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matching melbourne galleries
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Horsham Regional Art Gallery
Photograph, Eliza HUTCHISON, Montrose, 2012
Purchased through the Horsham Art Gallery Trust Fund, 2014lightjet printmelbourne, montrose, garden, snow, tree, eliza hutchison, photograph -
Horsham Regional Art Gallery
Photograph, Darren SYLVESTER, Our future was ours, 2005
Purchased through the Horsham Art Gallery Trust Fund with the assistance of the Robert Salzer Foundation, 2011lightjet printSigned on verso, top rightuniversity of melbourne, baillieu library, students, darren sylvester, photograph -
Horsham Regional Art Gallery
Photograph, In the Treasury Gardens, Melbourne, 1904
Purchased through the Horsham Art Gallery Trust Fund with the assistance of the Caltex-Victorian Government Art Fund, 1979 -
Horsham Regional Art Gallery
Photograph, Cox and Rizzetti Foundry, Melbourne, 1994
Purchased through the Horsham Art Gallery Trust Fund, 1997 -
Horsham Regional Art Gallery
Photograph, Cox and Rizzetti Foundry, Melbourne, 1994
Purchased through the Horsham Art Gallery Trust Fund, 1997 -
Horsham Regional Art Gallery
Photograph, Cox and Rizzetti Foundry, Melbourne, 1994
Purchased through the Horsham Art Gallery Trust Fund, 1997 -
Horsham Regional Art Gallery
Photograph, Ropemaking, Miller Rope, Melbourne, 1962
Gift of the artist, 2002 -
Horsham Regional Art Gallery
Photograph, Escalator site, Parliament Station, Melbourne 1977, 1977
Gift of the artist, 2002 -
Horsham Regional Art Gallery
Photograph, Boys, Melbourne 1996, 1996
Donated through the Australian Government's Cultural Gifts Program by Patrick Corrigan, 2004 -
Horsham Regional Art Gallery
Photograph, Boys, Melbourne 1996, 1996
Donated through the Australian Government's Cultural Gifts Program by Patrick Corrigan, 2004 -
Horsham Regional Art Gallery
Photograph, Boys, Melbourne 1996, 1996
Donated through the Australian Government's Cultural Gifts Program by Patrick Corrigan, 2004 -
Horsham Regional Art Gallery
Photograph, Waterfront dispute, Melbourne 1998, 1998
Donated through the Australian Government's Cultural Gifts Program by Patrick Corrigan, 2004 -
Horsham Regional Art Gallery
Photograph, All-Fit Training Camp, Melbourne 1994, 1994
Donated through the Australian Government's Cultural Gifts Program by Patrick Corrigan, 2004 -
Horsham Regional Art Gallery
Photograph, Somewhere in the City of Melbourne, 1957 (printed 1987)
Donated through the Australian Government's Cultural Gifts Program by Dr Jonathan Hartley, 2006silver gelatin photograph -
Horsham Regional Art Gallery
Photograph, In North Melbourne, 1972 (printed 1989)
Donated through the Australian Government's Cultural Gifts Program by Dr Jonathan Hartley, 2006silver gelatin photograph -
Horsham Regional Art Gallery
Photograph, In West Melbourne - 2, 1957 (printed 2001)
Donated through the Australian Government's Cultural Gifts Program by Dr Jonathan Hartley, 2006silver gelatin photograph -
St Kilda Historical Society
Photograph, George Hotel demitasse coffee cup - images collection, 1995
The George Hotel in St Kilda was one of the largest and most well known hotels in Victoria and the largest in Melbourne outside the city. By the late 1970s and early 1980s, renamed the Seaview in 1976, it no longer operated as a hotel and fostered Melbourne's alternative and punk music scenes. It was de-licenced and closed in 1987 and redeveloped in the mid 1990s as apartments, with bars, cafes and shops at ground level and an art gallery and cinema. On 6 January 1996, Harry Hogg, a local photographer and a member of the Save St Kilda movement, sent the photographs of the demitasse coffee cup to the new owner of The George, Donlevy Fitzpatrick. His covering letter said: 'The reason for this note is to send you copies of photographs of a fragment of a demitasse coffee cup I unearthed recently from along the light rail in Albert Park. I regret the poor quality of the prints (I was funning a test on a 1000 ASA film in low flat light) but hope the contents of the photographs may be of interest to you.'Colour photographSide of cup: George Hotel St Kilda; image of warrior on horse Base of cup: Dunn Bennet's (Gold Medal) Hotel Ware. Burslem, England. Made for: J. Leigh Jones & C Sydney.st kilda, dunn bennett, george hotel, fitzroy street, donlevy fitzpatrick -
St Kilda Historical Society
Ephemera - Special event program, In Celebration of the Opening of the Parliament of the Commonwealth of Australia, 1901
Program for the first opening of Parliament after Federation. Prince George Frederick Ernest Albert (1865–1936), Duke of Cornwall and York was the second son of Edward VII and Queen Alexandra. The visit was part of an Empire tour and a tribute to the response made throughout the Empire during the Boer War. On their return to Britain the couple were proclaimed Prince and Princess of Wales and, on the death of Edward VII in 1910, became George V and Queen Mary.White coloured folded program, printed in purpleFront page/cover: UK Coat of Arms In Celebration of the Opening of the Parliament of the Commonwealth of Australia. To meet their Royal Highnesses The Duke and Duchess of Cornwall and York. Reception by His Majesty's Ministers of State for Australia, at the Exhibition Building, Melbourne, on the 9th May, 1901. Middle pages: Programme (items listed) Back page/cover: Refreshments Will be Served all the Evening on the Ground Floor and in the Galleries 1901, opening of parliament, duke and duchess of cornwall and york, royal visits -
St Kilda Historical Society
Photograph, Linden, 26 Acland St, St Kilda
Linden, 26 Acland Street with 'Art Gallery' sign. Plastic chairs stacked in foregroundMichaleis Moritz, colour photograph, unmountedsticker on back of photograph: Donald J.H. Taggart, 58 Glenhuntly Rd, Elwood 3184, Melbourne, Vic Australia Telephone (03) 9531 6127 -
City of Ballarat
Sculpture - Public Artwork, Grand Arch by Inge King, 2001
Grand Arch is a five-metre by five-metre steel sculpture by Inge King placed as the centrepiece of Alfred Deakin Place, part of a redevelopment in conjunction with the State Government, City of Ballarat, University of Ballarat and Art Gallery of Ballarat. Grand Arch is representative of King's sophisticated style of abstraction that reflected animal and plant forms through to planets and the cosmos. King was a German-born Australian sculptor who created many significant public commissions including the well-loved Forward Surge (1974) at the Arts Centre, Melbourne. She was at the forefront of the development of non-figurative sculpture in Australia and held more than 26 solo exhibitions and participated in more than 60 group exhibitions in Australia, New Zealand, London and New York over almost 70 years as a practicing artist. The artwork is of artistic significance to the people of BallaratLarge steel sculpture painted matt blackgrand arch, inge king, australian modernism -
Robin Boyd Foundation
Slide, 1950
Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. Bell tower, Malmo eastern cemetery, Malmo, Sweden, 1935 - 1943. (Architect: Sigurd Lewerentz.)slide, robin boyd, sweden -
Uniting Church Archives - Synod of Victoria
Postcard, undated
The Wesleyan Methodist Church at Clunes is a distinctive bluestone building in the Gothic style and was designed by the Ballarat architect J.A. Doane. Construction began in 1864 and the church was further extended in 1871. The building consists of a broad nave and transepts with galleries, these having cast iron balustrades. The facade incorporates a slate-roofed octagonal turret and spire and a four-light perpendicular Gothic window. The interior includes windows with quarry glass panes and coloured borders; those on either side of the organ incorporate scrolled texts and may be by the Melbourne makers Ferguson & Urie. With declining congregations, the property was purchased by Wesley College in 1999 and now forms part of its Clunes campus. The church building has received a very extensive restoration, including structural strengthening, the opening out of the interior to its original dimensions and the installation of a new floor. Ref: https://www.ohta.org.au/organs/organs/ClunesUC.html Colour postcard showing a street view of the Clunes Methodist Church,clunes wesleyan methodist church, wesley college -
Uniting Church Archives - Synod of Victoria
Postcard, undated
The Wesleyan Methodist Church at Clunes is a distinctive bluestone building in the Gothic style and was designed by the Ballarat architect J.A. Doane. Construction began in 1864 and the church was further extended in 1871. The building consists of a broad nave and transepts with galleries, these having cast iron balustrades. The facade incorporates a slate-roofed octagonal turret and spire and a four-light perpendicular Gothic window. The interior includes windows with quarry glass panes and coloured borders; those on either side of the organ incorporate scrolled texts and may be by the Melbourne makers Ferguson & Urie. With declining congregations, the property was purchased by Wesley College in 1999 and now forms part of its Clunes campus. The church building has received a very extensive restoration, including structural strengthening, the opening out of the interior to its original dimensions and the installation of a new floor. Ref: https://www.ohta.org.au/organs/organs/ClunesUC.html Sepia postcard showing a street view of the Clunes Methodist Church,clunes wesleyan methodist church, wesley college -
Uniting Church Archives - Synod of Victoria
Postcard - Photograph, January 2002
The Wesleyan Methodist Church at Clunes is a distinctive bluestone building in the Gothic style and was designed by the Ballarat architect J.A. Doane. Construction began in 1864 and the church was further extended in 1871. The building consists of a broad nave and transepts with galleries, these having cast iron balustrades. The facade incorporates a slate-roofed octagonal turret and spire and a four-light perpendicular Gothic window. The interior includes windows with quarry glass panes and coloured borders; those on either side of the organ incorporate scrolled texts and may be by the Melbourne makers Ferguson & Urie. With declining congregations, the property was purchased by Wesley College in 1999 and now forms part of its Clunes campus. The church building has received a very extensive restoration, including structural strengthening, the opening out of the interior to its original dimensions and the installation of a new floor. Ref: https://www.ohta.org.au/organs/organs/ClunesUC.html B & W exterior view of the Clunes Methodist Church, from the side.clunes wesleyan methodist church, wesley college -
Uniting Church Archives - Synod of Victoria
Postcard - Photograph, January 2002
The Wesleyan Methodist Church at Clunes is a distinctive bluestone building in the Gothic style and was designed by the Ballarat architect J.A. Doane. Construction began in 1864 and the church was further extended in 1871. The building consists of a broad nave and transepts with galleries, these having cast iron balustrades. The facade incorporates a slate-roofed octagonal turret and spire and a four-light perpendicular Gothic window. The interior includes windows with quarry glass panes and coloured borders; those on either side of the organ incorporate scrolled texts and may be by the Melbourne makers Ferguson & Urie. With declining congregations, the property was purchased by Wesley College in 1999 and now forms part of its Clunes campus. The church building has received a very extensive restoration, including structural strengthening, the opening out of the interior to its original dimensions and the installation of a new floor. Ref: https://www.ohta.org.au/organs/organs/ClunesUC.html B & W exterior view of the Clunes Methodist Church.clunes wesleyan methodist church, wesley college -
Uniting Church Archives - Synod of Victoria
Postcard - Photograph, 2002
The Wesleyan Methodist Church at Clunes is a distinctive bluestone building in the Gothic style and was designed by the Ballarat architect J.A. Doane. Construction began in 1864 and the church was further extended in 1871. The building consists of a broad nave and transepts with galleries, these having cast iron balustrades. The facade incorporates a slate-roofed octagonal turret and spire and a four-light perpendicular Gothic window. The interior includes windows with quarry glass panes and coloured borders; those on either side of the organ incorporate scrolled texts and may be by the Melbourne makers Ferguson & Urie. With declining congregations, the property was purchased by Wesley College in 1999 and now forms part of its Clunes campus. The church building has received a very extensive restoration, including structural strengthening, the opening out of the interior to its original dimensions and the installation of a new floor. Ref: https://www.ohta.org.au/organs/organs/ClunesUC.html B & W exterior view of the Clunes Wesley College development. The image shows school buildings on a block next to the former Clunes Methodist Church.clunes wesleyan methodist church, wesley college -
Robin Boyd Foundation
Document - Manuscript, Mystery Shrouds Our National Gallery, 1971
A brief history of the National Gallery of Australia, including the design competition, designs, location, collaboration of the chosen architect (Colin Madigan of Edwards, Madigan and Torzillo) with the gallery director, James Sweeney, approval by relevant statutory bodies, and the political upheaval that stalled progress.Original manuscript of an article published as ‘What’s become of our new gallery?' in "The Sunday Australian", 11.04.1971.Typewritten, (p/copy), quarto, 9 pagesnational gallery of australia, colin madigan, edwards, madigan and torzillo, james sweeney, art gallery design, canberra, robin boyd, manuscript -
Robin Boyd Foundation
Document - Manuscript, Influences on Architectural Form
Boyd discusses the things that influence architects to devise form, particularly the relationship between the engineer and architect. He gives a history of the Opera House and Jørn Utzon's creative process in relation to debates around functionalism and the justification for sculptural forms.Typewritten (c copy), pencil edits. 2nd copy 34 q 4-6 missing, quarto, 34 pages. (Two copies)functionalism, le corbusier, ronchamp chapel, sculpture, guggenheim gallery, jørn utzon, sydney opera house, robin boyd, manuscript -
Robin Boyd Foundation
Document - Manuscript, (State of Victoria has lately acquired...)
Discusses the future of art galleries in Victoria and the needs to improve in order to produce a better atmosphere and quality.Handwritten (pencil), quarto, 1 pagesHandwritten with a lot of edits and markings and very densegallery, whitney museum, robin boyd, manuscript -
Robin Boyd Foundation
Painting, Asher Bilu, Solstar, 1968
Robin Boyd most likely saw Solstar at Asher Bilu's exhibition at South Yarra Gallery in September 1968. In November 1968, Robin Boyd arranged for the loan of this painting from South Yarra Gallery to Australian Pavilion at Expo '70 in Osaka, where Boyd was appointed Exhibit Architect. It hung in the bedroom over a bed, containing a life-size cut-out figure by Bruce Petty, in the Model House Interior exhibit on modern living in the Space Tube. On its return from Expo, the painting was in transit at the Boyd's home in Walsh Street and they liked it so much that they decided to buy it. Solstar originally hung on the wall at the end of the galley kitchen. The artwork at the Boyd's home in Walsh St has been moved several times over the years. Solstar now hangs above the dining table, but at the time of Solstar's acquisition, the Boyds hung the painting "Winter Triumphant" (1920) by Penleigh Boyd, Robin Boyd’s father, above the dining table. In early 2021, Asher and Luba Bilu visited Walsh St to view Solstar again. Asher was extremely happy with how the painting looked and its condition 53 years after painting it. He requested it be hung a little higher and he returned in April to make some minor restorations to remove scratches. Silver mixed media with large black circular area in the central lower half. On reverse has the title: Solstar/A. Bilu/Arrow showing which way up. Unsigned on the front.asher bilu, penleigh boyd, expo 70, osaka, robin boyd, south yarra gallery, walsh st artwork, ohm2022, ohm2022_13