspects of creating a painting. Usually Troyʼs works contain a narrative, or at least hint of a meaning that he would like to convey to people. Influenced by the imagery of his Aboriginal cultural background he works at bringing together references of landscape, environmental processes and concerns, looking at the way in which we as humans relate to the natural world. Troy seeks to find and demonstrate a connection between humanity and the environment, exploring the idea of harmonious co-existence. Artist's statement: "‘Stories are being told and shared like particles in the universe, a constant swirl of words filled with emotions creating a pattern — explosions — smashing into each other creating a layering effect — creating worlds, planets — well nourished and suited to sustain life, and from this life new stories will emerge, to be told, to be shared — a continuous galaxy swirl. I like the idea that we are a part of something bigger — yes, the earth is massive, but we are just a speck of something far beyond the Milky Way itself.” The work was inspired by the work of abstract expressionist painter Jackson Pollock, science and space. This work won the 2015 Victorian Indigenous Art Awards Federation University Acquisitive Award for work by a Victorian regional artist. His canvas 'A Galaxy Swirl' was described by judges as ‘‘a vibrant and dynamic painting that, as the artist explains, epitomises a bringing together of modernism and Aboriginal arts’’.victorian indigenous art awards, troy firebrace, artwork, artist, indigenous, aboriginal, painting, indigenous artist -
Federation University Art Collection
Painting - Artwork - Painting, 'Untitled' by Johanna Lonsdale, 1987
Student work from Graduate Exhibition, Ballarat College of Advanced Education 1987. 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. Oil on CanvasJ Lonsdale (verso)art, artwork, abstract, lonsdale, alumni, available, oil on canvas, oil painting -
Federation University Art Collection
Oil on canvas, 'Vaironcana – A Variation on Theme 45' by Alun Leach-Jones, 1974
Alun LEACH-JONES (1937- 24 December 2017) Born Maghull, Lancashire, United Kingdom Arrived Australia 1960 Alun Leach-Jones is recognised as one of Australia's leading abstract colour painters. He spent his childhood in the Welsh village of Glasfryn, Denbighshire. At the age of 14 he started a three year apprenticeship with the Solicitors Law Society, Liverpool illuminating manuscripts and hand copying legal documents. While working with the law society Leach-Jones studied painting and drawing in the evenings at the Liverpool College of Art between the years 1955-57. He immigrated to Australia in 1960, settling in Adelaide and attending the South Australian School of Art, after which he travelled and exhibited throughout Australia and abroad. In 1966 Leach-Jones celebrated Noumenon series was shown with Australian Galleries in Melbourne and he was immediately recognised as being part of what was then labelled as ‘the New Abstraction’ in Australian art. Later in 1968 his work was included in the influential exhibition "The Field" held at the National Gallery of Victoria. 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. Purchased by the Council of State College of Victoria, Ballarat, 1974art, artwork, leach-jones, alun leach-jones -
Federation University Art Collection
Painting - Acrylic on canvas, 'Glade of the Mystique Seductress' by Julie Watkins, 1971
This painting is one of my key early works incorporating the Baroque dualities of theatrical drama and inner emotional worlds. Interpreting the Baroque subject of the Sacred and the Profane, the swirling diagonal composition of crossed figures, transparent and billowing drapery in contrasting colours and dramatically tense gestures, in this work combine to suggest both religious ecstacy and physical sensuality. The glade is portrayed as white light. It is the open space for the drama. One face gazes ambiguously at the viewer, questioning, whether she is - the willing but (guarded OR mysterious?) seductress the title suggests. Julie Watkins, 2015 Julie WATKINS (1949- ) In 1969 Julie Watkins completed an Associateship Diploma Fine Art-Painting at RMIT, and a Fellowship Diploma of Fine Art-Painting the year after. In 1973 she was awarded a Diploma of Education at Hawthorn State College. Julie Watkins worked as a TAFE teacher from1973 to 1978, then as a tutor for the Faculty of Architecture and the Built Environment at RMIT between 1979 and 1992. Between the years 2003 to 2003 she was a tutor at the University of Melbourne (Victorian College of the Arts. 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.Acrylic on stretched canvas art, artwork, julie watkins, watkins, painting, acrylic on canvas, available, julie meyer -
Federation University Art Collection
Oil on canvas, 'Creswick and Camp Hill' by Victor Litherland, 1968 /1984
Victor LITHERLAND (16 April 1897 - 1978_ Born Odessa, Russia (of English parents) Born in Odessa, Russia to British parents, Victor Litherland migrated to Australia in 1926 and moved to Creswick in 1932. Victor Litherland, who initially trained as a carpenter and cabinet maker, not only made most of his furniture and clothes but also his painting equipment. Victor Litherland is self taught himself. In 1943 he used books in the Sydney Public Library to teach himself painting, and produced a number of works of the environment in which he lived. Litherland's work has a disregard for perspective, unmodelled faces and cool fresh colours. He often made an elaborate frame for this work. 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, victor litherland, naive art, creswick, acrylic on canvas -
Federation University Art Collection
Painting, 'Gymnasts' by Milivoj Micich, 1971
This work is one of a number of artworks by Ballarat School of Mines Students produced for the opening of the new Mount Helen Campus. 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.Oil and acrylic painting showing a scene in a gymnasium. art, artwork, domenico micich, milivoj micich, micich, gym, gymnasium, oil and acrylic on canvas, available, alumni, sport -
Federation University Art Collection
Painting - Artwork - Painting, 'Work' by Maryanne Coutts, 1999
Maryanne COUTTS (1960- ) Born Australia Maryanne Coutts studied at the Victorian College of the Arts (VCA), The University of Melbourne, 1979 -1981, the University of NSW (UNSW),1984 and achieved a PhD at Federation University Australia in 1999. She has exhibited extensively throughout Australia and internationally including UK, Spain and Thailand and is currently Head of Drawing at the National Art School, Sydney. Dr Maryanne Coutts was the first successful Visual Arts PhD from the Federation University Arts Academy. She won the Portia Geach Memorial Award in 2007. 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.Maryanne COUTTS (1960- ) This work by Maryanne Coutts was undertaken during her Doctorate undertaken at the University of Ballarat (a predecessor of Federation University). Here thesis. 'Using narrative strategies in contemporary figurative painting', applies an analysis of narrative, its elements, strategies and devices to figurative painting within the practical project of producing visual narrative fiction. art, artwork, maryanne coutts, coutts, thesis, phd, doctorate, oil on canvas, alumni -
Federation University Art Collection
'Carbon Dioxide' by Wes Prendergast, 2000
Wes PRENDERGAST This work was acquired frm the 2000 End of Year Students Exhibition. 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.oil on Canvasart, artwork, wes prendergast, crash test dummy, carbon dioxide, alumni, available -
Federation University Art Collection
Painting - Oil on Canvas Board, 'Introductions' by Bernard Ollis, 2001
Ollis was head of painting at Latrobe University, Bendigo, before his appointment as head of the Sydney Art School. His work has been described as allegorical expressionism. 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.Painting of a seated woman and man with a yellow lamp behind them. art, artwork, bernard ollis, available, ollis, oil on canvas, oil -
Federation University Art Collection
Painting - Acrylic on Canvas, et al, "...Giver of Breath and Bread" by Scott Pearce, 2004
Scott PEARCE (1972 - ) Scott Pearce was awarded at Ballarat Arts Foundation Award in 2005. He completed at Bachelor of Visual Art: Painting (Honours) at the University of Ballarat (now Federation University) in 2007. 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.This work was one of a body or ten paintings completed in 2004 while Scott Pearce was studying Visual Art at the University of Ballarat (later Federation Univesity)art, artwork, scott pearce, pearce, gippsland campus, churchill, shopping trolley -
Federation University Art Collection
Painting - Artwork - Painting, 'Triumph of Gutenburg' by Maryanne Coutts, 2002, 2003
Of Maryanne Coutts' exhibition at the Ballarat Fine Art Gallery Maryanne Coutts wrote: 'The same old story' is a curious phrase. As usual I can't tell you exactly in words what the story is,simply that I hope that this body of work evokes characters and implies the actions and interactions that engender a story. For me the story if seeking itself, trying to understand what about itself is repeatable yet malleable, rememberable yet changeable. The Triumph of Gutenberg' celebrates the seemingly ordinary by manifold ways that information is transferred and transformed. It arises from a fascination with the way a thought evolves from one idea to the next, often repeating itself, but sometime making leaps and in the dark mutating. Famed for introducing movable type and the printing press to Europe in 1450, Gutenberg enabled the mass production of books. He has consequently become a symbol for the power of the dissemination of knowledge. Vehicles for repeatability, like printing, are myriad and range from specific codes, such as DNA, to more ephemeral language systems like visual and narrative. Stories are my favourite vessels of memory, of recording. It seems that a story can have certain characteristics that allow it to be recognised as a particular story, indeed, that allow it to be repeated withing different narrations, different readings. As a visual storyteller, I have been curious about how much can change while the story remains the same, Within this visual exploration of what I consider to be a consistent story, conveyed through different media, scales, shapes, and styles, I have allowed mutations, which I hope will illuminate the repetition. In some ways this work is a direct response to Poussin's 'The Triumph of Pan', whose arrangement of figures approaches a kind of formal abstraction. As I worked through the drawing, painting and print that are in this exhibition, I have looked increasingly to more recent interpreters of that tradition like Beckmann, Layered, then, withing this story are other stories, other histories. In a metaphoric sense repeatability and mutability characterize both how the work came into being and how, being something more than paper, canvas and pigment, it can travel audiences' neural pathways as both memories of sights seen, as new thoughts ans/or as old thoughts and memories now mutated. Maryanne Coutts, January 2003.Maryanne COUTTS (1960- ) Born Australia Maryanne Coutts studied at the Victorian College of the Arts (VCA), The University of Melbourne, 1979 -1981, the University of NSW (UNSW),1984 and achieved a PhD at Federation University Australia in 1999. She has exhibited extensively throughout Australia and internationally including UK, Spain and Thailand and is currently Head of Drawing at the National Art School, Sydney. 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.This work is presented on four linen canvases. It is a very large work showing a person working in an office. Donated under the Australian Government's Philanthropic Programme, 2005art, artwork, maryanne coutts, coutts, work, alumni, office, gutenberg -
Federation University Art Collection
Acrylic on canvas, [Title Unknown]
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. If you are able to assist with identifying this work or the artist who created it please leave a message via the 'comment' link below. art, artwork, aboriginal, kangaroo, echidna, turtle -
Federation University Art Collection
Art work - Collage & Charcoal, Elizabeth Signorella, 'BEC 3' by Elizabeth Signorello, 2004
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.Stretched canvas with black and white mixed media and collage. We are currently seeking information on the artist Elizabeth Signorello. If you are able to assist please use the comment field below. art, artwork, available, tafe business collection -
Federation University Art Collection
Painting - Acrylic, charcoal & ink on canvas, Pelchen, Anthony, [Drawing] by Anthony Pelchen, 1988
Anthony PELCHEN (1960- ) Born Horsham Anthony Pelchen studied economics at Monash University and a decade later painting at the Victorian College of the Arts. Since 1992 he has exhibited widely in artist-run, institutional and alternative spaces in Melbourne, with projects in Japan and Denmark. He has been included in various national surveys of drawing and painting and undertaken residencies in Australia. In 2008/9 he was included in Drought – Cross Cultural Collaborations, presenting cross media work at the NGV/ACMI/ Federation Square. In July 2010 he was awarded an Asialink residency in Malaysia. 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.Large drawing with multi pagesart, artwork, anthony pelchen, horsham campus art collection, alumni, requires framing -
Federation University Art Collection
Artwork, 'Cassandra After the Fact' by Andrew Potter, 2009
This work pays homage to Solomon J. Solomon’s Ajax and Cassandra. Andrew Potter’s painting tells of the subsequent event. Cassandra is undoubtedly a Trojan War casualty, symbolizing the personal pain of widows and rape victims. The flow of the fabric is the allegory of bloodshed, while the empty jar suggests displacement of refugees. Cassandra’s body, as mother earth, is a metaphor for the peaceful landscape that is desecrated by acts of war. The artist uses these iconic figures to exemplify and demonstrate why peace is always better than war. This work was awarded second prize in the 2009 Lucato Peace Prize. During that year Andrew Potter was undertaking the first year of a Bachelor of Visual Arts (Fine Arts) at the University of Ballarat’s Arts Academy. This item was runner up in the Lucato Peace Prize, and is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Painted canvas depicting a naked woman lying on the round beside a glass jar.art, artwork, andrew potter, potter, lucato peace prize, mythology, available -
Federation University Art Collection
Painting, [Pylon 13], c1973
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. This work was purchased by the former Ballarat Teachers' College Students' Representative Council.A large blue canvas edged with aluminium. We are currently searching for information on this artwork. If you are able to assist please leave a comment below.art, artwork, preston, painting, abstract, available -
Federation University Art Collection
Painting - Oil on board, Robinson, John Braisted, 'Beaumaris' by John Braisted Robinson, 1929
John B. ROBINSON (c1877 -25 May1935) Born Ballarat, Victoria A latecomer to painting, John Robinson was known to periodically attend the Max Meldrum School. He joined the administrative staff of the Ballarat School of Mines somewhere around 1902, obtaining the position of Registrar. He stayed in the Schools employment for 35 years. His chief recreations were gardening and the study of art. "His many canvases reveal the sincerity of his work and represent a notable achievement from one who adopted art somewhat late in life. (Obituary, Ballarat School of Mines Students' Magazine, 1935) Robinson studied with Max Meldrum in Melbourne. 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 oil painting showing the coast and three boathouses.Verso underneath brown paper No 11 Beaumaris Artists Signation J.B. Robinsonart, artwork, john braisted robinson, beaumaris, seascape, max meldrum school, available