Showing 182 items
matching screenprint
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Darebin Art Collection
Print - Victor Majzner, Victor Majzner, Images of Tanya (Chapter 12), 2001
Gift of Iris Snirscreenprint -
Darebin Art Collection
Print - Victor Majzner, Victor Majzner, Images of Tanya (Chapter 10), 2001
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Darebin Art Collection
Print - Victor Majzner, Victor Majzner, Images of Tanya (Chapter 11), 2001
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Darebin Art Collection
Print - Victor Majzner, Images of Tanya (Chapter 9), 2001
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Darebin Art Collection
Print - Victor Majzner, Victor Majzner, Images of Tanya (Chapter 6 and 7), 2001
screenprint -
Darebin Art Collection
Print - Victor Majzner, Victor Majzner, Images of Tanya (Chapter 8), 2001
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Darebin Art Collection
Print - Victor Majzner, Victor Majzner, Images of Tanya (Chapter 4 and 5), 2001
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Darebin Art Collection
Print - Victor Majzner, Victor Majzner, Images of Tanya (Chapter 3), 2001
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Darebin Art Collection
Print - Victor Majzner, Victor Majzner, Images of Tanya (Chapter 2), 2001
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Darebin Art Collection
Print - Victor Majzner, Victor Majzner, Images of Tanya (Chapter 1), 2001
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Federation University Historical Collection
Poster, Stephen Roberts, Breaking New Ground, 1978
Mounted silk screenprint poster by Stephen Roberts, advertising BCAE school of the arts exhibition "breaking new ground"poster, silkscreen, stephen roberts, bcae, breaking new ground -
Ballarat Heritage Services
Work on paper - Printmaking - Silkscreen, [Fruit Bats] bu Roy Burnyila
Roy BURNYILA (31/12/1954- ) Skin name: Bangardi Language: Ganalbingu Dreaming: Yirritja Clan: Gurrumba Gurrumba Region: Arnhem Land Burnyila learnt to paint from his father. The Arafura Swamp and personal totems such as the Yalman (water lilies), Gumang (magpie geese), Warrnyu (flying fox), Banda (Longneck turtles) and Bapi (snakes) are featured inhis work. Burnyila is renowned for his single coloured lined rarrk (cross hatching). Screenprint of fruit bats, printed in colour inks, from multiple stencils. The work features cross hatching (rarrk).roy burnyila, aboriginal -
Ballarat Heritage Services
Print - Printmaking
Screenprint of fruit bats, printed in colour inks, from multiple stencils. The work features cross hatching (rarrk).Signed with an Xaboriginal -
Glenelg Shire Council Cultural Collection
Print, Rotunda, 1984
CEMA Art Collection part of "A Community View" 150 years in Portland Screen print Exhibition Part of Angela Gee Residency 1983 and 1984Laminated screenprint of a group of people on Portland's foreshore. People are dressed in late 1800's dress and are watching the rotunda. The work is a photographic screenprint and colour has been added to areas of the photo. In particular, green for the grass, red for the rotunda, blues for the ocean and sky, and various colours for some of the clothing.Front: 34/8 Rotunda (lower left) Lucia Natale 84' (lower right) (pencil) Back: 28 -
Glenelg Shire Council Cultural Collection
Postcard - Postcard - 'Greenmount' Portland, Portland Design Studio, 'Greenmount', n.d
Postcard with image of screenprint. 'Greenmount' Portland. Front view of 'Greenmount' and garden, black, grey, white, yellow, blue, green, black border -
Federation University Historical Collection
Poster, Breaking New Ground, 1978
Silk screenprint poster by Stephen Roberts, advertising the Ballarat College of Advanced Education (BCAE) school of the arts exhibition "Breaking New Ground" poster, silkscreen, stephen roberts, breaking new ground, ballarat college of advanced education, art school, exhibition, visual arts -
RMIT Design Archives
Textile lengths, Canna leaf
Dr. Frances Mary Burke (1907 - 1994) was a textile designer and printer, businesswoman, artist and Australian design advocate and retailer. Burke’s modern abstract textile designs incorporated motifs and colours inspired by Australian Indigenous art, Pacific Island cultures, Australian flora and fauna, English gardens, and the sea and its wildlife. Following Burke’s death in 1994, her life-long companion Miss Fabie Chamberlain donated the contents of Burke’s studio to RMIT University.Single colour screenprint, white fabric with chartreuse coloured print of positive large format design featuring large stylised canna leaf motif.Printed on selvedge 'CANNA LEAF' a "Frances Burke" UNIT COLOUR DESIGN'textile, australian flora, rmit design archives -
Federation University Art Collection
Work on paper - Artwork - Digital archive print, The Corry (from the series: Cake Walking in Scotland, 2015/2016), 2016
David FERRY (1957- ) Born in Blackpool, United Kingdom. David Ferry studied painting at the Camberwell Schools of Art and printmaking at the Slade School of Fine Art in London. He is currently Professor of Printmaking and Book Arts at the Cardiff School of Art, Cardiff Metropolitan University,Wales. He was Former Associate Professor of Fine Art Media, at the Long Island University, New York, USA, and former Head of Printmaking at the Winchester School of Art, UK. David Ferry was awarded a Fellowship of The Royal Society of Arts for his contribution in the foundation of the Curwen Print Study Centre in Cambridge where he became its first Artistic Director in 2003. In 2010 he was made Professor of Printmaking at the Cardiff School of Art and Design, and a full Fellow of the Royal Society of Painter / Printmakers (RE).Framed screenprint which forms part of a series called ‘Cake walking in Scotland’ which was printed 2015/16. It is a Digital Archive print with gold and silver leaf and glitter and varnish. "Upon entering a strange place, the visitor is disorientated. He looks for key markers that can act as signposts to help him find his way. These markers are taken from his past experiences, giving shape to his perceptions.’…’ Ferry was born in the seaside town of Blackpool and educated at London art colleges during the late 1970s at the height of British Punk. These early foundations continue to assert themselves in the mischievous and disruptive nature of his photomontage. He argues that early understandings of oneself, along with the characters and situations one encounters, shape our viewpoint. These act as familiar signposts that enable us to negotiate our understanding of the world. Employing what he refers to as a collage mentality, Ferry collides and layers fragments to explore his subjects.’ Writes Stephen Clarke on David Ferry’s work in ‘The Double Negative’. (htt05 April 2019)ps://www.roeandmoore.com/shop/the-corrie-by-david-ferry/, accessed One of an edition of 12.david ferry, printmaking, artist in residence, screenprint, art, artwork -
Federation University Art Collection
Printmaking - Screenprint, Senbergs, Jan, 'Love the Stage' by Jan Senbergs, 1970
Jan SENBERGS (29 Oct 1939 - ) Born Latvia Arrived Australia 1950 This artwork was purchased by the Ballarat Institute of Advanced Education Students' Association in 1973. It now 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 colour screenprint on smooth white paper. This image reflects Senbergs' interest in surrealism and absurdist theatre: "An ambiguous, well, an absurd image … I called it 'Love the Stage' because I didn't know what to call it, but it's a also a cliché to say 'love the stage' – it's a kind of post-surrealist title … " (Hendrik Kolenberg, Jan Senbergs complete screenprints 1960-88, pg 54)Signed and dated lower right beneath image in black pencil, 'J.Senbergs '70'/ not titled. inscribed lower right beneath image in black pencil, '8/18'.art, artwork, jan senbergs, senbergs, printmaking, silkscreen, screenprinting, student association -
Tennis Australia
Reproduction, Circa 1980
Reproduction of 1980 screenprint by Nieman depicting Laver and Emerson in action. Reproduction is signed by both players in black marker. Materials: Ink, Paper, Metal, Wood, Glasstennis -
Glenelg Shire Council Cultural Collection
Print, Rod Ewins, (Brain coral), 1977
Print Council of Australia Members' Print Commission, 1977.Screenprint and embossed print. Screenprinted image is in upper 1/2 of print. Two rectangular prints in gold and mauve in abstract pattern. Overlaying these is a royal blue dotted print, framing top and sides of gold and mauve print. Over centres of gold and mauve prints are rectangles of royal blue dots, giving appearance of Benday dots, or mesh screen. The density of this mesh fades gradually from top to bottom. The bottom edge of the screenprints are undulating, meeting the upper edge of the embossing that occupies remaining lower area of the print. The embossing is the same pattern as in the mauve and gold screenprint above. Mounted in pale cream matt. In black painted wodden frame, with glass.Front: A. P. VIII/X (lower left) Ewins 77 (lower right) (pencil) Back: 1978 (upper left, pencil) -
Greensborough Historical Society
Business card, and Sticker, All Things Safety Wear Briar Hill, 2018_
All Things Safety Wear sell products including Safety products, Workwear, Screenprinting, Embroidery and Bolts & nutsBusiness card printed both sides in black and yellow; with adhesive sticker printed in black and yellow, one sidesafety products, sherbourne road briar hill -
Darebin Art Collection
Print - Alan Sumner, Alan Sumner, Red Brick Bridge Over Darebin Creek (1), c.1947
screenprint, landscape, darebin creek -
Darebin Art Collection
Print - Alan Sumner, Alan Sumner, Red Brick Bridge Over Darebin Creek (2), c.1947
darebin creek, landscape, screenprint -
Glenelg Shire Council Cultural Collection
Print, Portland is for Everyone, 1983
CEMA Art Collection Part of "A Community View" 150 years in Portland Screenprint Exhibition Part of Angela Gee Residency 1983 and 1984Three indigenous women stand before trees and grass trees. The fgiure on the far left is wearing traditional clothing, and the two figures on the right wear Victorian period dresses. The background depicts abstract patterning. At the top of the print are the words "Portland is for Everyone". The bottom of the image includes the words "Thanks to the Aboriginal Cultural Centre, Heywood, and the Portland Historical Society." Background is mauve and colours include green, blue, yellow, orange and tan. Mounted in dark cream matt in an ornate gold-detailed wooden frame.Front: 41/60 (lower left) Angela Gee '83 (lower right) (pencil) Back: (no inscriptions) -
Footscray Community Arts
Untitled, Arthur Boyd, (estimated); Signed by artist 1974, Printed 1998
MEDIUM: Screenprint of drawing. DESCRIPTION: Black and white, signed print under glass, black outer frame, white board inner frame.Two figures are central on a light background. A man approaches a woman on a period chair. Signed across bottom of print (proper right).print, boyd, signed, limited, edition -
Glenelg Shire Council Cultural Collection
Print, 1834-Portland-1984, 1984
Print was part of "A Community View, 150 years in Portland Screenprint Exhibition." Part of CEMA Art Collection. Part of Angela Gee residency workshops, 1983 and 1984.Image of approximately 125 people's faces and two dogs, surrounded by a border of line-drawn flowers, leaves and stems. At top centre are the words "1834 Portland 1984" with a decorative underline in bold alluding to the shape of the Portland Bay and Cape Nelson. Background colours are in vertical swathes: aqua, pale green, apricot, blue, mauve, pink, turquiose.Front: (no inscriptions) Back: Portland C.S.P. (Community Screen Print) Design Studio 1983-1985. Initiated by C.E.M.A., Portland Access Printshop and Anne O'Kane, C.A.O. Purpose - an employment project to train 5 people in print-making, costume and design. A grant of $200,000 was obtained from the Commonwealth Employment Program; the products - costumes, flags, posters, banners - were used for Portlands 150th Anniversary Celebrations. -
Merri-bek City Council
Print - Silkscreen, Wendy Black, Declare Antarctica a World Park, 1982
Melbourne-based artist Wendy Black works across screenprinting, painting and drawing. The 1980s saw a rise in campaigns for Antarctica to be designated a World Park to ensure the ongoing protection of its natural resources and its continuation as a peace zone. Black’s screenprint, featuring seals and penguins set against an Arctic icecap, captures the looming threat to the precious flora and fauna of the continent. Text in the lower corner describes Black’s collaboration with the Antarctic and Southern Ocean coalition for which this poster was likely made. Donated by the artist -
Glenelg Shire Council Cultural Collection
Print, Dawn of an Error, 1984
Laminated screenprint of high tension electricity towers on top of coastline. The foreground shows the ocean with white rocks and the cliffs of the coastline in gold and various shades of green. The electricity towers are black and gold and printed on a purple and blue background. -
Latrobe Regional Gallery
Print, Peace on where?, c. 1984
Silkscreen printpolitical, peace, screenprint, politician