Original and framed etching of Princess Bridge Melbourne, created by John Shirlow in 1931.Framed black and white etching by John Shirlow of the view across Princes Bridge [Melbourne] looking north. The work is signed in pencil below the signed and dated etching.Artist's signature lower rightaustralian art, etchings, john shirlow, princes bridge - melbourne (vic)

Herbert James Woodhouse (1854-1937) was born in Essex and arrived in Australia with his family in 1857. A painter-lithographer like his father and three of his brothers, he was a prizewinner in the South Australian Society of Arts exhibition of 1885. He also received commendations in exhibitions at the Victorian Academy of Arts and the New South Wales Arts Society. At an exhibition of his paintings at Scott’s Hotel in Collins Street in 1892, the reviewer for Table Talk noted that the ‘artist paints almost solely in the open air, and his studies are generally carried out during the trips of the Victorian Sketching Club’. One of the paintings singled out for praise was: ‘A very effective river scene at Willsmere, aptly named A Midstream Mirror, ... a picture powerful in its effective reflection of sunlight in the river.’ Herbert Woodhouse died in Geelong in June 1937, aged 82, and was buried in the Eastern Cemetery. A number of his sketchbooks are held in the collection of the State Library of Victoria.Framed oil painting on board of the River Yarra at Studley Park, Kew, by Herbert James Woodhouse (1858-1937). The artist has framed the narrow painting with trees in the foreground and a view of the Yarra River and rolling hills in the background. Verso, written by artist: "River Yarra Near Dights Falls"australian art - 19th century, herbert james woodhouse (1854-1937), yarra river - studley park

Blanket label from the RSS Mill, Geelong for the John Monash rug.RSS Mill rug label from the John Monash rug.THE GEELONG R.S.&S. WOOLLEN MILLS / PURE / WOOL / THE / John Monash / RUGworld war i, returned soldiers and sailors mill, label, 1918: australians in france - exhibition (19/02/2000 - 30/04/2000) logo merino: sheep in australian art and design - exhibition (29/07/2000 - 04/02/2001), monash, lt gen. sir john gcmg, kcb, vd

Certificate - "Earl's Court, London, 1899. Greater Britain Exhibition. Diploma for Gold Medal"EARL'S COURT, LONDON, 1899. / GREATER BRITAIN EXHIBITION / DIPLOMA FOR GOLD MEDAL / AWARDED TO Mr H. Beggs / FOR Wool, Merino / BY THE LONDON EXHIBITIONS LIMITED. / [signature] / Director General. / [signature] / Chairman. / WEINERS LTD LONDON N.W.logo merino: sheep in australian art and design - exhibition (29/07/2000 - 04/02/2001), beggs, mr h.

Artist: Samuel Thomas Gill Born 21 May 1818 Perriton, Minehead, Somerset Died 27 October 1880 Melbourne Father: Samuel Gill Mother: Winifred Gill nee Oke Engraved and relief print of Drawing of Port Fairy Bay with small boat near Griffith islandengraving, australian art

Born in Dublin, Ireland, Michael Cusack emigrated to Australia in 1982 and currently lives and works in Byron Bay, Australia. He holds a Master of Visual Arts from Queensland College of Art, Griffith University, Brisbane. His work is widely admired and features in several major public and corporate collections including Artbank; BHP Billiton; Macquarie Bank; and Newcastle Region Art Gallery in addition to various private collections in Australia, Hong Kong, United Kingdom and Ireland.abstract, abstract painting, painting, australian art

Muralpublic art, mural, australian art

Public Artpublic art, australian art

Muralpublic art, mural, australian art

Muralpublic art, mural, australian art

Muralpublic art, mural, australian art

Anne Scott Wilson is a video and photography artist interested in memory, motion and the body. Her work often experiments with movement and light exposure over time. The images in Fly Rhythm series record landscapes from the Dandenong Ranges to Altona and were produced for an exhibition at the Wyndham Art Gallery called EXPERIMENT in 2012.australian art, photography, australian photography, female artist, landscape

Anne Scott Wilson is a video and photography artist interested in memory, motion and the body. Her work often experiments with movement and light exposure over time. The images in Fly Rhythm series record landscapes from the Dandenong Ranges to Altona and were produced for an exhibition at the Wyndham Art Gallery called EXPERIMENT in 2012.australian art, photography, female artist

Helen Pallikaros’ multidisciplinary practice aims to engage on an emotional level, exploring feminist themes drawn from the domestic realm and the internal psychological state. A focus of her practice is to use the body for the external mapping of internal conflicts and psychological landscape. She sources forms and images to create a visual dialogue that explores the interconnection between the human emotive conditions and primal origins. The space between the private and public self is explored via the application/negation of the trappings of identity and gender.australian art, photography, feminism, gender, female artist

The Oopsee Daisee series of work is basically a series of self portraits. They began out of a necessity to recover from a nasty fall. The first sculpture of the series was like art therapy, a means to help overcome the bad memories, and anxieties. And it helped. With my deafness, I have many times when I feel wobbly and unbalanced, which have resulted in falls. This series of works were created proceeding the initial fall, and then proceeding this fall.australian art, sculpture, female artist, disability, portrait

Something new has happened in Kylie Stillman’s work. It is not a departure. Perhaps a better way of explaining it would be an inward looking, a reflection on process and purpose. In the twelve small book stacks that make up this series, we find not birds or trees – the forms that have become familiar tropes in Kylie’s art – but a stroke, a scribble, a loop, a weave. In Kylie’s words these are: 'the basic structural elements and gestures that make things things - the stroke that makes a painting, the scribble that makes a pen work, the notation that makes writing, the intertwining of wool that makes a garment, the weave of fibres that make furnishings'. - Chloe Watson (2013)Paperback books and timber baseaustralian art, sculpture, female artist

The Oopsee Daisee series of work is basically a series of self portraits. They began out of a necessity to recover from a nasty fall. The first sculpture of the series was like art therapy, a means to help overcome the bad memories, and anxieties. And it helped. With my deafness, I have many times when I feel wobbly and unbalanced, which have resulted in falls. This series of works were created proceeding the initial fall, and then proceeding this fall.australian art, sculpture, female artist, disability, portrait

The Oopsee Daisee series of work is basically a series of self portraits. They began out of a necessity to recover from a nasty fall. The first sculpture of the series was like art therapy, a means to help overcome the bad memories, and anxieties. And it helped. With my deafness, I have many times when I feel wobbly and unbalanced, which have resulted in falls. This series of works were created proceeding the initial fall, and then proceeding this fall.australian art, sculpture, female artist, disability, portrait

The Oopsee Daisee series of work is basically a series of self portraits. They began out of a necessity to recover from a nasty fall. The first sculpture of the series was like art therapy, a means to help overcome the bad memories, and anxieties. And it helped. With my deafness, I have many times when I feel wobbly and unbalanced, which have resulted in falls. This series of works were created proceeding the initial fall, and then proceeding this fall.australian art, sculpture, female artist, disability, portrait

australian art, sculpture, female artist

australian art, sculpture, female artist

Born in Melbourne in 1950, Vafiadis studied at Prahran College of Advanced Education and has been exhibiting since 1971. Solo shows include Rigoletto at Fitzroy Gallery, Melbourne in 2005 and Mary Chirnside at Wyndham Cultural Centre in 2004. She has participated in various group exhibitions. She won the Wyndham Now Acquisitive Art Prize in 2000 and her work is held in several state and local council collections.This piece was acquired by our human rights lawyer and Mayor at the time of our campaign, Frank Purcell. Frank organised the plaque and for many years, it was hung in Wyndam council chambers. australian art, painting

Born in Melbourne in 1950, Vafiadis studied at Prahran College of Advanced Education and has been exhibiting since 1971. Solo shows include Rigoletto at Fitzroy Gallery, Melbourne in 2005 and Mary Chirnside at Wyndham Cultural Centre in 2004. She has participated in various group exhibitions. She won the Wyndham Now Acquisitive Art Prize in 2000 and her work is held in several state and local council collections.Portrait of Joanne Ryan ( MP, member for Lalor). Jo was chair person of the Toxic Dump movement. A very strong and pivotal community leader during the campaign . Hence the use of metal. australian art, painting, portrait, australian politics

Penelope Davis was born and lives in Melbourne. Davis is primarily known as a post-photographic artist creating photographs without a camera. Using complicated sculptural techniques, Davis makes silicone moulds then resin casts of the now absent objects. Finally light is passed through the casts to expose photographic paper that is developed and printed. The result is an indexical trace of an object many steps removed from its origin. In doing so, the works record not only an image but a process - a chain of transformations and inversions - akin to the processes of photography itself but one that recasts photography in a new light. More recently Davis has been creating jellyfish forms from a collage of components in a similar way. Taking the detritus of contemporary technologies and combining these with organic source material such as leaves and seaweed, Davis makes casts in silicone, then uses these casts themselves as forms. The artist hand sews these ‘skins’ together to create delicate hybrid forms that resemble jellyfish. These works reflect on, and embody, a painstaking attempt to recuperate an appreciation for the natural world, our symbiotic relationship with it, and the necessity of our shared future. 9 x suspended silicone jellyfish sculpturesaustralian art, sculpture, female artist, climate art

William Nichols Anderson (1873-1927) was an Australian painter, one of whose works from the 1906 series River + Rail is in the Kew Historical Society’s art collection (donated 1984). A separate archive file contains correspondence, biographical information (written by his niece), and locations in Kew where he lived. Much of the correspondence between the Society and the City of Kew relates to the painting and its location in the Mayor’s Room at the Kew Civic Offices, Charles Street, where it was on loan from the Society. Lucy M (Jean) Hornby, the artist’s niece and the donor of the painting was a resident of 5 and 20 Queens Street, Kew (Vic). Australian ImpressionismGift of Lucy Hornby, 1984Framed oil on canvas by W. Nicholls Anderson of Park Street, Kew (now Adeney Avenue) looking uphill in a southerly direction towards Cotham Road. The painting is dated to 1906. The two storey house at left was known as 'Eborensis'. The house is still extant on the corner of Adeney Avenue and Parkhill Road. On sticker on back of frame - Adeney Ave./1913/ £3.3.0/ 13th Annual/ Exhib. V.A.S [Victorian Artists Society]/1911 Aust Art Exhib/the Guidlhall/Swanston st Melb./ Adeney's Paddock/ Kew. £3.0.0.artists - kew - victoria - australia, victorian artists society, william nicholls anderson (1873-1927), adeney avenue kew, australian art exhibition 1911, victorian artists' society, w. nicholls anderson

Blind Creek was located between the Abbotsford Convent and what is now the Collins Bridge in Studley Park. In an 1858 map of East Collingwood by Clement Hodgkinson, in the State Library of Victoria, one can see how the creek was originally a significant landmark in Collingwood; remaining vacant land until a barrel drain enclosed it. The area was later filled in, surveyed and developed. The position where Blind Creek entered the Yarra was in the immediate vicinity of Hodgson’s Punt, which had linked Kew to the other side of the Yarra from 1839. The Punt was purchased by the Colonial Government in 1852 and was in use until the opening of the Studley Park Road (Johnston Street) Bridge in 1858 made its continued use redundantThe point of view selected by the artist for the watercolour is from the banks of Blind Creek in East Collingwood, looking across the Yarra to the Kew side of the river.Inscribed verso 'Creek and Old Watering stage, on the Yarra East Collingwood 1854 / Trees, stage, &c have long since disappeared / [Artist Signature] / FT 110 / Creek itself now being filled in 1903.gb richardson, blind creek - abbotsford, yarra river - abbotsford (vic) - kew (vic), colonial artists, australian art - 19th century, george bouchier richardson

One of a series of postcards from an exhibition of works by Australian Social Realist artists held in Russia in 1960. This postcard is significant to Ballarat as it links to the linocuts Counihan and others produced to commemorate the centenary of the Eureka Stockade in 1954. As this depicts a painting of an event at Ballarat significant in its context to protest for social equality that would be understood by the soviet audience. A link between Australian socialist artists and the Russian political sensibilities of the time.Black and white image of Noel Counihan's painting of Bakery Hill Ballarateureka stockade, ballarat reform league, socialism, australian art, ballarat, russia

Covered Person, combines my ambition to create objects possessing an enigmatic and engaging physical presence with an interest in histories of repetitive labour and the compulsive patterning found in various art and design traditions. This work draws from medieval carvings representing chain mail armour but carried references to contemporary preoccupations with personal security, safety and insularity. public art, sculpture, australian art

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 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed screenprint.art, artwork, printmaking, alun leach-jones, abstract colour, south australian school of art

Sydney : Lansdowne Editions, 1979 646 p., 32 p. of col. plates ; 27 cm. non-fictionEncyclopedia of Australian and New Zealand artists and galleriesart -- australian -- dictionaries, art -- new zealand -- dictionaries