Showing 62 items matching "metal sculpture"
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Flagstaff Hill Maritime Museum and VillageStereoscope
Stereoscope wooden with metal eye-shield with inscription "Sun Sculpture U&U Trade Mark" and folding handle. Also inscribed "Manf'd by Underwood and Underwood New York. Patented June 11, 1901, Foreign Patents Applied For".flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Bendigo Art GallerySculpture, Michael KUTSCHBACH, Go you little dynamo, go! (pink), 2008
sculpture, surreal, australian artist, alien, metal, dynamo, fibreglass -
Tatura Irrigation & Wartime Camps MuseumLamp, 1943
Made by Hans Knorr, sculptor, ex Arandora Star and Dunera. He was interned in camp 1 Tatura Group and later in POW camp 13, when status for merchant seaman changed to POW. Hans was, postwar, well known sculptor of wood and metals in Victoria.Wood turned lamp stand and material shade with electrical cord and plug attached. Stand has circular base on 3 feet and coiled central stand. Shade is shaped, scalloped at base of yellow and white (interior) nylon and wire frame.H/Lhilda knorr, hans knorr, camp 13, camp 1, internment camp sculptures, camp woodcraft -
Tatura Irrigation & Wartime Camps Museum
Sculpture - Sandstone Maps of Australia, 1940
2x hand carved sandstone maps of Australia with space for penny in one & metal kangaroo in other. 1. Space for penny in centre. Markings for state boundaries. Creamy coloured stone. 2. Metal (copper?) kangaroo in centre. Pink tinged stone.1. Tatura 1940 2. 1940 Taturatatura;, handcrafts, carving -
City of BallaratPublic Artwork, Eternal Flame by Peter Blizzard, 1995
Eternal Flame was created by Ballarat sculptor Peter Blizzard as a marker of the end of WWII in the Pacific. Engraved into the bluestone shaped tile across the base of the statue is details about conflict areas where Australian Troops were active. The metal structure mimics a moving flame with it's polished golden hue, a feature included in many war memorials around the world. Peter Blizzard also designed the Prisoner of War Memorial in the South Gardens, Ballarat Botanic Gardens. The metal structure mimics the moving flame of polished golden hue that is present in war memorials around the world. Eternal flame is aesthetically and historically significant to the people of BallaratMetal construction on bluestone tile baseConflict areas for Australian Troops are engraved into bluestone shaped tile across the base of the statue. eternal flame, world war ii, conflict, peter blizzard, australian sculpture -
City of BallaratArtwork, other - Public Artwork, Play and Fair by Valislav Georgiev and Victoria Roxburgh, 2005
... A pair of circular sculptures featuring painted metal... Ballarat goldfields These sculptures represent peace and harmony ...These sculptures represent peace and harmony for the collaboration between two artists commissioned by the City of Ballarat during the refurbishment of the park. The artwork is of aesthetic significance to the people of BallaratA pair of circular sculptures featuring painted metal structures with brick details -
Tatura Irrigation & Wartime Camps Museum
Plaster Cast, 1940's
Made by Internee at Camp 3Plaster cast of camp hut and environs with wording at bottom in German "Familien Internierungs - Lager, Tatura Australien". Metal hook at top covered with green-grey wash.Tatura (Australien) 1942plaster cast, petz i, lobert, camp 3, tatura, war camps, handcrafts, sculpture -
Wangaratta Art GallerySculpture, Rose Wedler, Pendant, 2002
Wangaratta Art Gallery CollectionA jewellery sculpture featuring a pendant style necklace in a dark wooden hand-carved block stand. The necklace pendant consists of three metal disks and four clusters of red beads. -
Nillumbik Shire CouncilSculpture: Tony Trembath (b.1946 Sale, Victoria), Tony Trembath, The Fences Act 1968 - Location: Edendale Farm (entrance) 30 Gastons Road, Eltham, 1989 - 1994
... of Australia. public art sculpture edendale recycled wood metal fences ...Eltham Council (now the Shire of Nillumbik) commissioned this work in 1989 to create an entrance / gateway to Edendale Community Farm. It was also aided by a grant from the Ministry of the Arts (now Arts Victoria). The former name of this work was "Gateway to Edendale Farm". Edendale Farm is a demonstration farm modelling sustainable environmental practices, providing support to the local residents of Nillumbik. Established in 1986, the land was purchased in 1970. It was previously an English gentleman's residence and was used for grazing. It consists of 5.6 hectares, with the Diamond Creek meandering through the property. The Victorian Fences Act 1968 governs liability of occupiers of adjoining lands to fence, and deals with disputes between neighbours regarding boundaries fences and costs. This work took into consideration ideas and suggestions from residents and committees, who required the use of recycled materials and that the work celebrate man's relationship with nature, animals and the earth, as well as relate to the fence-line on the far side of the carpark. Trembath also absorbed significant aspects of local history, making references to Eltham's agricultural past, the clearing of the land, the destruction of trees, the ruthless pruning of trees by suburban Councils and incorporated such Australian features as the post and rail fence. 'The Fences Act 1968' is significant for aesthetic, historic and social reasons at a regional level. It makes prominent the historical and social significance of Edendale and the rural aspects of Nillumbik. The use of existing tree stumps and salt pots in the work explores the iconography of the countryside such as the isolated farmhouse, pioneering farming practices, post and rail fencing and the regrowth of lopped trees. The title of the work, as well as the extensive community involvement in its creation, also makes reference to the Victorian Fences Act 1968, which makes neighbours jointly responsible for the cost of construction and maintenance of fences in the partitioning of land for settlement. 'The Fences Act 1968' has been classified as of regional significance by the National Trust of Australia. The work is an installation of wood and metal, approximately twenty five meters long. The design is very informal and rustic and runs the full width of the fence-line. It comprises groups of recycled tree trunks fitted with metal caps (chrome-nickel 'salt pots' that are shaped like tall bowler / top hats). Metal rods protrude from the trunks and some of these rods have metal birds. Two larger, sentinel-like stumps at the two outer ends have metal flame-like wings, which bend inward. To the left of the entrance, a simple architectural element indicates an isolated farmhouse. The rustic fence runs between the groups of tree trunks with native planting in clumps along it. The fence-line incorporates a functional engineered double gate and post and rail fencing. There may be many interpretations of the work and the intention is to stimulate interest and imagination rather than alienate. Interpretation is based on the personal experience that a visitor brings. The artist recommended that no explanation of the design logic be positioned with the work. N/Apublic art, sculpture, edendale, recycled, wood, metal, fences act 1968, gate, trembath, salt pot, tree stumps -
Nillumbik Shire CouncilSculpture: Anthony PRYOR (b.1951- d.1991 Melb, AUS), Paretaio, 1985
In the early 1970s, Arthur Boyd bought and restored a large, two-storey traditional farmhouse called Il Paretaio. Situated on the crest of a hill and surrounded by fields and olive groves, it is five kilometres from the village of Palaia in the province of Pisa, Tuscany. Boyd established this farmhouse as a residency programme, (which was later managed by the Australia Council). The residency program ended in 1990. Anthony Pryor undertook an Australia Council residency at Paretaio in 1984. This work is one in a series made during his time there. This work was entered into the Shire of Eltham Art Award in 1985.Pryor is an artist of national significance. This work is an example of his series of 'boxes' made principally for his own pleasure and often swapped with artists and other friends as soon as they were finished. The 'box' series was part inspired by Japanese techniques of wooden construction. Pryor first visited Japan in 1975 and was immediately drawn to Japanese methods of working with stone and wood. Many of these boxes are based upon the principles of the Japanese Zen Buddhist monk Sengai Gibon (1750-1838). This work relates to Sengai's famous hanging scroll Circle, Triangle and Square in which the circle can be read to stand for the cosmos, the square for the individual, and the triangle for aspiration. A heavy, box-like (cube) structure created from huon pine, with bronze, brass and stone elements. Within the cube is an eastern inspired, rear lattice wall in combination with bronze domestic fittings, and symbols (cube, pyramid and circle). Metal lightning, clouds and wooden rainbow hover over an asymmetrical bronze bed floating within the cube. A chair leans and a tilting ladder reaches towards the sky. Stamped into wood: lower right 'ANTHONY PRYOR PARETAIO'huon pine, pryor, brass, bronze, stone, cube, paretaio, italy, eastern, japan, sengai gibon, symbols, zen buddhism, sculpture, personal -
National Wool MuseumSculpture - Bollard, Jan Mitchell, The Lost Bollards, 1999
Geelong is famous for its bollards. Created by local artist Jan Mitchell, the colourful bollards spot the foreshore, representing a fascinating and fun chronicle of the city’s past. Few people know that Mitchell planned for a flock of sheep to be part of her public art project. The wool industry is an important part of Geelong’s history, so Mitchell thought what better than a flock of sheep to welcome people to the city. The flock (and a Shepard) were to be placed out on the Melbourne-Geelong highway, near Lara, to welcome travellers to the city. The sheep would then be scattered along the road as a wayfinding signal to bring people to Geelong. When traffic authorities heard the plan for bollard sheep along the road, they squashed the project as a potential distraction for drivers. Another flock was also suggested for the hills of the eastern gardens, overlooking the bay. This was also disapproved; so Mitchell only ever partially completed four sheep bollards. The bollards are remnants of Jan Mitchell’s flock of sheep. The sheep also show the evolution of one of Geelong’s most iconic art installations. From the first sheep showing the raw timber of the old Yarra Street pier, to the sheep without a face, through to the completed sheep, it is possible to trace Mitchell’s process in the preparation of the bollards. The lost bollards form part of the National Wool Museum’s unique collection. The first bollard is the least complete, still in its original timber colour. From the central cylindrical shape, an additional wedge protrudes. This unpainted wedge forms what would have been the face of the sheep, with an ear present on either side that would have been painted white. Presently they are a bare metal. No legs are present on this bollard. The second and third bollard are completed to a similar level. They have a central cylindrical shape with an additional wedge protruding from the front of the timber. This wedge forms what would have been the face of the sheep, with an ear present on either side. The face and ears have been painted white but the finer details such as the eyes have not been added. These bollards bodies have also been painted white and have their legs attached. The legs are thin metal cylinders, approximately 50mm in diameter and 500mm long. The fourth bollard Is complete. It has the same central cylindrical shape with an additional wedge protruding from the front of the timber. This wedge forms the completed face of the sheep, with an ear present on either side that has been painted white. The face also features completed painted eyes. This bollard has its legs attached. The legs are thin metal cylinders, approximately 50mm in diameter and 500mm long. geelong, bollards, geelong's bollards, jan mitchell -
Bayside Gallery - Bayside City Council Art & Heritage CollectionArtwork, other - light installation, Peter Kennedy, Light as a feather, 2017
LED light, laser cut metal Located in the entrance to Bayside Gallery, Corner Wilson and Carpenter Streets, Brighton, Victoria 3186.sculpture, public art, installation, feather, neon, lights, peter kennedy, play on words, light as a feather -
Tennis AustraliaSepia, Digital print, Circa 1900, Circa 2001
An e.21st century digital print on canvas, of an original e.20th century sepia photographic print. Image features an informal group portrait of men, women, teenage girls and a boy. Many of the girls hold tennis racquets. A neo-classical sculpture of a maiden features behind the subjects. Materials: Canvas/Cotton, Ink, Wood, Metal, Paper, Paint, Linentennis -
Tennis AustraliaSculpture, Circa 1915
... : Pewter/Metal composite Sculpture ...A pewter sculpture of male figure with tennis racquet mounted on a square base. Figure is in action of serving ball. 'KAYSER' imprinted in base. Materials: Pewter/Metal compositetennis -
Tennis AustraliaSculpture, Circa 1915
... /Metal composite Sculpture ...A pewter sculpture of female figure with tennis racquet mounted on a square base. Figure has long skirt and hair pulled up onto head, and is in action of backhand stroke. 'KAYSER' imprinted in base. Materials: Pewter/Metal compositetennis -
Tennis AustraliaSculpture, Circa 1920
... Park Melbourne melbourne Tennis A bronze sculpture of female ...A bronze sculpture of female figure with tennis racquet mounted on a marble base. Figure is in action of serving ball. 'AG' imprinted in base. Bouraine's signature in bronze part of base. Materials: Bronze/Metal composite, Marbletennis -
Tennis AustraliaTrophy, Circa 1973
Two identical trophies, each featuring a stylised, surrealist tennis racquet sculpture, mounted onto a heavy black metallic plinth, with an engraved inscription. One trophy is for the boys (.1), the other for girls (.2). Materials: Metal, Rubber, Gluetennis -
8th/13th Victorian Mounted Rifles Regimental CollectionSculpture - Hussar figurine
The British Army 14th/20th King's Hussars was affiliated with 20th Australian Light Horse Regiment [date ?] . This affiliation carried over to 8th/13th Victorian Mounted Rifles in 1948 and is now maintained in the affiliation of the Queens Royal Hussars and 4th/19th Prince of Wales's Light Horse following various amalgamations and linkings.Rare example of a gift between British and Australian regiments.Metal figurine on a turned wooded base depicting an hussar. Wraparound inscribed plaque on base."Presented to 8th/13th Victoria (sic) Mounted Rifles by all ranks 14th/20th King's Hussars on the occasion of the presentation of our new Guidon / 12 June 1982"20th light horse, 8th/13th victorian mounted rifles, queens royal hussars, 14th/20th king's hussars -
Tennis AustraliaSculpture, Unknown
... with coiled base and upright tennis racquet Materials: Metal Sculpture ...Small wire sculpture with coiled base and upright tennis racquet Materials: Metaltennis -
Tennis AustraliaPlaque, Unknown
Brass sculpture of hand giving 'V' gesture and holding a tennis ball between fingers. Mounted on a base with unidentified Asian language characters (Korean?). Materials: Wood, Brass/Metal compositetennis -
Federation University Art CollectionCeramic, Dry Glaze Bottle by Alan Peascod, c1980
Alan PEASCOD (1943-2007). Born England. Arrived Australia 1952. Alan Peascod was one of Australia’s most highly acclaimed ceramic artists. For over 35 years his work has been at the forefront of the Australian ceramics movement, developing radical techniques previously unexplored with his developments in unusual glazes and firing methods. His creative repertoire includes dry glazed vessels, alkaline glazes, majolica, saturated metals, and many post firing finishes. Alan's work with the very difficult reduced lustre technique is highly regarded. He was taught the method by Professor Said El Sadr in Cairo, Egypt in 1972 and this led to lifelong research of the technique throughout the Middle East and Europe. His work in the field led to the completion of his doctoral studies at the University of Wollongong in 1994. This study also led to satirical figurative sculpture themes dealing with the human condition. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Blue and green dry glaze bottle. alan peascod, ceramics, gippsland, jan feder memorial ceramics collection, gippsland campus, visiting artist -
Federation University Art CollectionCeramic, 'Whitebait I' by Alan Peascod, 1989
Alan PEASCOD (1943-2007). Born England. Arrived Australia 1952. Alan Peascod was one of Australia’s most highly acclaimed ceramic artists. For over 35 years his work has been at the forefront of the Australian ceramics movement, developing radical techniques previously unexplored with his developments in unusual glazes and firing methods. His creative repertoire includes dry glazed vessels, alkaline glazes, majolica, saturated metals, and many post firing finishes. Alan's work with the very difficult reduced lustre technique is highly regarded. He was taught the method by Professor Said El Sadr in Cairo, Egypt in 1972 and this led to lifelong research of the technique throughout the Middle East and Europe. His work in the field led to the completion of his doctoral studies at the University of Wollongong in 1994. This study also led to satirical figurative sculpture themes dealing with the human condition. 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. Lustre glazed earthenware form with sgraffito decoration.art, artwork, ceramics, alan peascod, available, available ceramics, lustre glaze, university of woolongong -
Federation University Art CollectionSculpture - Artwork, [Untitled] by Chris White, c1986
... . art artwork sculpture Welded metal sculture. [Untitled ...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 -
Federation University Art CollectionSculpture - Artwork -Sculpture, Representation of Das From A Temple in Area, c2000
Clive MURRAY-WHITE (20 February 1946 - ) Born Walton-on-Thames, Surrey, England Arrived Australia 1959 With an impressive career that has included sculpting marble for over 25 years Clive Murray-White has informed his at practice by studying at Brisbane Central Technical College, Guildford School of Art, United Kingdom, Royal Melbourne Institute of Technology and Preston Institute of Technology, Monash University. His early work used welded and cast metal objects. In the 1980s he transitioned to marble sculpture Clive Murray White was Head of Sculpture at the Monash University Churchill (now Federation University Gippsland). He established the Cowwarr Art Space with Carolyn Crossley. Sculpture of a head carved from Cooper's Creek Black Limestone. artwork, artist, sculpture, gippsland campus -
Federation University Art CollectionSculpture, 'Hygea' by Clive Murray-White, 2008
Clive MURRAY-WHITE (20 February 1946 - ) Born Walton-on-Thames, Surrey, England Arrived Australia 1959 With an impressive career that has included sculpting marble for over 25 years Clive Murray-White has informed his at practice by studying at Brisbane Central Technical College, Guildford School of Art, United Kingdom, Royal Melbourne Institute of Technology and Preston Institute of Technology, Monash University. His early work used welded and cast metal objects. In the 1980s he transitioned to marble sculpture Clive Murray White was Head of Sculpture at the Monash University Churchill (now Federation University Gippsland). He established the Cowwarr Art Space with Carolyn Crossley.Marble sculpture of Hygia, the Greek goddess of health and healing. Daughter of Asciepius the God of Medicine, Hygeia symbolises the preservation of good heallth and prevention of illness. Presented to the Gippsland Medical School from the Campus. churchill, gippslands campus, clive murray white, sculpture, clive murray-white -
Federation University Art CollectionSculpture, Anthea Williams
Anthea WILLIAMS The sculptural practice of Gippsland-based artist Anthea Williams includes welded metals, moulds and assemblages. She has lectured Visual Arts at Federation University, Churchill and has many years experience as a technician at Latrobe Regional Gallery. Large steel sculptureanthea williams, gippsland art collection, sculpture -
Federation University Art CollectionSculpture, John Abery, 'Titanic' by John Abery, 2010
John ABERY Australian Artist and Sculptor John Abery works in a range of mediums including metal (bronze and steel), fiberglass, stone and wood.Laminated Pinus radiata and steelsculpture, john abery -
Mont De LanceyTool - Draw Knife, Hale Bros
A flat straight metal woodworking tool with two wooden line patterned handles used to remove surplus large chunks of wood and taper the sides of timber for floorboards, paneling and such before planing them. It can be used to to fashion tool handles, wooden sculptures stool legs or wheel spokes. The final finishing on such work was done by a Spoke Shave tool which we also have in our collection.Stamped on the blade is a horse head with the manufacturer's name Hale Bros Sheffield England below.woodcarving tools, drawing knives, shaves, handtools, iron -
Phillip Island and District Historical Society Inc.Photograph, Harmony Bells
The Harmony Bells were created by internationally renowned artist Dr Anton Hasell. Originally installed in 2012 at the Phillip Island Cultural Centre, costing $60,000, they weigh about 100 kilograms each. These unique sculptures were unfortunately stolen, only to be miraculously recovered from a ship in 2021, where they were destined for scrap metal. They had been stripped of their gold and adornments. They have been restored and were reinstalled at Berninneet in 2024.Historical2 laminated A4 sheets. One is a coloured photograph of Dr. Anton Hasell with the individual scultured cast tops of the brass bells. The other is a typed explanation of the meaning of the bells.sculpture, harmony bells, dr. anton hasell, berninneet -
Eltham District Historical Society Inc
Document - Folder, Skipper, Matchem
Matcham Skipper was born in New Zealand in 1921 to Lena and Mervyn Skipper. The family returned to Australia. After Mervyn met Justus Jorgensen; they moved to live at Montsalvat. Matcham married Myra Gould; he became a sculptor and jewellery maker. Contents Newspaper photograph: "The artist at work - Matcham Skipper in his studio at Montsalvat", The Australian, 10 August 1966. Matcham Skipper working on a metal artwork. Photocopy of photograph: Matcham Skipper c1970. Magazine article: "Matcham Skipper - knockabout genius", POL vol.4 no.12 (~1972). Biography of Matcham Skipper. Magazine photograph: "Skipper and his home. He helped to lay the bricks", no source or date. Magazine photograph: "Matcham Skipper, of Eltham, works on his sculpture of Leda and the Swan, which will be presented to this year's winner of the David Jones fashion award", no source or date. Newspaper article: "Ageless quality before fashion", Diamond Valley News, 19 December 1883. Matcham Skipper included in exhibition of jewellers at Eltham Gallery. Newspaper photograph: "Mr Matchem Skipper puts the finishing touhes to the steel mandala yesterday", no source or date. Newspaper article: "Metallic influence of Renaissance sculptor", Diamond Valley News, ~1982. Biography of Matcham Skipper. Newspaper article: "A Matcham Skipper monologe", The Age Saturday Extra, 31 August 1985. Matcham Skipper's year in Italy. Newspaper article: "Office regalia", Diamond Valley News, 14 August 1990. Presentation of Eltham Shire mayoral chain made by Matcham Skipper. Newspaper article: "Old flicks on big screen", no source, 2004. Exhibition of Matcham Skipper's photographs "The Arnham Land Portraits" to accompany screening of Tim Burstall films. Newspaper article: "No match for Skipper", Diamond Valley News, 3 November 2010. Matcham Skipper's sculpture of a boy "Young man awakening" for Eltham Cemetery Trust. Newspaper article: "Final salute to Skipper", Diamond Valley Leader, 2 March 2011. Death of Matcham Skipper. Newspaper death and funeral notices: Matcham Skipper, so source or date. Newspaper article: "Remembering Matcham", Diamond Valley Leader, 9 March 2011. Funeral of Matcham Skipper at Montsalvat. Letter Eltham District Historical Society to Sigmund Jorgensen, 13 March 2011, seeking copies of eulogies given by Sigmund Jorgensen and Clio Skipper at funeral of Matcham Skipper. Letter Sigmund Jorgensen to Eltham District Historical Society, 21 March 2011, enclosing edited version of the eulogy with illustrations of work of Matcham Skipper. Newspaper obituary: "Eltham art colony's knockabout genius", The Age 31 March 2011. Obituary of Matcham Skipper. Newspaper clippings, A4 photocopies, etcmatcham skipper, myra skipper nee gould, marcus skipper, adam skipper, damion skipper, montsalvat, lena skipper, mervin skipper, justus jorgensen, karel zoubek, david jones fashion awards, eltham gallery, gerd bahmann, heidi wild, gilliam hillman, sonia skipper, pietrasanta, luigitommasi fonderia d'arte, peter graham, bob mclellan, thelma mclellan, tim burstall, the prize (film), the arnham land portraits exhibitio, eltham cemetery trust, jenardiy zabenko, craig macdonald, "young man awakening" sculpture, sigmund jorgensen, sue thomas, simon skipper, helen skipper, glen tomasetti, sandy kilpatrick, clio (sarah) tomasetti, raphael kilpatrick, alan marshall, alistair knox, clifton pugh, tony raunic, rita wooley, erasmus toscano, maurice toscano, mervyn garnham skipper
