A colour photograph of a wooden carved statue in Bruno's Art & Sculptures Garden in Marysville in Victoria.A colour photograph of a wooden carved statue in Bruno's Art & Sculptures Garden in Marysville in Victoria. Bruno's Sculptures Garden is one of Marysville's popular attractions. There is a sculpture garden as well as a gallery of artworks. Both the garden and gallery were destroyed during the 2009 Black Saturday bushfires. Some of the sculptures were totally destroyed though a few did survive the fires. Bruno made the decision to re-sculpt the lost sculptures and re-built his gallery and re-open his garden to visitors to Marysville.bruno torfs, gardens-design, marysville, victoria, sculpture, australia, sculpture garden, sculptors, bruno's art and sculptures garden, 2009 black saturday bushfires, photograph

A colour photograph of a sculpture in Bruno's Art & Sculptures Garden in Marysville in Victoria.A colour photograph of a sculpture in Bruno's Art & Sculptures Garden in Marysville in Victoria. Bruno's Sculptures Garden is one of Marysville's popular attractions. There is a sculpture garden as well as a gallery of artworks. Both the garden and gallery were destroyed during the 2009 Black Saturday bushfires. Some of the sculptures were totally destroyed though a few did survive the fires. Bruno made the decision to re-sculpt the lost sculptures and re-built his gallery and re-open his garden to visitors to Marysville.bruno torfs, gardens-design, marysville, victoria, sculpture, australia, sculpture garden, sculptors, bruno's art and sculptures garden, 2009 black saturday bushfires, photograph

Saved from the ship Speke which ran aground on the coast of Phillip Island on the 22nd of February 1906. The figure head of the Speke was in the shape of woman, wearing a flowing white dress with blue cuffs and collar and carrying a large bunch of daffodils. It was originally nine feet four inches long. This sculpture went missing after the event and decades later the head only was re-discovered in Mr Thompson’s garage. It was then restored by Headmaster Kevin and the senior children of Cowes State school in 1940.The Speke was an all steel ship built in Wales in 1891. She was delivering wheat to Geelong and confused a bushfire in Cowes for navigation lights. Many local people salvaged goods from the resulting wreckage.Large wooden figure head, carved to resemble a woman. Painted aspects of hair, face, collar. Mounted on an undecorated wooden shield.phillip island, speke, kitty miller bay, figurehead, cowes state school

Robert Ulmann was born in Zurich, Switzerland, where he studied sculpture and painting, exhibiting annually with the National Art Society of Switzerland and in Paris, Munich and Stockholm. He migrated to Canada in 1956 and became a Canadian citizen. After working on the restoration of sculpture on the west wing of the Parliament Buildings Ottawa, he took up a Government appointment as one of six artist advisers to the Eskimos, initiating handicraft and sculpture programs in isolated settlements across the Central Arctic. He arrived in Australia with his Australian wife, Helen, in 1969, after two adventurous years backpacking and sketching through the United States, Central and South America and the South Pacific. From 1970 to 1972 he was employed by the Northern Territory Administration as a manual arts instructor to the aboriginal people of Docker River, a remote settlement west of Ayers Rock. A series of drawings from this period was exhibited by the Department of the Interior in Canberra, Sydney and Adelaide. Robert Ulmann’s paintings and prints of wildlife from Australia and overseas fill a beautiful studio overlooking the famous Logans Beach whale nursery at Warrnambool in the Western District of Victoria. His previous studio and home, together with 13 years of field sketches and his best work collected together for two books were destroyed by the Ash Wednesday fires at Naringal in 1983. Rob exhibited in Sydney, Melbourne, Adelaide and Perth as well as in the Regional Galleries of Warrnambool, Ballarat, Portland and Horsham, and, among numerous prizes, he won the award for watercolour at six of the annual exhibitions of the Wildlife Art Society of Australasia, between 1978 and 1983. Although his principal interest was in drawing and painting, he retained a fascination with sculpture. His works range from two stone fountains with figures commissioned by the City of Zurich, while he was still a student, to a 4 ½ ton sculpture in bluestone commissioned in 1977 as a memorial to Sir Fletcher Jones., a five metre representation of whale tails in steel, and a life-size bronze of St. John of God commissioned for a private hospital.Image of a goat beginning to rise from a seated position, possible struggling out of mud. Painted in yellow and brown tones, with blue shadows. Earth colours form a rough ground area surrounding the goat. A brown wash provides a cursory background behind the goat's head. Dark cream matt surrounds image. Gold painted wooden frame, with glass.Front: Robert Ulmann (lower centre, paint) Back: (no inscriptions)

Made by Mr. A. Flederis.Large wooden model of two-storey turretted house with verandahs. Model is equipped with lights.Front: Signs reading "DONT TOUCH" (sic) attached.

Part of the collection purchased by the City of Portland from Kurtze's museum. Brendon Kurtze believed it was from the 'Constant', but the wreck was later proven to be the 'Regia' by V.A.S.Wooden painted figurehead believed to be from the barque 'Regia' (built 1835). Painted white female with floral wreath in hair, holding a scroll in both hands, sash over right shoulder, diamond-shaped object on ribbon around neck, beaded necklace, dress with puffed short sleeves, bare arms, hair set in curls and a bun on the back of head. Figurehead is torso only. Inspection suggests that it has been cut from the wreck or from the rest of the figurehead's body.Front: (no inscriptions) Back: (no inscriptions)

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

An Underwood & Underwood stereoscope viewer with aluminium covered hood with etched design & Sun Sculpture Trade Mark U&U. A folding wooden handle & moveable card holder, felt trim around hood with 2 magnifier glass eye pieces.Man'f'd by Underwood & Underwood New York. Patented June 11 1901 Foreign Patents applied for.photography, viewers, stereographic

Photograph - Black and white photo copy of a photograph of Charles Deynes Barber, Melbourne, Australia, from the photo album of Fanny Elizabeth Whibley 1848-1930. Charles Barber, in riding attire,knee high boots. Whip in hand, sitting on a turned wooden chair, resting his left arm on a circular wooden hall table, with a sculpture of a horse on the table top.Charles Deynes Barber, Melbourne, Australia. From the photo album of Fanny Elizabeth Whibley 1848-1939.photograph, person, charles deynes barber

This is a German made figurine, attributed to Jaschke Pretzl. Loosely translated, the label text on the figurine says 'Obstetrician', that the birth was happy, and that the father and child are well. Stamp printed on underside of base says that this is a hand-carved figure.Carved wooden figurine. Depicts a man in a white coat and glasses, with a receding hairline, holding a baby. He is holding the baby's legs in his left hand, and supporting the baby's back and neck with his right hand. The figure is atop a small wooden plinth, one side of which carries handwriting that reads 'Geburtshelfer/Geburt glucklich verlan fen,/Vater und Kind wohlanf!' The underside of the plinth is printed with a stamp that reads 'Handgeschnitzte/ Figur'. There is a third word at the centre of the stamp on the underside of the figurine, but it has faded and is illegible. 'Geburtshelfer/Geburt glucklich verlan fen,/Vater und Kind wohlanf!'/'Handgeschnitzte/ Figur'obstetrics

This is a German made figurine, attributed to Jaschke Pretzl. Loosely translated, the label text on the figurine says 'Neurologist' and 'Out! They're getting on my nerves!'. Stamp printed on underside of base says that this is a hand-carved figure.Carved wooden figurine. Depicts a man in a white coat, red tie, and glasses, standing with his hands at his side. He has a receding hairline, and a mohawk-like hair style. The figure is atop a small wooden base, one side of which carries handwriting that reads 'Nervenarzt/Raus! Sie gehen mir/auf die Nerven!' The underside of the plinth is printed with a stamp that reads 'Handgeschnitzte/Pretxl/Figur'. 'Nervenarzt/Raus! Sie gehen mir/auf die Nerven!'/'Handgeschnitzte/Pretxl/Figur'obstetrics

This is a German made figurine, attributed to Jaschke Pretzl. Loosely translated, the label text on the figurine says 'Gynaecologist' and 'Commit to the women tenderly!'. Stamp printed on underside of base says that this is a hand-carved figure.Carved wooden figurine. Depicts a man in a white coat, with grey trousers, a red vest, blue tie, and white shirt collar, standing with his right hand in his pocket. He is holding a document in front of his chest in his left hand. The figure is atop a small wooden base, one side of which carries handwriting that reads 'Frauenarzt/Kommit den Frauen zart entgegen! ' The underside of the plinth is printed with a stamp that reads 'Figur/Handgeschnitzt/hand-carved'. 'Frauenarzt/Kommit den Frauen zart entgegen!'obstetrics

Wooden statuette of a doctor. The statuette depicts a male figure in a white coat, with a blue tie, pant cuffs and dark coloured shoes visible beneath the coat. The man has a brown beard and a receding hairline. He is holding a large syringe under his right arm, and is wearing a stethoscope which extends from both ears and is being held in his left hand.

The origin of this statue is unknown, but it may possibly be German.Carved wooden figurine of a doctor holding a baby. The doctor is male, and is wearing spectacles and full surgical attire, consisting of a green surgical gown and cap, with a white surgical mask. Brown trouser cuffs and black shoes are visible below the gown. The doctor is holding a baby by its ankles in his left hand, and is holding his right hand as if about to pat hit the baby on the bottom. The baby is facing the doctor, head pointing towards the ground. Sticker on base of figurine bears the handwritten initials 'MW'.obstetrics

This sculpture was a commissioned artwork made by Victora Chancellor (nee Simcock), a Sydney artist.Ceramic sculpture, depicting a reclining mother holder her newborn baby. The mother is lying on her back, with knees drawn up and feel flat on the ground, protectively cradling a newborn baby on her chest. The umbilical cord between baby and mother is still attached. The mothers upper back is resting against a rock, holding her partially upright. Sculpture is mounted on a rectangular wooden base.obstetric delivery

Large Wooden Carving Maori Depicting Australian and New Zealand Soldiers The ANZACSwooden carving, maori wooden carving, the memorial pare

Wooden artefacts from the Sepik River region in Papua New Guinea. Different tribes living along the river produce magnificent wood carvings, clay pottery and other art and craft. Kundu is the Papuan general name used for drum. It is an hour glass shaped drum made of wood with a snake's skin as membrane. A handle is placed on the narrowest part of the drum. Often, the kundu is decorated with animal figures on its edges. - donated by John Nelson TAYLOR QX25010,2900269,3108420 who served in the AIF 19/1/1941 to 7/12/1945 - Regular Army Special Reserve 30/1/1952 to 29/1/1955 and the CMF 1/8/1959 to 2/1/1960. Rank on final discharge - Trooper 8/13 Victorian Mounted Rifles. John was deployed overseas to New Guinea from 17/10/1943 to 23/2/1945 and 5/5/1945 to 26/10/1945 and served in Korea and Japan from 5/3/1953 to 6/4/1954. A member of the Wangaratta RSL he passed away in January, 2021.Wooden artefacts from the Sepik River region in Papua New Guinea. The Sepik area is well known for its sculpture masks shields and other artifacts. Many tribes use drums in rituals. Two decorative wooden face masks, one wooden Drum and one wooden Crocodilepapua new guinea, artefacts, wood, ww2

Ten unique hand painted poles (wooden telegraph poles) reflect the surroundings of Lake Wendouree and tell First Nations' peoples stories. Tom Clark created the Koori Totem Poles prior to the establishment of the North Garden Indigenous Sculpture Park. The work is a set of 10 poles decorated and carved with ‘Koorie’ motifs and references and was commissioned originally for Ballarat’s Begonia Festival. These poles were shifted from the Ballarat Botanical Gardens main area in 2015 to their present site guarding the northern entrance to North Gardens.The artworks are of aesthetic and cultural significance to the people of BallaratTen hand painted wooden telegraph polestotem poles

handmade from lead seals of milk cans and telephone cables on wooden base at camp 3 Tatura and found buried just beyond perimeter wiresculpted kangaroo made from lead seals of milk cans and telephone cables on carved wooden basehandcrafts, sculpture, woodcarving, domestic, items, ornaments, decorative

Gunn’s work explores political and social values through the mediums she uses and the inspiration she draws upon. In 'Fire Sticks', Gunn uses recycled material as an explorational response to throw away culture, while the design draws inspiration from the sticks used in firestick farming and the charred remains of flora after a fire, which highlights the history and place of fire in Australia.Wangaratta Art Gallery Collection. Winner of the 2009 Wangaratta Contemporary Textile Award.This artwork was sculpted out of recycled inner tubes woven together with cotton thread on wooden poles.wangaratta art gallery, mandy gunn, sculpture, textile, wcta

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.

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

The (logging) truck carries a representation of John Glover’s painted landscapes, which Cox has painted on a solid block of wood. John Glover is one of Australia’s most celebrated colonial landscape painters. Born in England, he was a highly successful water-colourist and painter of landscapes in the tradition of French artist Claude Lorrain. Arriving in Australia in 1831, Glover adapted his picturesque style and luminous technique to his new surrounds, creating naturalistic and atmospheric paintings of Australian nature, settler life, and Aboriginal culture. Working out of doors, Glover developed an understanding of the unfamiliar Australian landscape, especially the twisting forms of native eucalyptus trees. His direct experience of nature, as both pioneer settler and painter, resulted in a new approach using a subtle palette of olive greens, ochres, misty greys and intense blues, and layered glazes of mauve, grey and gold, to portray Australian light and atmosphere. Dale Cox continues the ongoing preoccupation and tradition of landscape painting in the Nillumbik area and our impact on the environment in a contemporary way. The truck creates a playful nexus between painting (representational landscape) and sculpture, purposely bluring boundaries across these traditionally distinct disciplines. ‘Ghost’ seeks to convey the idea that when we remove something significant from a location, like the landscape itself, the remaining ‘place’ changes to become a new ‘place’. This may seem self-evident until we think more deeply about location and landscape. The white truck is a ghost, an ethereal, transient being that spirits away an entire place, forever removed from itself, and forever changed. Logging wild trees can never be like harvesting a ‘crop’. Logging removes a landscape, and changes a place forever. The ‘packaging’ of this painted landscape highlights the anomaly between commodity and our environment. Dale Cox was a local artist and this work was highly commended at the 2012 Nillumbik Prize. White plastic toy (logging) truck with a landscape painting on a wooden block. The landscape painting is reminiscent of paintings by colonial artist John Glover. N/Alandscape, truck, sculpture, environment, john glover, colonial, painting, ghost, nillumbik prize

Four similar but larger brackets were on the facade of Pindar's house. this is on display at the Victoria and Albert Museum, London. This smaller example was most likely part of a chimney piece from a grand room on the first floor. The crouching minter has a man's head, the chest of a woman and the legs of a goat or horse.Wooden carved bracket at Sir Paul Pindar's Housepaul pindar's house, bracket, timber, victoria and albert museum, london, sculpture