One of a collection of photographs from the Iggsten Estate. Post Office lane ran from Main Street to Reid Street, and much of it is now the car park for the IGA Supermarket. The Main Street end between the supermarket and the post office is closed to all but pedestrian traffic, and is now called Gollings Square. It is a rest area with trees, garden, sculptures and benches.Colour photograph taken in Post Office Lane, Rutherglen. The front of the Victoria Hotel is visible at the end of the road.post office lane, post offices, victoria hotel, florence iggsten, gollings square

One of a collection of photographs from the Iggsten Estate. Post Office lane ran from Main Street to Reid Street, and much of it is now the car park for the IGA Supermarket. The Main Street end between the supermarket and the post office is closed to all but pedestrian traffic, and is now called Gollings Square. It is a rest area with trees, garden, sculptures and benches. Colour photograph showing the Victoria Hotel from the vantage point of Post Office Lane.victoria hotel, post office lane, florence iggsten, gollings square

The Widow and Children statue was installed in the Legacy Garden of Appreciation at the Shrine of Remembrance on 29 September 1988. Sculptured by Louis Laumen a Melbourne artist. It symbolises the work that Legacy does with the families of deceased veterans since 1923. The artwork is a sketch of the statue and does not have a artist name on it. Put on display on Level 1 reception when Legacy House was remodelled in 2020.A record that the statue is a symbol of Legacy's work with the families of veterans.Black and white sketch of the widow and children statue in a black and gold frame.statue, widow and children statue

NoneAbstract image. Centre image is a human (shown without skin) climbing a narrow mound/hill form. At the top is a screen supported by three poles. The screen reproduces a photograph of what appears to be a classical narrative bas-relief sculpture. On each side of the hill are Celtic and Norse carvings/gilded artefacts/metalworks mounted on long poles. Abstract could patterns are at the top of the print. No matt. Silver metal frame.Front: 1/10 (lower left) Ikon to a Fossil King (lower centre) Allan Mann (lower right) (pencil) Back: (no inscriptions)

Framed colour poster titled: "new energies/Contemporary Artists of South Gippsland" 18-19 March 2000, Memorial Hall, Leongatha. Black card window mount set in green powder coated metal frame. features a photomontage of art and craft images with text headings which include: "ceramics, photography, sculpture, print, paint, furniture, advice, workshops, technology, galleries, exhibitions, and networking".

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

Edith Louisa Cavell (4 December 1865 – 12 October 1915) was a British nurse and patriot. She is celebrated for saving the lives of soldiers from all sides without distinction and in helping some 200 Allied soldiers escape from German-occupied Belgium during World War I, for which she was arrested. She was subsequently court-martialled, found guilty of treason and sentenced to death. Despite international pressure for mercy, she was shot by a German firing squad. Her execution received worldwide condemnation and extensive press coverage. (http://en.wikipedia.org/wiki/Edith_Cavell)Black and White postcard showing the memorial erected in Brussels to Edith Cavell. A portrait of Edith Cavell in nurses uniform is inset. This card was purchased by an Australian soldier, probably Henry Smerdon Holmes, during World War One. edith cavell, chatham-holmes family collection, nurse, world war one, world war, sculpture

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

Greenwich Palace no longer exists however archaeology had added greatly to our understanding of life at the Tudor Court at Greenwich. Since 1971 there have been well over 20 digs on the site. Many wonderful and intriguing items from gold coins to tiled floors and human skeletons have been found. The first major dig uncovered the structure of the royal apartments next to the river. Not only did it clarify the floor plan but finds included some rare Tudor ceiling decorations, a hoard of gold coins and many personal items such as dice used for gaming. Perhaps the most revealing excavations have been the most recent. In 2005 while monitoring the digging of a drainage trench archaeologists found brickwork and tiles that formed the floor of the east end of the Tudor Chapel Royal where the altar once stood.Colour photograph of a sculptural portrait. greenwich, stone, museum, chapel, portrait, sculpture

Bronze head of a boy mounted upon a square marble base. Nonematcham skipper, sculpture, bronze, head, boy, marble

Kurt WEBB United States of America Acclaimed ceramacist and ceramics instructor Kurt Webb attended Illinois State University. He teaches classes with young adults and high school students.Stoneware ceramic piece made at Churchill Campus in 1988 while Kurt Webb was a visiting artist. kurt webb, ceramics, gippsland campus, jan feder memorial ceramics collection, sculpture, animal

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.Three sculptural torsos. .1) Torso 1 3/7 .2) Torso 2 1/7 ,3) Torso 3 4/7art, artwork, sam lucas, school of business collection, sculpture, available

The sculpture was launched on 9th August 2000 by Cr Diane Bullen and welcomed by Annette Xiberras of the Wurundjeri community. Awarded the 2000 Nillumbik Art in Public Places Award and situated behind Lennister Farm near Yarra Park Part of a slide show presentation "A Trip Down the Diamond Creek" by Russell Yeoman to the Eltham District Historical Society meeting of 14 Nov. 200135mm colour positive transparency Mount - Black and Whitealeks danko, art in public places, eltham south, lennister farm, not just a pretty place, public art

The sculpture was launched on 9th August 2000 by Cr Diane Bullen and welcomed by Annette Xiberras of the Wurundjeri community. Awarded the 2000 Nillumbik Art in Public Places Award and situated behind Lennister Farm near Yarra Park Part of a slide show presentation "A Trip Down the Diamond Creek" by Russell Yeoman to the Eltham District Historical Society meeting of 14 Nov. 200135mm colour positive transparency Mount - Black and Whitealeks danko, art in public places, eltham south, lennister farm, not just a pretty place, public art

Louise Paramor says, “I just love colour and playing around with it, it makes me feel good. I get a kick out of harmonising colour in conjunction with form. I think if there was more finely tuned colour in the world it would be a better place. There exists a lot of untamed colour in the everyday and to me this is often creates a feeling that is the opposite of uplifting.” In this work, Paramor creates a utopian building from collaged pieces of paper, which have been painted in planes of coloured enamel. Often these collages become sculptures, for which Paramor is mainly known. Andy Gomez writes of Boomtown, “Louise Paramor invites us into her own fabricated domain, where colours are coherent and vivid, buildings are unique and non-conformist, where public sculpture exists for the sake of form, colour, line, and levity. There is an inherent optimism at work here, exalting the accomplishments and ingenuity of the urban sprawl and the enforced participation of a shared culture and experience that offers.”

A box containing newspaper cuttings on people with a high profile in the community. Sources include 'The Sun' and 'The Age.' 1954 - 1959.Clippings include photos of sculptures -clay models created by John Frith.One interesting article (scanned ) covers Horace Clement Hugh Roberson who led the 10th Lighthorse in a 'spectacular helter skelter cavalry charge that ripped through the Turkish defences at Sinai - the first cavalry charge ever made by AustraliansPROFILESperson, individual, famous people, lydia chancellor, collection, profiles, people, male, female, person, famous people, individual

Ian SPRAGUE (1920 - 18 April 1994) Born Geelong, Victoria Ian Broun Sprague's initial training was in Architecture, completing a degree at the University of Melbourne in 1950. After a serious car accident in England, Sprague was encouraged to take up a craft to restore the strength in his arms. He studied at the Central School of Arts and Crafts, London for three years, and spent two months at the David Leach Pottery in Devon, before returning to Australia in 1962. In 1964 Ian Sprague established the Craft Centre in Toorak Road, South Yarra, and the Mungeribar Pottery in Upper Beaconsfield, with Robin Welch, Mungeribar being an Aboriginal word meaning 'red clay'. In 1981, he moved to Mooney-Mooney, NSW (Mungeribar was gutted by bushfires shortly after he left), and to Noosa in 1992. The Mungeribar Pottery mark is an impressed 'm', and Sprague's own mark is an impressed 'IS' with the S rendered in Morse code. Ian Sprague's Mungeribar apprentices were Grattan Burley, Victor Greenaway (1969–73), Christopher Sanders (1976-78}, Trevor Hanby (1978–80). In 1981, he moved to Mooney-Mooney, NSW , and Noosa in 1992. Greenaway's mark in his Mungeribar years was an impressed capital G. Grattan Burley (for six months), The Craft Centre in South Yarra was owned and stocked entirely by Ian Sprague, and he travelled all over Australia in search of the best possible textiles, glassware, woodwork and jewellery, not just pottery. The opening exhibition showed the pottery of Robin Welch. Sprague sold the Centre in 1967, but soon started a campaign for a government funded centre, eventually established as the Meat Market Craft Centre in North Melbourne. In 1971 Sprague became president of the recently created Craft Association of Victoria. Dismayed by the quality of teaching in art schools and technical colleges, he ran many workshops around the country on the textural treatment of clay. 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.Contemporary ArtTexture fire clay slab and partly glazed wall panel. Ian Sprague produced his hand modeleed wall panels by cutting them from fireclay blocks, heating and scraping them, and applying bold simplified motifs. A strong solution of salted wated was poured onto the rugged clay surfaceswhich produced a warm toasted surface effect. The panels show a clear understanding of the modulation of two dimensional relief sculpture. Artists stamp on lower RH cornerceramics, ian sprague, gippsland campus, jan feder memorial ceramics collection, mungeribar, meat markery craft centre, craft centre south yarra

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

Jock Clutterbuck is a sculptor and printmaker of national significance, known for his sophisticated abstract forms with underlying esoteric mysticism. Clutterbuck overlapped with Baldessin when he studied sculpture and printmaking at the Royal Melbourne Institute of Technology, RMIT (1965-66). He taught at RMIT from (1969-73) before lecturing in sculpture at the Victorian College of the Arts (1974-2000). He is represented in many national and international public art collections and is a recipient of many National prizes and awards. George Baldessin (1939-1978) was a printmaker and sculptor who built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.‘Frosty Night Cartouche’ is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Following a visit to the Press in 2015, Clutterbuck was reminded of a suite of paintings he had produced some thirty years earlier inspired by plein-air drawings of the night sky. This print attempts to capture something of the enchantment, mystery and drama of a frosty rural property where Clutterbuck spent many years. It is a frost dreaming; a subtle personal homage to Baldessin, embodying the reverence of a fellow artist towards an old friend. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Frosty Night Cartouche' (title); right 'Jock Clutterbuck' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)ekphrasis2018, symbols

Ian Hassall (1899-1971) and his wife Joan, nee Stevens (formerly Narbeth) (1910-2003) were married in England in 1932. They migrated to Australia in 1949. They came to Eltham in 1955. In July 1962 they opened their open-air gallery: Hassall’s Roadside Gallery, the first of its kind in Australia. Ian exhibited paintings, sculptures, pottery and jewellery, including his own work as a painter. ian john dingwall hassall, joan eleanor maud hassall, open-air gallery, roadside gallery

One of a collection of photographs from the Iggsten Estate. Woman in photo may be Florence Iggsten. Post Office lane ran from Main Street to Reid Street, and much of it is now the car park for the IGA Supermarket. The Main Street end between the supermarket and the post office is closed to all but pedestrian traffic, and is now called Gollings Square. It is a rest area with trees, garden, sculptures and benches.Colour photograph taken in Post Office Lane, Rutherglen. Roof of the Post Office is visible on the left, and the front of the Victoria Hotel at the end of the road.post office lane, post offices, victoria hotel, florence iggsten, gollings square

Williams' use of the dog and poem was inspired by a print by the late Barbara Hanrahan (an artist friend) in which a women was holding a cat accompanied by a dog and in which words from a William Blake poem were included / After her mother died Williams made a work of her mother with the dog, holding the cat and using the same words in the Hanrahan print / The dog is a family pet; Dolcie, that Williams fell in love with / The dog as a symbol has been used in fifteenth and sixteenth century painting to represent fidelity in marriage / The use of the dog is also a contradiction to the themes in this work by Williams / Williams found that many of her women friends were having emotional and romantic difficulties, suffering from the same malady again and again, feeling rejected, destroyed and having unfulfilled desires / The female figure standing on her hands is not seeing things realistically / The figure is head over heels, vulnerable, with her skirt around her head revealing more than normal / The text enhances the meaning of the work and draws the viewer into experiencing the foolishness of love, demanding the viewer travel around and around to read it / Overall the dog provides structure to the work and a reliable object on which all else balances / Balance has been one of the recurring or repetitive themes within William's work / It references the physicality of clay, the difficulties in creating balance with the clay and balance in the work / Williams' work is about form rather than colour / Sometimes she uses a coloured clay like a pale terracotta / Williams likes the flatness of the surface in relationship to the marks of the text / She describes herself as a Minimalist, paring down the form to the bare essentials. 'In Love' was a finalist in the 1997 Nillumbik Art Award held at the Eltham Community and Reception Centre, Pitt Street, Eltham. A ceramic sculpture made of white stoneware clay (coated with a wash of gesso) of a girl doing a hand stand on the back of a dog (retriever?) / Her face/head is partially covered by her skirt which has come down / Her skirt is inscribed in the round with the poem "The Lady's First Song" (1938) by W.B. Yeats (see inscriptions and markings) / The dog is looking straight ahead and upwards towards the sky and his tail is pointing straight out. The dog is covered with cross-hatch incised lines to give the illusion of fur and texture / Hand written inscription of W.B. Yeats poem "The Lady's First Song" (1938) on girl's skirt / I turn round / Like a dumb beast in a show. / Neither know what I am / Nor where I go, / My language beaten / Into one name; / I am in love / And that is my shame. / What hurts the soul / My soul adores, / No better than a beast / Upon all fours.williams / yeats / love / ceramic / stoneware / dog

This photograph of Slawa Horowitz-Duldig was taken while she was a private student of Secessionist sculptor Anton Hanak. It was taken in his studio in the Prater, possibly by Karl Duldig. Slawa is standing next to her masterwork in marble, 'Kneeling female figure'. This sculpture and others completed later by her as a student at the Academy of Fine Arts, Vienna, were left when the Duldigs fled in 1938, hidden by a friend and subsequently lost.One of a number of photographs taken when Karl Duldig and Slawa Horowitz- Duldig were sculpture students in Vienna in the 1920s, these are a significant record of the art training system offered in Austria between the wars.

Allison TULLY Allison Tully was a Visual Art Student at Horsham TAFE under lecturers Ewen Ross (painting and prntmaking), Trevor Tagliabue (sculpture, life drawing and art history) and Tina Fitzgerald (textiles). Allison worked at the Horsham Art Gallery as an Education Officer. 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.A tryptich in blue. art, artwork, allison tully, horsham campus art collection