Wooden palette board- artistspalette, paint, artist

Coloured photographic postcard. Image has a 1.7cm white border on the right hand side and depicts Mossmans Bay Sydney NSW. The image shows a view of the bay taken from height, several boats can be seen in the bay and houses are on the left hand shore and in the distance. The words Mossmans Bay Sydney Harbour N.S. Wales are printed in white in the lower right hand corner of the image. On the border, the words Mosman's Bay Sydney Harbour are printed in black and the words Wishing you many happy returns of the day are handwritten there also. On reverse it is addressed to Miss Dean McKenzie St Golden Square. A black and white image of palms appear on the left hand side with the words NSW Bangalore Palms in white along the bottom. A one penny stamp is affixed postmarked Bendigo. A symbol of an artists palette with the letters HB is along the top.Symbol - artist palette and letters HBpostcard

Coloured photographic postcard of Lane Cove River with 1.7cm white border on lower edge. The image depicts a bend of the Lane Cove River with many houses on the opposite shore at the apex of the bend and in the distance. A boat is on the far left, while trees and a person walking along a path are in the foreground. The words Lane Cove River. One of Sydney's Charming Suburbs are printed in black on the left hand side of the border. Handwritten across the border are the words Wishing you many happy returns of the day and a signature. On the reverse is a black and white image of an indigenous man lighting fire with a stick and the words Fire by friction printed across the image. Card is addressed to Miss Dean McKenzie St Golden Square. A one penny stamp is affixed and postmarked Bendigo.Symbol of artists palette with initials HB enclosedpostcard

Wangaratta Art Gallery CollectionA small weaving with a colour palette of black, reds and oranges.esmae emerson, weaving, textile

Wangaratta Art Gallery CollectionA small weaving with a colour palette of black, green, yellow and white.esmae emerson, weaving, textile

Bookplate featuring two roosters holding a paintbrush and standing on a palette bookplate, irena sibley, roosters, paintbrush

The genesis of this work was an exploration of materials and sustainability, which led to the use of jute twine as the base material - a humble, sustainable fibre, and an unlikely material for the creation of 3D forms. Machine sewn with a simple zig zag stitch, the work contrasts the most basic of materials and equipment with the creation of beautiful and sophisticated objects. Embedded textures are constructed with a variety of threads, yarns and techniques, allowing the minimal palette to highlight serendipitous interplays of form and texture.Wangaratta Art Gallery Collection5 twine bowls of various sizes in a colour palette of black and cream.fiona gavens, textile, twine bowl

Artists Palette (White Ceramic) used at Stawell School of Mines used by W Telfordstawell

Wangaratta Art Gallery CollectionA small maquette tapestry featuring a scalloped design in a colour palette of white, olive, and grey.tim gresham, weaving, tapestry, textile

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

Caught Fish, PANGASIANODON GIGAS” is a miniature version of the larger tapestry described below and it embodies the same ideas: The giant Mekong Catfish is under threat of extinction due to over-fishing and loss of habitat. It is beleived that the fish used to reach sizes over 3 metres, but the largest recorded catch to date is 2.7 metres – a monster fish caught in Thailand in 2005. As its fame and the mythology surrounding it increases, so does the number of game fishermen keen to land a record catch or earn a sizeable amount of money in the exotic food marketplace. However, the water flow of the river is increasingly more controlled by China, changing the natural habitat of the river. It seems that survival of the great catfish is being left to chance and the fish’s ability to avoid nets, lines and traps in the murky green waters of the Mekong. My exhibition piece is a giant, woven Pangasianodon Gigas – made as a shaped tapestry which will hang the way a fisherman would hold up his catch to display or be photographed as his trophy. The drawing was made from photographs of very large fish I observed in Laos and the detail on the body of the fish is deliberately ambiguous scales/nets. The piece will be woven on cotton seine twine (which was originally made as a string for fish netting) with mixed weft yarns. Artist statement about the work: The final work is an abstraction of fish and nets – an image made with a hand drawn quality suggesting the personal observation that goes with looking and responding with ink on paper. The tapestry technique mimics the original marks to a certain degree but is also very obviously a woven form with its stepped edges and shapes, blending of tones through hachure and broad set of warp and weft.Wangaratta Art Gallery CollectionA small tapestry of a caught fish handwoven using a colour palette of black, grey, and white.valerie kirk, tapestry, textile, fish

Pro (Kevin Charles) HART (30 May 1928 – 28 March 2006) Born Broken Hill, New South Wales Pro Hart drew upon a variety of techniques in his paintings, including layering, chiaroscuro, glazing, scumbling, scratching and Alla prima. Insects, particularly ants and dragonflies, are among Hart’s most popular and most identifiable images. 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.Bookplate featuring a giant Pro Hart with palette dwarfing poppet heads in Broken Hill."Ex Libris PRO HART"pro hart, bookplate, poppet head

Rural City of Wangaratta CollectionA pastoral landscape painting in oil using a tonal colour palette of greens, blues, browns and yellows.J. Colin Angus/ 84/ (bottom left corner)wangaratta art gallery, j colin angus, john colin angus, painting, landscape, pastoral

Rural City of Wangaratta Collection, Wangaratta Art Prize 1993.A still life watercolour of an old garage painted with a colour palette of brown, green, grey, and yellow.Obverse: RON L MULLER/ (bottom left corner) Grand Winner 1993/ Garage Corner/ By/ Ron L. Muller/ Judge - Barbara Beasly-Southgate/ (plaque mounted on frame)wangaratta art gallery, ron muller, watercolour, garage, still life

Rural City of Wangaratta Collection, Wangaratta Art Prize 1990.An oil landscape of gums and grass trees painted with a colour palette of green, yellow, brown, blue, and grey.E. MICHEL 90/ (bottom right corner) GRAND WINNER 1990/ ELLEN MICHEL/ 'Summer In The Warbys'/ (plaque mounted on frame)wangaratta art gallery, ellen michel, landscape, painting, warby ranges

Rural City of Wangaratta Collection, Wangaratta Art Prize 1987.A landscape of a lake scene, painted using oils in a colour palette of green, blue, pink, brown, and grey.Obverse: Wykeham Perry 87/ (bottom left corner) WANGARATTA ART SHOW/ GRAND WINNER 1987/ (plaque mounted on frame)wangaratta art gallery, wykeham perry, landscape, painting, coastal

Rural City of Wangaratta Collection. Gift of Leslie Morrison. Donated in memory of Bruce Morrison, Shire Engineer.A realistic pastoral landscape, painted in watercolour using a colour palette of green, blue, brown, yellow, and white.Obverse: VR WATT/ (bottom left corner)wangaratta art gallery, v. r. watt, landscape, painting, pastoral

Rural City of Wangaratta Collection. Gift of Leslie Morrison. Donated in memory of Bruce Morrison, Shire Engineer.A realistic pastoral landscape, painted in watercolour using a colour palette of green, blue, brown, yellow, and white.Obverse: VR WATT/ (bottom left corner)wangaratta art gallery, v. r. watt, landscape, pastoral, painting

Stormy skies can be memorable with dark and contrasting colours. They often appear menacing and producing apprehension in the air because of the oncoming weather. Fabrics used in this piece are all commercial. I have endeavoured to make the sky angry with stitches. The mesa has some very dark and ominous craggy rifts. ‘Sky Series’ Changes are constantly taking place in the sky . I love the variety, colour and movement of the sky which are all a direct result of the clouds, sun and time of day. I certainly think about the sky much more when we are on Safari. The sky is a great indicator of the ever changing time of day and weather conditions …... fine and clear, cloudy, sunset, sunrise and storms. The artwork features a simple ‘mesa’ shape against the sky. A mesa is a flat topped hill. Which are part of the Australian Inland. The mesa I have featured is in recognition of Mt Connor in the Northern Territory.Wangaratta Art Gallery CollectionA embroidered textile depiction of an outback landscape scene during a storm featuring a colour palette of blues and browns.june brown, textile

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

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

Rural City of Wangaratta Collection. Wangaratta Art Show Grand Winner 2001.A pastoral landscape of a farming property painted in oil using a colour palette of yellows, greens, blues, browns, and creams.Obverse: RAMON HORSFIELD/ (bottom left corner) Grand Winner - 2001/ "Golden Summer"/ By Ramon Horsfield/ Judge Kevin Taylor/ (plaque mounted on frame)wangaratta art gallery, ramon horsfield, landscape, pastoral, painting

Rural City of Wangaratta Collection, Wangaratta Art Prize Grand Winner 1981.A aerial landscape of a rural road, painted in oil using a colour palette of blue, green, white, yellow, and brown.Obverse: L Pawluk/ (bottom left corner)wangaratta art gallery, len pawluk, landscape, rural, painting, walhalla

When in the desert it is frightening to see a distant fire, even though you may not see the actual flames. As evening approaches the sky reflects anger and colour. The mesa is also reflecting some of the glow . I imagined it had been burnt already and some embers are still aglow in the evening light All fabrics used in this work are cotton commercial fabrics. My stitching has been done to accentuate the red reflection in the sky. Black rayon thread gives a certain sheen to the mesa with a dried grassy foreground. ‘Sky Series’ Changes are constantly taking place in the sky . I love the variety, colour and movement of the sky which are all a direct result of the clouds, sun and time of day. I certainly think about the sky much more when we are on Safari. The sky is a great indicator of the ever changing time of day and weather conditions …... fine and clear, cloudy, sunset, sunrise and storms. The artwork features a simple ‘mesa’ shape against the sky. A mesa is a flat topped hill. Which are part of the Australian Inland. The mesa I have featured is in recognition of Mt Connor in the Northern Territory.Wangaratta Art Gallery CollectionA embroidered textile depiction of an outback landscape scene during a fire featuring a colour palette of pinks, purples, and browns.june brown, textile, landscape

Portrait of an old man wearing glasses and striped robe in front of a paint palette and surrounded by collaged newspaper cuttings. Signed (l.l) 'Clifton '85'. Inscribed on reverse: 'Self Portrait Clifton Pugh'clifton pugh, painting, self portrait, dunmoochin

Knight’s art style is heavily influenced by the Australian Impressionist movement of the late 19th century and he paints his work in outdoor settings, which is known as plein-air painting. Rural City of Wangaratta Collection, Wangaratta Art Prize Grand Winner 1992.An aerial landscape of a costal view painted in oil using a tonal colour palette of browns, blues, greens, oranges, and whites.Obverse: KEN KNIGHT/ (bottom right corner) WANGARATTA ART SHOW/ GRAND WINNER 1992/ 'COASTAL VISTA'/ By KEN KNIGHT/ (plaque mounted on frame)wangaratta art gallery, ken knight, landscape, painting, costal, plein-air, plein air

Rural City of Wangaratta Collection.A costal landscape of a group of stones painted in oil using a colour palette of blue, green, white, black, yellow, and orange.Obverse: Mezaks/ (bottom right corner)wangaratta art gallery, maggie mezaks, painting, landscape, costal

The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Circular woman’s hat covered with feathers of varying shapes and colours using a palette limited to cream, gold, brown and black. Nilwomen's clothing -- hats, headwear, cloche hats -- feather

Small dark green compact box, interior opens to a mirror on the lid and a palette of three paints: green, brown and black. Front - Embossed - CAMTECH / PAINT, FACE, CAMOFLAGE / NSN 6850-66-130-0172 / MILITARY SUNSCREEN / RT01/94390C-1 / 0192