Handmade cocoon sculpture made from wool. The sculpture appeared in Kathy Holowko's exhibition "Spidergoat and the Insect Electro" on show at the National Wool Museum from 4th May to 29th July 2018. the sculpture is representative of the other pieces that appeared in the exhibition.The cocoon is constructed with armature wire and pure wool from the National Wool Museum. The wool was looped over the armature wire and hand sewn at each intersecting wire ring.kathy holowko, 2018

Oasis is a bronze sculpture depicting a mother and a child waiting. The artwork reinforced that the Centre is a meeting place with the two figures apparently waiting, the mother seated on an ornate seat and the daughter standing behind her. The sculpture was cast at the Perrin Sculpture Foundry, Cheltenham, Victoria.australian sculpture, psyche, philosophy, public art

Local Artist CV Artist StatementSignificant artwork by nationally renowned local artist Petrus Spronk.Large Scale Outdoor Sculpture made up of a bronze chair with an open book, a bronze shadow and 6 story rocksArtist signature - underneathlocal artist, petrus spronk, sculpture, public art, victoria, daylesford, mineral springs reserve, environmental art, hepburn shire public art collection, hepburn shire, hepburn springs, hepburn springs mineral reserve, bronze, granite, tourist attraction, art, clare gervasoni, joan mcewen, marie butler, laurie sullivan, bonnie howell, vera, lutea, merv keating, silent

The artwork sought inspiration by the local history of Wendouree West and is a feature at the Wendouree West Recreation Reserve commissioned as part of a redevelopment of the park in 2017-2018. The artwork is located within close proximity to new playground facilities and promotes positive stories about Wendouree West to locals and the wider community.The artwork is of aesthetic significance to the people of BallaratThree stainless steel sculptures of Kurrajong tree leaves Col Henry 2018spirit of the forest, wendouree west, col henry, australian sculpture

Colour slide in a mount. Magazine image of sculpture, possiblyMade in Australia / Encircled 34 (Handwritten)slide, robin boyd

Black Wooden Sculpture, Mother Duck and Her Chick

A bronze sculpture of hands mounted upon white onyx. Nonematcham skipper, plaque, bronze, onyx, hands

Bronze sculpture of George V in Sturt Street Ballarat.ballarat, heritage, statue, king george v, sturt street, sturt street gardens

Plaque commemorating D.L. Palmer, Musician to the Blind, 1882-1955. David Palmer was a music teacher and Director of Music at the Royal Victorian Institute for the Blind (R.V.I.B.) for over 40 years and conducted the R.V.I.B. choir and orchestra. The orchestra had about twenty musicians, all of whom were vision impaired, and was popular with the public for dances and events. Mr Palmer and the other music teachers would transcribe over a thousand sheets of music every year for the orchestra into Braille. Created by sculptor Andor Mészáros (1900-1972), this plaque was located in the foyer of Ormond Hall. During an interview with Australian Women's Weekly (28/10/1959, p7), the sculpturor - Andor Meszaros - said that he worked with half-closed eyes to create the memorial. It shows a profile, with wavy lines that sweep across the eye and around the ear to represent how one sense will become more importance when another is lost. His son, Michael Meszaros, was involved in the collaboration.1 bronze plaque with raised lines depicting profileAndor Meszaros 1959awards, sculpture, royal victorian institute for the blind, david palmer, andor meszaros, michael meszaros

The sculpture is of welded 3mm oxidised mild steel fabricated into six rectangular blocks of unequal size, joined along the edges by welding and juxtaposition at various angles. The work is classified by The National Trust of Australia (Victoria) and was funded by the Visual Arts Board of the Australia Council for the Arts. The sculpture is an example of a classic formalist work by one of the early practitioners of the style in Australia.The sculpture is of welded 3mm oxidized mild steel fabricated into six rectangular blocks of unequal size, joined along edges by welding and juxtaposition at various angles. It is supported by one angle bracket, and several short lengths of reinforcing steel sunk into the pavement and tack welded to the sculpture. It has an overall length of 3.25 metres, a height of 2 metres and width of 1.45 metres.

sculpture

Anderson Hunt vividly remembers the hard-core, hard-working supporters. "I see The Final Siren as a homage to those hard-working Collingwood fans who stood in the outer and barracked their hearts out. Without the hard-core supporters, the club would be nothing. I hope the sculpture gives Collingwood fans a sense of pride; pride that’s like wearing a tight footy jumper with big numbers on the back. I feel honoured to have had the chance to create this sculpture, knowing that what was there beforehand stood for so much.”Victoria Park, the former home of the Collingwood Football Club, was transformed into a major community recreation space in 2011. Yarra City Council and the Australian Government jointly funded the $7.2 million redevelopment of the Abbotsford ground. As part of the redevelopment, Council commissioned multiple works of public art. The intention of these artworks is to recognise the park’s important history and to provide interesting and educational focal points for park. visitors. This work by Anderson Hunt is in place of the original scoreboard which was demolished on 10 February 2011. Anderson Hunt remembers going to Collingwood games as a boy and wondering how the numbers on the scoreboard appeared and disappeared. He remembers being in awe of the size of the scoreboard. “It was like a huge monolith,” he recalls. He remembers a story of how the scoreboard operator, Bob Hill, would change the scores quick as a flash when the Magpies kicked a goal.Large black and white steel sculpture inspired by the form and imagery of the ground’s former scoreboards and clocks. Stylised wing and colours acknowledge the Collingwood Football Clubsport, collingwood football club, afl, history, victoria park, collingwood

The Wreck of Hope (Long-nosed Common Dolphin skeleton, Delphinus delphis) featured as part of the exhibition Anatomy Lessons, shown at the National Wool Museum in 2024. The exhibition featured meticulously-sculpted, life size skeletons, making visitors question their place in this web of the living and the dead. From a towering giraffe stretching 4.4 metres in height, to an army of over 50 delicately rendered frogs, this exhibition was enthralling in scale. Each sculpture is an accurate portrayal of a real animal and is carefully measured, drawn, and moulded from steel, wire, and foam. The frame is then intricately knitted over to create these thought-provoking pieces. Each sculpture tells a story, one of the collection of animals by museums and collectors, of Western safari hunters, of human encroachment, and of the often-sad role of the animals in our lives. These underlying concepts are explored and reflected by the materials used. Wool, that speaks of warmth, of comfort, of care, meets the size, grace, and sheer breathtaking beauty of the pieces, clashing with the hard and complex stories beneath. This knitted dolphin skeleton was the start of Beevor's interest in comparative anatomy. Beevors recalls viewing a dolphin, one of many skeletons alongside a mouse and a lion in the Australian Museum's collection during a school visit in the 1970s. At the time, school children watched TV reruns of 'Flipper', which portrayed dolphins as intelligent and noble animals. Elsewhere, the conservation movement was growing, and appeals to protect marine mammals were gaining momentum through the 'Save the Whales' campaign. The fascination with live dolphin shows had grown throughout the 1960s and 1970s and the ethics began to be questioned. Some believe they played an important role in raising public awareness of cetaceans and their welfare. Others argued the performances glorified the dominance of heroic trainers over the subordinate dolphin, and offered little education about the dolphins' natural characteristics nor prioritised their welfare. Many of these facilities are now closed and all dolphin species are protected by international accords aimed at conserving wild populations. Despite this dolphins are still at risk of swallowing plastic waste, mercury toxicity, toxoplasmosis, boat impacts and being bycatch in commercial fishing operations. Originally from Australia, Michele Beevors has been practicing in New Zealand for the last 20 years. She is Head of Sculpture at Dunedin School of Art, Otago Polytechnic, New Zealand’s oldest, and one of its most prestigious, art schools. Beevors has exhibited in galleries, museums, and exhibition spaces in across New Zealand, Australia and Vienna with art that is defiant, unconventional, and moving.Life sized knitted skeleton of a dolphin, with white wool and internal steel, foam and wire frame. The dolphin is mounted on a wooden base, made from a desk, with books placed under the desk lid. The books and desk are painted black.knitting, art, dolphin, conservation, sculpture, skeletons, anatomy lessons, michele beevors

Black and white photograph of Matcham Skipper welding a metal sculpture. Nonematcham skipper, photograph, metalwork, montsalvat

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

From the bequest of the late K. Lewinski, a German Ort boy from Berlin, refugee in England 1938 - June 1940. Interned and transported to Australia 1940, interned in camp 2. Released in January 1942 to 8th employment co at Tocumwal.Wooden sculpture featuring a man wearing a peaked cap, pushing a wooden wheel barrow filled with round logs, fixed to a wooden rectangular base. 2 pieces.K. Lewinski 1998 Timber: man - kwila, barrow - blackwood, firewood - teak kurt lewinski, wood sculptures, ort boy, internment camp 2, 8th employment co

A Currawong Takes Flight, Michael Wilson 2015 Commissioned by Harold Mitchell AC, the first of the Eltham Cemetery Trust's Grand Estate sculpturesTomorrow's history documented todayeltham, jim connor collection, art in public places, eltham cemetery, eltham cemetery trust, sculpture, a currawong takes flight, grand estate, harold mitchell ac, michael wilson

This work was painted following Rob McHaffie’s Australia Council Residency at Cité Internationale des Arts in Paris in 2007. Despite Paris being a beautiful city, McHaffie also found the experience challenging and felt that on a bad day, the city was no more than an ornately decorated concrete jungle. In this painting a monkey looks out from a green building onto an imagined scene abound with art historical references. A classical European figurative sculpture is surrounded by flowers from Monet’s gardens, while a contemporary sculpture by Franz West dominates the foreground of the work. McHaffie questions the so-called evolution of cultured humanity in comparison to the imagined contentedness of our pre-evolved species.oil on linenmonkey, sculpture, painting, rob mchaffie, paris, flowers, franz west

Angel featured as part of the exhibition Anatomy Lessons, shown at the National Wool Museum in 2024. The exhibition featured meticulously-sculpted, life size skeletons, making visitors question their place in this web of the living and the dead. From a towering giraffe stretching 4.4 metres in height, to an army of over 50 delicately rendered frogs, this exhibition was enthralling in scale. Each sculpture is an accurate portrayal of a real animal and is carefully measured, drawn, and moulded from steel, wire, and foam. The frame is then intricately knitted over to create these thought-provoking pieces. Each sculpture tells a story, one of the collection of animals by museums and collectors, of Western safari hunters, of human encroachment, and of the often-sad role of the animals in our lives. These underlying concepts are explored and reflected by the materials used. Wool, that speaks of warmth, of comfort, of care, meets the size, grace, and sheer breathtaking beauty of the pieces, clashing with the hard and complex stories beneath. The smallest of Beevors’ knitted pieces was made while reflecting on the global tropical fish trade. At the time, press reports predicted that the imminent release of the film ‘Finding Dory’ would increase demand for pet tropical fish. People enjoy a good fish story, but studies have revealed that widespread reports of the ‘Nemo Effect’ following the debut of the film’s predecessor, ‘Finding Nemo’, were exaggerated. Data collected to assess people’s interest in blue tang, the species of the title character in ‘Finding Dory’, revealed an increase in online searches for “blue tang”, but no evidence of an increase in their trade or visits to public aquariums to observe them. When discussing the action and attitude effects of pop culture depictions of animals, it is necessary to investigate evidence-based material. Pop culture, wildlife documentaries, web videos, blogs, and news stories: there is a great ocean of content to consume, but the mechanisms by which witnessing these representations of animals and nature leads to tangible behaviour change, positive or bad, individual and social, remains poorly understood. In a world inundated with messaging and content, could a simple phrase like “fish are friends, not food” influence attitudes? Originally from Australia, Michele Beevors has been practicing in New Zealand for the last 20 years. She is Head of Sculpture at Dunedin School of Art, Otago Polytechnic, New Zealand’s oldest, and one of its most prestigious, art schools. Beevors has exhibited in galleries, museums, and exhibition spaces in across New Zealand, Australia and Vienna with art that is defiant, unconventional, and moving.Knitted white woollen fish skeleton, with black pupil.knitting, art, conservation, sculpture, skeletons, anatomy lessons, michele beevors, fish, angel fish

Sculpture of the bust of Sir Douglas Mawson located in North Terrace, Adelaidedouglas mawson, antarctica, explorer, exploration

The cormorant weaving was depicted through the traditional weaving method of the blanket stitch of the Yorta Yorta people. As birds are very significant and important in Aboriginal culture, the cormorant was created to represent the meaning of Wangaratta for the local people and wider community. The weaving is an extension of my series of works which represent wildlife along the waterways, particularly in the North East of Victoria and within my tribal homelands. In 2001 I was taught to weave at a weaving workshop held at Gas Works in Port Melbourne by old aunties from Victoria and South Australia which included Yvonne Koolmatrie. A body of my weaving works, which include turtles and spirits, is held at the National Gallery of Victoria. Other collections which hold my fibre weavings are the National Museum of Australia, Albury Museum and Wagga Wagga MuseumWangaratta Art Gallery CollectionA textile sculpture of a cormorant woven from natural and man made fibres.cormorant, treahna hamm, yorta yorta people, traditional weaving, weaving

The Sydney Opera House construction began on 2 March 1959. Danish architect Jørn Utzon who had won the competition arrived in Australia with a bronze plaque that can still be seen on the steps today and was placed at the point where the axes of the two halls intersect. Due to problems with the site and construction Utzon resigned and Australian architect Peter Hall took over. The Opera House was completed on 20 October 1973 and has seen many remarkable operatic and musical performances. Currently in 2017 it is undergoing renovations. Sculptured Ice, New Year's Eve 2003, Sydney Opera House.ice sculpture, sydney opera h

A Currawong Takes Flight, Michael Wilson 2015 Commissioned by Harold Mitchell AC, the first of the Eltham Cemetery Trust's Grand Estate sculpturesTomorrow's history documented todayeltham, jim connor collection, a currawong takes flight, art in public places, eltham cemetery, eltham cemetery trust, harold mitchell ac, main road, michael wilson, grand estate, sculpture

Discusses Australia Square in Sydney; its plan, structure, materials and artworks (tapestries and sculptures by Le Corbusier, Vasarely and Calder).Original manuscript of an article published as 'Australia Square: Circle in the Square' in "Architectural Forum", Vol. 130, No.3, April 1969, pp.26 - 35.Typewritten (c copy), quarto, 4 pagesaustralia square, sydney, harry seidler, plaza, pier luigi nervi, tapestry, sculpture, le corbusier, vasarely, calder, robin boyd, manuscript

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.

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. Leda, by Austrian-German sculptor Josef ThorakAustria Sculpture (Handwritten) / Open-air Scupture Exhibition (Handwritten) / Sculptor: Thoraz; LEDA (Handwritten)haddon travelling scholarship, haddon, robin boyd, slide

Michael Ricker was a renowned American pewter artist. His most famous piece, entitled 'Park City', was a 30 foot by 10 foot miniature town depicting life at the turn of the 19th century. It was completed in 1986 and presented to former President Gerald Ford. Ford graciously accepted the "key" to Park City and promised a home for the masterpiece in the Smithsonian Institute. (foundantique.com)Pewter sculpture featuring an obstetrician and an antenatal patient. A pregnant woman is lying on a low bench, with her left hand resting on her stomach, and her right arm by her side. She is wearing a dress and shoes, and has her eyes closed. To her right stands the figure of on obstetrician, wearing trousers, a short sleeved shirt, stethoscope and gloves. He is standing straight with his arms at his sides. The entire sculpture is silver in colour.obstetrics

Bruno Simon, German,Italian, Jewish refugee interned Australian WW2 8th Employment Co. AMFPhotographed copy of Bruno Simon and one of his sculptures entitled "The Young Girl".photography, sculptures, bruno simon, internment camp sculptors

Wangaratta Art Gallery CollectionA textile sculpture of a red book that has a ribbon of woven pages flowing from it.mandy gunn, textile