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Bass Coast Shire Council - Art Collection
Sculpture - Motorcycling World Champions, Barbara McLean
3x Bronze busts -
Federation University Art Collection
Sculpture - Artwork - sculpture, [Sculptural Forms]
Four soapstone sculptures on plinths. If you can assist with information on this artist or artwork please use the comments box below. artwork, artist, gippsland campus, churchill, sculpture, alumni -
Vision Australia
Sculpture - Object, Matcham Skipper, 1974 Braille Book of the Year award, 1974
Made from a large, heavy, irregular shaped piece of stone. One fascia has been cut lengthwise at an oblique angle & polished. On this face are 2 bronze medallions. One shows 2 hands and the other, 'Braille Book of the Year' is written in Braille. This award was presented for the first time at a presentation dinner on the 3rd May 1974 to Mr. Keith Dunstan. Mr. Barrett Reid of State Library, Dr. Stephen Murray - Smith from Melbourne University and Mr. Lloyd O'Neil, publisher formed the literary panel.1 stone block with 2 bronze medallions, one inlaid with hands and the other with BrailleBraille Book of the Year (in Braille)braille and talking book library, awards, sculpture -
Royal Australasian College of Surgeons Museum and Archives
Sculpture, Statue in bronze of Neville Howse VC, 2000
This small bronze statute depicts Neville Howse rescuing a soldier from the battlefield during the Boer War. In 1900 while accompanying a group of infantry at Vredefort, Howse noticed a British trumpeter fall. As the soldier lay injured under heavy fire, the surgeon galloped to his rescue. His horse was horse shot dead from under him but undeterred, he continued on foot until he reached the man. The soldier had been shot through the bladder so Howse dressed his wounds and carried him to safety. For this brave action, Howse was awarded the Victoria Cross, the first medical person to achieve this honour. The son of a doctor who served in the Crimean war, Neville Howse (1863-1930) was born in Somerset, England. He migrated to Australia and set up medical practice in Newcastle and later, in Taree, NSW. Upon deciding to become a surgeon, he returned to the UK to undertake Fellowship of the Royal College before travelling back to NSW in 1899. In the same year Great Britain went to war with the two Boer Republics of South Africa and Howse volunteered for service. ARTIST Donated to the College in 2000 by Queensland Fellow, Neville Davis, the commissioned work is by Brisbane physiotherapist, Peter DornanBronze statue 45cm in height, on a granite base. The statue depicts Neville Howse bent over carrying a wounded soldier -
Royal Australasian College of Surgeons Museum and Archives
Sculpture - Hygieia, 2004
Hygieia (Ύγεια, lit., “healing”) probably began as an abstraction, which later became personified. She does not appear to be a deity of extremely ancient origin, and there has been much scholarly debate as to exactly where and when worship of her first developed. Her cult most likely arose in the territory of Sikyon, where she was worshipped along with Asklepios, the legendary god of medicine. In later times Hygieia came to be regarded as the daughter of Asklepios, although her cult was not introduced to Epidauros, his principal sanctuary, until at least the 4th century BC. The earliest large-scale devotion to her is found in the aftermath of the Plague of Athens (420BC). The cult of Hygieia was taken to Rome, along with that of Asklepios (Æsculapius), in 293BC, to avert a pestilence. Here she gradually became integrated with the old Italian god Salus. Towards the end of the pagan era both Hygieia and Asklepios lost their specific associations with medicine, and became general protective deities. A beautiful wooden statue representing Hygieia, the Greek goddess of health.The figure is highly polished, which brings out the intricate grain of the timber. In it, the sculptor has endeavoured to combine the qualities of a classical pose with a contemporary yet timeless surreal sensuality. It will stand on a stone pedestal about 90cm high, and be placed in a prominent location in the Melbourne headquarters. The College’s statue is semi-abstract in style, carved from a single piece of jarrah. The piece of timber from which it is fashioned was salvaged from the remains of a century-old shearing shed on Rifle Downs, at Darkan in the south-west of Western Australia. -
Bass Coast Shire Council - Art Collection
Sculpture - Maregold, David Fincher
AustraliaWood and concreteSigned -
City of Ballarat
Sculpture - Public Artwork, Akio Makigawa, Point to Sky by Akio Makigawa, 1999
Point to Sky is one of Akio Makigawa’s final works, the commission was completed posthumously. It is the only public artwork by the celebrated Australian-Japanese sculptor of this scale located in regional Victoria. You will see two stainless steel forms, a smaller more rectangle form and the towering geometric form, with seed pod shapes at the peak. These forms represent the house, the artist is expressing that home is a shelter and also a place for gathering. The house form grows into a tower to symbolise the achievements of mankind and the action taken to protect the rights of the community during the Eureka Stockade. The top seed pod is gold, referencing Ballarat as the centre of the gold rush in Victoria, as well as representing the sun as the source of life. The paving of the forecourt was designed in bluestone, typical of the work of Makigawa. Stainless steel panelling and shaping on armature. Set into raised platform of bluestone pavers.Point to Sky, 1999 / Akio Makigawa (1948-1999)/ stainless steel/ Born in Japan, Akio Makigawa arrived in Australia in 1974. He worked as a sail maker in Perth before studying sculpture at the Claremont School of Art and WAIT (now known as Curtin University). He moved to Melbourne in 1981 to do post graduate studies in sculpture at the Victorian College of the Arts and set up his studio. From 1984 he was involved in many public commissions in Victoria and interstate and Japan. / Commissioned by the Victorian Government and the City of Ballarat in 1999. point to sky, akio makigawa, modern, australian sculpture -
Federation University Art Collection
Sculpture - Artwork, [Untitled] by Chris White, c1986
Chris WHITE Chris White is a sculptor and installation artist 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.Welded metal sculture.art, artwork, sculpture -
Horsham Regional Art Gallery
Sculpture, Dónal MOLLOY-DRUM, Flutter, 2019
Purchased through the Horsham Art Gallery Trust Fund, 2020 -
Tatura Irrigation & Wartime Camps Museum
Sculpture - Kookaburra, 1940's
Made by internee at Camp 3, TaturaHandcarved bone kookaburra mounted on a block of polished woodkookaburra, bone, camp 3, tatura, ww2 camp 3, ornaments -
Federation University Art Collection
Sculpture, 'Mascot Two and Mascot Three' by Trevor Wren, 1994
Trevor WREN (1952- ) A graduate of the Bachelor of Art (Visual Art), and Graduate Diploma of Visual Arts at the Gippsland Centre of Art and Design (GCAD). This work was purchased as part of the Gippsland Campus Art Enhancement Project, 1996Sculpture by Trevor Wrenartwork, artist, sculpture, trevor wren, gippsland campus, alumni -
Vision Australia
Sculpture - Object, Tilly Aston relief, 1997
Tilly Aston was the founder of the Association for the Advancement of the Blind, which became the Association for the Blind, Vision Foundation and later Vision Australia. Her work in expanding the options available to blind and vision impaired Victorians triggered the push for similar conditions inter-state, and she was a pioneer force in challenging perceptions of both the sighted and less-sighted communities. This bust of Tilly Aston was donated by Malcolm and Beverley Daubney and unveiled at the 1997 Annual General Meeting for the Association for the Blind (now Vision Australia) on the 19th September 1997.Bronze relief of Tilly AstonMatilda (Tilly) Aston 1873-1947 Founder of the Association for the Blind Generously donated by Malcolm & Beverley Daubney September 1997tilly aston, association for the blind, malcolm daubney -
Horsham Regional Art Gallery
Sculpture, Bruce ARMSTRONG, Bast, 1997
Donated through the Australian Government's Cultural Gifts Program by Bruce Armstrong, 2022cypress -
City of Greater Bendigo - Civic Collection
Sculpture - Models for public seating for Hargraves Mall, Unknown
Very little is known about the creation of these models other than they were ideas for public seating for the Hargraves Street Mall. Seven small sculptures made of clay and plaster. The two clay models are bisque fired.0419.3 has a '6' written in texta on bottom 0419.7 has a '7' written in texta on bottomcity of greater bendigo public art -
Tatura Irrigation & Wartime Camps Museum
Sculpture - Statue, Carved figure, 1940's
made by internees and given to Monte Punshon as a gift. Monte was an Australian warden who had oversight of the women and children in one of the compounds. She spoke fluent Japanese which she had learnt in the 1930's pre the war.Carved wooden figure of a Japanese man in a suit. Attached to a wooden base.internee wood work, monte punshon, statue -
Glenelg Shire Council Cultural Collection
Sculpture - Bas-relief, Ronald C. Skate, Untitled (Early Maritime Industries), n.d
Commissioned by State Bank to produce 5 copper bas-reliefs for 73 Percy Street, Portland. Spoke with Miss Betty Vivian (Member of the Portland Historical Society) re Portland's history. Commonwealth Bank stored objects in Melbourne (c.1991). Negotiations between Portland Historical Society and Commonwealth Bank of Australia led to gift of works to People of Portland. Stored at Council depot c.1998, retrieved for Maritime Discovery Centre display.Copper bas-relief. Depicting a man in raincoat and wide-brimmed rain hat at a ship's wheel. Behind him are flying birds and in front of him is the tail of a seal diving into waves on the left and the front of a seal on the right. -
Federation University Art Collection
Sculpture, Penny Carey Wells, 'Women are Lavicious #3' by Penny Carey-Wells, 1997
Penny CAREY WELLS (08 November 1950- ) Born Hobart, Victoria Penny Carey Wells has worked as a paper and book artist in Tasmania since the early 80s and taught at the School of Art, University of Tasmania, from 1985-1997. She is currently employed part time at the State Library of Tasmania as a technician in paper conservation and exhibition officer. (http://www.kitezh.com/haven/artists/penny.htm, accessed 1/11/2016) 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.Boxed paper sculpture of the torso of a woman with narrow leather chest bands and gold leaf on the left hand side. art, artwork, sculpture, penny carey wells, torso, available, penny carey-wells -
Darebin Art Collection
Sculpture - Simon Normand, Simon Normand, Sailing Down The Steps, 2003
Two large boat forms with mosaic inlays. The mosaic inlays have been crafted by local primary school students. The “Sunken” boat represents the Merri Creek and some of its important elements as if seen through a magnifying glass -
Gippsland Art Gallery
Sculpture, Kleehammer, Col, Jewel Box, 1986
Purchased, 1986Blackwood and feltgippsland, artwork, permanent collection -
Federation University Art Collection
Sculpture - Artwork, 'The More Bones the Better' by Yhonnie Scarce, 2016
Yhonnie SCARCE (1973- ) Born Woomera, South Australia Language group: Kokatha, Southern desert region and Nukunu, Spencer region Yhonnie Scarce works predominantly in glass. She majored in glass withing a Bachelor of Visual Arts (Honours) course at the South Australian School of Art, Adelaide, and holds a Master of Fine Arts from Monash University. One of the first contemporary Australian artists to explore the political and aesthetic power of glass, Scarce describes her work as ‘politically motivated and emotionally driven’. Scarce’s work often references the on-going effects of colonisation on Aboriginal people, In particular her research focus has explored the impact of the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. (https://thisisnofantasy.com/artist/yhonnie-scarce/, accessed 10 September 2018)Artist's Statement 'The More Bones the Better', 2016 Yhonnie Scarce was born in Woomera, SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non traditional approach to glass blowing using glass as more than a mere material, acting as a lens and a mirror, Scarce reflects and exposes the tragedies of Australia’s colonisation. She applies the technical rigours of traditional glass blowing techniques in an innovative and unconventional manner. In particular Scarce uses glass to explore the lives and histories of Aboriginal Australians. Hand blown glass is shaped, engraved, painted and smashed to create indigenous fruits and vegetables such as bush bananas, bush plums and long yams symbolic of her peoples culture and traditions. With their elongated, torso-like shapes, they even evoke human bodies. Akin to a gatherer of bush food Scarce creates glass-gatherings of the persecuted. The repetition of brittle ambiguous bodies collected for experimentation and examination conjures the relentless impact of colonisation and the litany of abuses suffered by Aboriginal people. Within her research Scarce encountered a variety of ethnographic studies examining the use of scientific interventions amongst Indigenous cultures. These include Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices amongst indigenous prison inmates. This work metaphorically looks at these situations and poses questions of what might have gone on in such a laboratory. The judge of the 2017 Guirguis New Art Prize (GNAP), Simon Maidment, Senior Curator, Contemporary Art, National Gallery of Victoria said; “The winning work by Yhonnie Scarce captures the sensitivity to materials she displays throughout her artistic practice. The blown and shattered glass elements are a delicate contrast to the shocking and little discussed histories of Aboriginal exploitation and abuse in the name of science in Australia. Engaging this topic, this work is haunting, in the same way those lived and documented experiences continue to haunt the collective unconscious of this country. Yhonnie Scarce’s work, The More Bones the Better 2016, I believe makes an important contribution to the Collection of Federation University Australia and will engage and move diverse audiences with its technical accomplishment, beauty and message. Yhonnie Scarce was born in Woomera SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non-traditional approach to glass blowing using her medium as more than a mere material. Applying the technical rigours of traditional glass blowing in an innovative and unconventional manner, Scarce’s glass objects act as a lens and a mirror to reflect and expose the tragedies of Australia’s colonisation and, in particular, explore the lives and histories of Aboriginal Australians. Hand-blown glass is shaped, engraved, painted and smashed to represent indigenous fruits and vegetables such as bush bananas, bush plums and long yams, symbolic of Scarce’s people’s culture and traditions. While these elongated shapes on the one hand represent fruit and vegetables, gathered and grouped as in the gathering of bush food, Scarce’s torso-like bodies and forms are glass ‘gatherings’ representative of the gathering of people. Here, the many brittle bodies act as a metaphor for the collection, experimentation and examinations undertaken by government authorities on Aboriginal communities researched by Scarce. Exposing a variety of ethnographic studies, examining the use of scientific interventions on Indigenous cultures, Scarce also revealed Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices undertaken on indigenous prison inmates. Scarce’s gatherings also reflect the impact of colonisation and the relentless conjuring and litany of abuses suffered by Aboriginal people. The More Bones the Better metaphorically looks at these situations and poses questions of what was undertaken and investigated in these laboratories. guirguis new art prize, yhonnie scarce, glass, aboriginal -
Darebin Art Collection
Sculpture - Vipoo Srivilasa, Vipoo Srivilasa, Bundoora Homestead, 2006
bundoora homestead -
Royal Australian and New Zealand College of Obstetricians & Gynaecologists (RANZCOG)
Sculpture - Porcelain figurine of a doctor holding a newborn baby, Pucci
This piece bears an export mark associated with Arnart Imports. Arnart was an importer and distributor, rather than a manufacturer. It is likely that this is a Pucci porcelain piece, distibuted and sold by Arnart.Porcelain figurine of a male doctor holding a newborn baby. The figure has grey hair and is wearing an unbuttoned white surgical gown. Beneath the gown the figure is wearing brown, striped trousers, a blue shirt, a red tie and black shoes. The buttons on the shirt and his belt buckle are golden coloured. The figure is wearing gold framed glasses with round frames, and is smiling. The figure is standing with his left hand in the pocket of his surgical coat, while holding a baby in his right hand by its left leg. The baby is head down and facing away from the doctor figure. The figurine is standing on a oval shaped base and there is a gold coloured, abstract, decorative embellishment at the front of the base. There is a stamp on the underside of the base of the figurine consisting of the letter 'A' below a stylised crown. The number '44/768' is printed on the base below this stamp. A retail sale tag is tied to the right arm of the doctor figure with a small piee of orange ribbon. The tag reads 'TREASURES/TODAY/HEIRLOOMS/TOMORROW'. -
Horsham Regional Art Gallery
Sculpture, Jeff THOMSON, Bouquet IV, 2004
Gift of the artist, 2004 -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Sculpture - sandstone, Junee Gurney et al, Quartet, 2002
‘Quartet’ is designed by the late Junee Gurney (1909-1984), who lived in Bayside for many years and was the wife of Alex Gurney, creator of the 'Bluey and Curley' cartoons. The work made posthumously based on her design and was carved by David Glyn Davies.Junee Gurney, Sculpted by David Glyn Davis, Quartet 2002, sandstone, 185 x 90 cm. Bayside City Council Art and Heritage Collection. Commissioned 2002Sandstone Public Art Commission located in Landcox Park, Brighton Eastsculpture, public art, landcox park, family, figures, junee gurney, david glyn davis, quartet -
Kew Historical Society Inc
Sculpture - Plaster Relief of King George V, J.S.D, c.1936
While its provenance is unclear, it is probable that this framed plaster relief was once hung in the Kew Town Hall. While the artist has not yet been identified, it is assumed that the work may be mass-produced from an original copy.Gilded and framed plaster-relief of King George V.Artist initials "J S D" lower rightgeorge v, plaster relief, royal portraits -
Darebin Art Collection
Sculpture - Hannah Gartside, 'Wall Kisser', 2022
Wall Kisser is a kinetic sculpture that is hand-cranked by the viewer. On turning the handle the wall receives the repetitive, kiss-thud, kiss-thud of the leather and velvet hearts which have been padded out with dried lavender and rosemary from the artist's garden (a version of an 18th Century pot pourri recipe commonly used to ward off disease and disguise bad smells). The sculpture's rotating form is loosely based on the design of a vibrator that the artist saw online: an electromechanical wheel of 10 plastic ‘tongues’. This sculpture was part of a body of work entitled Gorgeous, first presented at the inaugural Ellen José Art Award at Bayside Gallery in 2022. Gorgeous was an exhibition that imagined the physical gallery (walls, floor space), as if an abstract version of a lover’s body. Gartside explains, "I am curious about the potential connections between a viewer and an artwork... What could we ask of viewers beyond their attention, and as artists, what can we offer? What is possible when both artwork and viewer have skin in the game? In this work I am teasing out possibilities for eliciting surprise, delight, humour through art, and offering my gratitude for the 'lover' type relationship that I have with my art practice." -
Bendigo Historical Society Inc.
Sculpture - SCHUBERT BUST
Small plaster bust of composer Schubert in sepia tones.2910ornaments, plaster, bust -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Sculpture, Margaret Baskerville, The Lady of the Lilies, 1919
plasterlady of the lilies, bust, sculpture, flowers, margaret baskerville, lilies, plaster, portrait -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Sculpture - fountain, Margaret Baskerville, Mrs Bent Drinking Fountain, 1913
The fountain was commissioned by Elizabeth Beazby, daughter of Sir Thomas and Mrs Bent, and unveiled 27 October 1913 by Mrs Wilson, Mayoress of Brighton.The fountain is of historical interest and aesthetic significance. The memorial is a good example of the smaller commemorative work of sculptor Margaret Baskerville. The memorial commemorates the wife of notable local resident, Sir Thomas Bent, who was a long-standing parliamentary representative, Mayor of Brighton and Premier of Victoria from 1904-1909.bronze and granite thomas bent, politician, mayor, premier, bust, sculpture, margaret baskerville, speaker, member of parliament, member of lower house, local government, councillor, brighton, public art, bayside, mrs bent, memorial, fountain, drinking fountain, cherubs, elizabeth bleazby -
Gippsland Art Gallery
Sculpture, Woollard, John, Green Turned Red Gum Bowl, 1986
Purchased, 1986Forest Red Gumgippsland, artwork, permanent collection