Photograph of the City of Ballarat Coat of Arms on a marble memorial in the Ballarat Town Hall dedicated to William Collard Smith.In Memoriam Lt. Col. William Collard Smith M.L.A. Ballaarat West Member of the Municipal Council of Ballaarat From 1856 until 1892 Chairmand 1860-1. Mayor 1874 and 1887 Obiit 20th Ovtober 1894.ballarat town hall, sculpture, coat of arms, william morris, rifles, city of ballarat coat of arms, sword, volunteer rifles

Neville Bunning taught Sculpture and ceramics at the Ballarat Technical Art School, a division of the Ballarat School of mines, from 1945 until 1964. During that time he formed the Ballarat Artist's Society, a group that sponsored art and invited modernist artists to visit Ballarat to speak to students and the public. Bunning wrote a weekly column in 'The Courier', where his insightful comments made readers aware of significant trends in art. 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.A framed unfinished portrait by Neville Bunning, teacher of Ceramics at the Ballarat School of Mines. The portrait of the artists shows a camera around his neck, a ceramic pot in one hand, and some of Neville Bunnings paintings in the background.art, artwork, neville bunning, bunning, available

Neville Bunning taught Sculpture and ceramiCs at the Ballarat Technical Art School, a division of the Ballarat School of mines, from 1945 until 1964. During that time he formed the Ballarat Artist's Society, a group that sponsored art and invited modernist artists to visit Ballarat to speak to students and the public. Bunning wrote a weekly column in 'The Courier', where his insightful comments made readers aware of significant trends in art. 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.Oil painting depicting a horse and rider.art, artwork, neville bunning, horse, bunning, available

Neville Bunning taught Sculpture and ceramics at the Ballarat Technical Art School, a division of the Ballarat School of mines, from 1945 until 1964. During that time he formed the Ballarat Artist's Society, a group that sponsored art and invited modernist artists to visit Ballarat to speak to students and the public. Bunning wrote a weekly column in 'The Courier', where his insightful comments made readers aware of significant trends in art. 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.Portrait of a girl in yellow. artwork, art, neville bunning, girl, child, bunning, available, portrait

Neville Bunning taught Sculpture and ceramiCs at the Ballarat Technical Art School, a division of the Ballarat School of mines, from 1945 until 1964. During that time he formed the Ballarat Artist's Society, a group that sponsored art and invited modernist artists to visit Ballarat to speak to students and the public. Bunning wrote a weekly column in 'The Courier', where his insightful comments made readers aware of significant trends in art. 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.art, artwork, neville bunning, bunning

In February 2001 the National Council for the Centenary of Federation called upon Australians to nominate someone whom they felt had significantly affected their lives, their community or our country. Thousands of these heroes and quiet achievers were selected. Betty Churcher, a member of the National Council, chaired the Peoplescape Selection Panel. Nominators then made life size, cutout figures to represent their "hero". The sculptures were installed in alphabetical order, on the hill at Parliament House and down to the Federation Mall in Canberra, each with a plaque at its base outlining the individual's achievement. This portrait was painted by Betty Barberis to represent her mother "Dolly" Barton. Dolly raised 12 children, lived through 2 World Wars and the depression. She kept the family dairy farm running whilst her husband was serving in World War 2 whilst still supporting the war effort through the Red Cross and CWA and the church guild. Betty’s great body of work included landscapes, banners, millinery, ceramics, and a bronze sculpture of her husband Vern Barberis who was a fellow schoolteacher and represented Australia as a weightlifter, winning a bronze medal at the Helsinki Olympics in 1952. She was also an art teacher of 22 years. Betty passed away at The Grange, Wodonga on 26 November 2013.This portrait was created by a renowned and highly regarded artist from Northeast Victoria for a national celebration of the centenary of Australian Federation in 2001.A large oil painting depicting a portrait of Dolly Barton, mother of the artist Betty L. Barberis. The painting includes representations of her 12 children, her farming way of life, her commitment to the community and to the war effort. The image was painted on to yellow corflute for exhibition. It has since been covered with perspex to protect the image.betty l. barberis, myrtle ann 'dolly" barton, peoplescape 2001

Boy with a Thorn Though the classical bronze that the figure was modeled has become known as Lo Spinario, both Stuart Rattle and Kevin O’Neill referred to it as The Boy with a Thorn. Information from the late Stuart Rattle and John Graham, the late Kevin O’Neill’s partner. The statue was bought by Kevin O’Neill from a South Yarra antique dealer in the 1980s. She had bought it in Europe. Stuart believed that it was cast in Berlin by Moritz Geiss who had pioneered the popular process of zinc casting of classical statues. Schinkel, the architect of early 19th Century Prussian public buildings used the process extensively. I assume that the decorations that can be seen in Berlin currently are copies of those copies, given the comprehensive destruction of the city in 1945. Unless there is a date stamped on the statue, and there might well be, there is no firm indication of its age, although Stuart and Kevin believed it was “turn of the century”. It was given to Stuart by John Graham after the death of Kevin O’Neill. Prior to its installation at Musk Farm, it was “by the dam” at Marnarnie, O’Neill’s property at Mt Macedon. It became a much photographed focal point in the sunken garden at Musk Farm. The statue is a gift from the Rattle family to The Friends of Wombat Hill Botanic Gardens who intend to give it, in turn, to Hepburn Shire to be placed in the Botanic Gardens. Both the family and the Friends see it as a memorial to Stuart’s tireless work to raise funds for the Gardens and to raise the profile of the Gardens so that their considerable significance could be more broadly acknowledged. The CMP notes that statuary has been a feature of most botanic gardens (and a notable feature of the Ballarat Botanical Gardens) and James Lowe, the head of Parks for the Shire has also commented that it is an area that could well be developed in the Gardens. This comes from his attendance at meetings of the BGANZ, the “peak professional body” for the development and maintenance of registered botanic gardens in Aus and NZ. Given the lack of funds that the Shire has been able to allocate to the Gardens, a donation of this calibre is a welcome addition to the cultural asset that the Gardens represent. A very large number of residents of the Shire are members of the Friends, have visited Musk Farm and are appreciative of the Gardens. There is a current feeling that the Gardens are undergoing a dynamic revival as a result of the success of the Café and also because of the extraordinary improvement and enhancement of the amenity that has been undertaken over the past two years by the Friends. The installation of the Boy with the Thorn is another move forward for the Gardens. The statue is cast zinc. It is sometimes referred to a white bronze. As can be seen in the photographs, it is in very good condition with no damage or apparent degeneration of the metal. The Smithsonian Institution has a lengthy document relating to the deterioration and repair of similar casts in the US where urban pollution has taken its toll but for the most part it deals with inappropriate repair rather than maintenance protocols. One of the properties of zinc that is appreciated in Australia is its ability to withstand the elements and given that the artwork has been either on Mt Macedon or at Musk for the last 30 years or more, its relocation to Wombat Hill seems to be an appropriate one. The Friends are prepared to organise and pay for the relocation of the statue. The issue of security from the point of view of theft, malicious damage and environmental impact will need to be addressed. The Ballarat Botanical Gardens have recently reinstalled statuary which has been damaged and which had been removed from the Gardens on account of this. They have used Rockworks Ballarat and Wilson’s Memorials to make plinths, secure artworks with steel pins and to provide especially robust fixings to ensure the safety of the various sculptures. The CMP (2007) makes a number of recommendations regarding security in the Gardens ranging from the installation of lighting to the locking of the gates overnight and the repair/reinstatement of appropriate fencing – not done as yet to my knowledge. Paul Bangay has also agreed to act as a consultant in the process of installing the Boy. John Graham estimates its value at $20,000 The preferred location for the work would be at the entrance to the Fernery from the lawn. The paths form an intersection at that point that could be modified to fit the statue. But this is currently a suggested location only. The statue is a gift from the Rattle family to The Friends of Wombat Hill Botanic Gardens who have gifted it to the Hepburn Shire to be placed in the Botanic Gardens. Both the family and the Friends of the Wombat Hill Botanical Gardens Daylesford see it as a memorial to Stuart’s tireless work to raise funds for the Gardens and to raise the profile of the Gardens so that their considerable significance could be more broadly acknowledged. Lo Spinario (Boy with a thorn) c. 1900 copy after the Greco-Roman Hellenistic antique bronze in Rome. c. 1900 copy after the Greco-Roman Hellenistic antique bronze in Rome (Palazzo dei Conservatori, Musei Capitolini, Rome) Manufacturer M. Geiss, Berlin Nonedaylesford, wombat hill botanical gardens, stuart rattle, kevin o'neill, john graham, boy with a thorn, lo spinario, classical sculpture, zinc, classical nude, hepburn shire, public art, sculpture, art

Vol. 10, No. 3, Jul-Aug 2005 CONTENTS Alan Marshall Short Story Award Winner 2 Ephemeral Sculpture 7 Food and a Question of Time - John Jenkins 10 Rhythm of the Land & Sea - Julie Tippene O'Toole 11 Silver Stars: A Mongolian Story - Lisa Edwards and Jenny Grinlington 12 Darebin La Trobe Art Prize 15 Jill Kahans mixes her media 17 Poetry 18 CD Reviews 19 Jack Henseleit - The Legend of Neil Douglas 20 Artin' About 21 Wining & Dining 26 Listings 28"Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 28 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, art streams magazine, ephemeral sculptures, alan marshall short story award, click here to add keywords, darebin la trobe art prize, ephemeral sculpture, jack henseleit, jenny grinlington, jill kahans, john jenkins, julie tippene o'toole, lisa edwards, neil douglas, rhythm of the land & sea

The sculpture was launched on 9th August 2000 by Cr Diane Bullen and welcomed by Annette Xiberras of the Wurundjeri community. Not Just a Pretty Place acknowledges the cultural significance of this site for the residents of Nillumbik Shire and for the Wurrundjeri community. Historically the confluence of rivers have particular importance as these were sites where rituals and ceremonies took place. The carved bluestone form presents an oversize river pebble that echoes the spirit of the water and draws attention to this location as a meeting place an landmark. Awarded the 2000 Nillumbik Art in Public Places Award and situated behind Lennister Farm near Yarra ParkColour photograph printaleks danko, eltham, lennister farm, yarra park, cr. diane bullen

This advertising card was designed by Slawa Horowitz-Duldig. It was printed by 'Frisch, Wein 1'. Slawa undertook a number of sculpture commissions after graduating from the Akademie der Bildenden Künste Wien (Viennese Academy of Art) where she studied under Professor Hans Bitterlich from 1925-1929. She also undertook design commissions such as this card for the Cosmetic Institute which sold beauty creams. Reminiscent of the work of Austrian painter, designer and ceramic artist Berthold Löffler, in Slawa’s card her stylish typography, colour and design unite to create a unique work.This is an example of Austrian graphic design work between the wars and is of historical and artistic significance. Grey card front with print of single tone line stylised drawing of woman with red lips holding flowers - inside printed inscription in grey and red highlights Back logo - Printer's name (Frisch, Wien, 1) and artist's name ( S Duldig) credited

Neville BUNNING (1902-1990) Born Rockhampton Neville Bunning taught Sculpture and Ceramics at the Ballarat Technical Art School between 1945 and 1964. During that time he started the Ballarat Artists's Society, a group tat sponsored art and invited modernist artists to visit Ballarat to speak to students and the public. Bunning wrote a weekly rt column in 'The Courier' where his insightful comments made readers aware of significant trends in Art. 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.Framed painting of a bird in flight.art, artwork, neville bunning, watercolour, ballarat artists society, ballarat school of mines, available, rooster, bird, animal

Jordan Marani is a local artist who makes tongue-in-cheek observations of the human condition. Text-based works have been a major part of his practice (which also includes installation, sculpture, and figurative painting) since he first started creating four-letter word paintings in the late 1980s. He has been exploring wordplay, profanity and the joys of four-letter words ever since – Rent being one of the politer works from this series of text-based paintings. Highlighting the rental crisis in Melbourne, Rent is an objection to gentrification and its impact on artists.

The Eltham Cemetery Trust, established in 1858, selected the existing burial site at Mount Pleasant Road on high ground overlooking the village of Eltham. The first recorded burial took place in 1861 in the Church of England section. Headstones depict the names of many early and well known local families. On Saturday 5th March 2016 Harry Gilham again lead members and visitors on a heritage excursion through parts of the cemetery, while providing background information on selected individuals buried there. Harry’s cemetery walks have always been popular, and members and visitors were encouraged to come along and experience the tranquil surroundings of this picturesque cemetery. We were also able to view the recently installed sculpture titled ‘A Currawong Takes Flight’ by Michael Wilson located at the highest point of the fence-lined border between Montsalvat and the cemetery. It is close to the last bronze sculpture by Matcham Skipper, titled ‘Young Man Awakening’, commissioned by the Eltham Cemetery Trust to celebrate the 150th Anniversary of the cemetery in 2008. As an addition, we also met the artists and stonemason and given a brief background into the Trust’s newest art project installation titled “Our Eltham – Artistic Recollections” which will feature ceramic panels containing artwork with a local history theme. The work is the joint creation of artist Nerina Lascelles and ceramicist Linda Detoma, supported with stonework by Leigh Wykes and steelwork by Neil Carter, all skilled local Nillumbik artisans.fay bridge collection, 2016-03-05, eltham cemetery, geoff watt, jim connor, leigh wykes, linda detoma, nerina lascelles, young man awakening, harry gilham

This ornate cross sits at the right hand side of View of Trajan's column, Cast Courts, Room 46a, The West Court, Victoria and Albert Museum, London. Cast Courts: "When the Architectural Courts – or Cast Courts as they are now known – opened in 1873, The Builder magazine compared the experience of seeing them to a first glimpse of Mont Blanc, creating one of those 'impressions that can scarcely be effaced'. Since then, these two enormous rooms and the reproductions they contain have continued to impress and inspire visitors to the Museum. For centuries, antiquarian interest in world architecture and sculpture led to reproductions – or copies – being made of outstanding national monuments and notable sculptures. When the Museum was founded, it collected and displayed reproductions of great art and architecture from across the world in order to offer objects for study and tell a complete story of the history of art and design. Casts are made by placing several plaster moulds upon the surface of the original structure. Once hardened and removed, the moulds are then enclosed in an outer casing, the interior coated with a separating agent and the wet plaster poured in. When set, the pieces are then assembled and the joints and surfaces finished off, to make a complete reproduction of the original work. The finished product – as well as being a formidable technical achievement in its own right – enables admirers to study faithful reproductions of important monuments and works of art." Ref: https://www.vam.ac.uk/articles/history-of-the-cast-courtslondon, victoria and albert museum, cast courts

Young Man Awakening, Matcham Skipper 2008 Commissioned by the Eltham Cemetery Trust in 2008 in recognition of the cemetery's 150th anniversary.Tomorrow's history documented todayeltham, jim connor collection, eltham cemetery, 150th anniversary, art in public places, eltham cemetery trust, matcham skipper, young man awakening, sculpture

Young Man Awakening, Matcham Skipper 2008 Commissioned by the Eltham Cemetery Trust in 2008 in recognition of the cemetery's 150th anniversary.Tomorrow's history documented todayeltham, jim connor collection, eltham cemetery, 150th anniversary, art in public places, eltham cemetery trust, matcham skipper, young man awakening, sculpture

Young Man Awakening, Matcham Skipper 2008 Commissioned by the Eltham Cemetery Trust in 2008 in recognition of the cemetery's 150th anniversary.Tomorrow's history documented todayeltham, jim connor collection, eltham cemetery, 150th anniversary, art in public places, eltham cemetery trust, matcham skipper, young man awakening, sculpture

Young Man Awakening, Matcham Skipper 2008 Commissioned by the Eltham Cemetery Trust in 2008 in recognition of the cemetery's 150th anniversary.Tomorrow's history documented todayeltham, jim connor collection, 150th anniversary, art in public places, eltham cemetery, eltham cemetery trust, matcham skipper, young man awakening, sculpture

Young Man Awakening, Matcham Skipper 2008 Commissioned by the Eltham Cemetery Trust in 2008 in recognition of the cemetery's 150th anniversary.Tomorrow's history documented todayeltham, jim connor collection, 150th anniversary, art in public places, eltham cemetery, eltham cemetery trust, matcham skipper, young man awakening, sculpture

Young Man Awakening, Matcham Skipper 2008 Commissioned by the Eltham Cemetery Trust in 2008 in recognition of the cemetery's 150th anniversary.Tomorrow's history documented todayeltham, jim connor collection, 150th anniversary, art in public places, eltham cemetery, eltham cemetery trust, matcham skipper, young man awakening, sculpture

Colonne Vendôme is located in the centre of the Place Vendome square and was erected by Napoleon as the Colonne d'Austerlitz. The column in 44 metres tall and is modeleld after Rome's Trajan Column. It was built to commemorate the victory at Austerlitz in 1805, one of Napoleon's greatest. The column's continuous ribbon of bas-relief bronze plates by the sculptor Pierre-Nolasque Bergeret were made from 1200 cannons taken from the combined armies of Russia and Austria during that battle. The reliefs depict scenes during the Napoleonic Wars between 1805 and 1807. The Column was later was given the names of Colonne de la Victoire (Victory Column) and Colonne de la Grande Armée (Column of the Great Army). Today it is commonly known as the Colonne Vendôme. A statue of Napoleon was installed at the top of the column in 1810. Later, the statue of the emperor was removed and the bronze melted down to provide the bronze for the recast of the equestrian statue of Henri IV on the Pont Neuf. A new statue was installed in 1833 which was later replaced by the statue that is seen today. It was erected by Napoleon III and depicts Napoleon I as a Roman emperor.Black and white postcard of a sculptural column in Paris. chatham-holmes family collection, sculpture, napoleon, paris, vendome, world war, world war 1, world war one, column

non-fictionAn introduction to minimalist painting and sculpture from the USA in the 1960's and 1970's.minimalism, painting, sculpture, carl andre, dan flavin, donald judd, sol le witt, robert morris, eva hess

Boyd discusses the things that influence architects to devise form, particularly the relationship between the engineer and architect. He gives a history of the Opera House and Jørn Utzon's creative process in relation to debates around functionalism and the justification for sculptural forms.Typewritten (c copy), pencil edits. 2nd copy 34 q 4-6 missing, quarto, 34 pages. (Two copies)functionalism, le corbusier, ronchamp chapel, sculpture, guggenheim gallery, jørn utzon, sydney opera house, robin boyd, manuscript

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

Sculture in bronze of Alan Marshall by Marcus Skipper, 1995 Alan Marshall, AM., O.B.E., Hon.LL,D. (1902-1984) was born at Noorat, Victoria and became one of Australia's most famous authors. His association with the Eltham area began in 1920 when he started his first job as a junior clerk at the Eltham Shire Offices, Kangaroo Ground. In the 1940's he spent some time living at Research. From 1955 he lived in Eltham for nearly 20 years. Disabilities resulting from polio as a young child did not prevent a wide range of experiences. Alan's occupations have been listed as clerk, night watchman, fortune teller, freelance journalist and author. He has been patron of many disadvantaged Children's Societies. Alan's books are numerous and include novels, short stories, children's books, history and travel. Among the best known are his autobiographies "I Can Jump Puddles" and "This is the Grass". Others include "These are My People", "Ourselves Writ Strange", "People of the Dreamtime"; "The Gay Provider" and "Wild Red Horses". In 1971 he wrote the Centenary History of the Shire of Eltham, "Pioneers and Painters". Covered under National Trust of Australia (Victoria), State significance. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p159 Outside the Eltham Library a bronze figure of a short one-legged man with a crutch invites people to the world of literature. The bronze statue, by Marcus Skipper, is of author Alan Marshall, who is famed for his autobiography I Can Jump Puddles, about growing up and overcoming the effects of polio. That plucky little boy later lived in the Nillumbik district for more than 50 years, and on his death in 1984, was buried in the Nillumbik Cemetery at Diamond Creek. Although a hugely successful author, his grave is modest with only a tiny boulder and simple bronze plaque on a grassed plot. From 1955 to 1972 Marshall lived in a tiny fibro-cement bungalow at the rear of a house at Park West Road, Eltham, owned by his older sister, Elsie McConnell. It was there that he wrote most of his autobiographical trilogy and his history of the former Eltham Shire, Pioneers and Painters. His long association with Eltham Shire began in 1918 when his family moved to Diamond Creek. Then in 1920 he began work as a junior clerk at the Eltham Shire Offices on Main Road, Kangaroo Ground near the Yarra Glen Road, while boarding at the hotel next door. Marshall later bought a block of land in Research, which had three bark huts. In one of these he wrote his first book These Are My People. He later sold the land but lived in a caravan there and in 1955 wrote I Can Jump Puddles.1 Proud of its citizen, the Eltham Shire named a park after Marshall at the corner of Main Road and Leanne Drive, Eltham. In 1985 the Shire initiated the Alan Marshall Short Story Award. It was Marshall’s early life in the country that taught him to live courageously in spite of his crippling polio, and he inspired many. This informed his writing – full of courage, championing the battler and love of the bush. Alan Marshall was born in 1902 at Noorat in Western Victoria, as the only son of Billy a drover, horse breaker, hawker and then general store owner. At the age of six, Marshall contracted infantile paralysis and was later hospitalised in Colac for 18 months. With his father’s encouragement, Marshall learnt to swim, wrestle and box, ride a bicycle (downhill), ride a horse and drive a car. Marshall won a scholarship to Stott’s Correspondence College to study accountancy. To help him continue his studies and find employment, his family bought 12 acres (4.8ha), in Ryans Road, Diamond Creek, opposite Windmill Court. There they ran cows, some poultry and an orchard. But life with a disability and during the Depression was hard for Marshall, who for 20 years, endured long periods of unemployment and loneliness and was often exploited at work.2 However, life improved in the 1930s, when he published short stories and articles in newspapers and magazines, including a column of advice to the lovelorn, which he wrote for nearly 20 years. At age 42 Marshall published his first book and in the next 30 years he published more than 20. His most successful book was I Can Jump Puddles, which sold more than three million copies internationally. It was made into a film, released in 1971, by Czechoslovakian director Karel Kachyna. Marshall was one of the first Australians to write about Aborigines who called him Gurrawilla - teller of tales - when he lived with them in Arnhem Land for eight months.3 In 1941 Marshall married Olive Dixon, with whom he had two daughters, Catherine and Jennifer. Marshall and Olive divorced in 1957. In 1972 Marshall was awarded an OBE for his work with the handicapped. He was also awarded an Honorary Doctor of Laws by Melbourne University, an Order of Australia for services to literature and the Soviet Order of Friendship of Peoples.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, alan marshall, art in public places, eltham, eltham library, marcus skipper, panther place, public art, sculpture

10570 South African (Boer) War Memorial Bendigo. The monument commemorates those who died in service or were killed in action while serving in the South African (Boer) War. It is a bronze statue of a soldier on a granite base. Leader (Melbourne), 19 November 1904. “There was a large assemblage on the afternoon of 11th November, when the ceremony of unveiling the soldiers' memorial statue was performed by Brigadier-General Gordon in the presence of a muster of branches of the defence forces. The statue, which is in bronze, is mounted on a massive granite base, on the foot of which is the following inscription: — "Bendigo's tribute to the memory of the Australian soldiers who, in the South African war of 1899 - 1902 gave their lives for Queen and Empire. The statue was modelled by Mr. J. Walker, a young Bendigonian, who has been studying for two or three years under Mr. A. T. Woodward art instructor at the local school of mines.“ Ola Cohn recalled in her autobiography meeting John Walker as a sculpture student at the Bendigo School of Mines and that he had later received the commission for the Boer War Memorial although she neglects to mention its location. John Walker was born in Bendigo and first studied sculpture at the Bendigo School of Art. Walker, then went to England to study at the Royal College of Art London, and in Paris at the Académie Colarossi and Julian Academy. John Walker worked as a sculptor in both Bendigo and West Brunswick before turning to chicken farming in the Bendigo suburb of White Hills. The photo of A. T. Pattinson was taken by George Leake Massingham, a professional photographer, who had seven children, one of whom died at birth. After arriving in Australia from England, he established himself as a travelling photographer, an occupation he continued after his marriage. He travelled throughout country Queensland, Victoria and New South Wales, setting up studios along the way. The family ended up moving with him, travelling to Sydney, Narrandera, Bendigo, Newtown, Geelong and Deniliquin. Correspondence re Boer War Memorial Bendigo Boer War Memorial Bendigo. Letters and photo from and to Mrs Wilson, eldest daughter of Mr Arthur T. Pattinson who was a model for the Boer War sculpture. 10570a A black and white photo of Trooper Arthur T. Pattinson restored by BHS Volunteers. 10570b The original photo as sent by Mrs Wilson to Harold Curnow (Bendigo Historical Society) in 1962. The photo is mounted on heavy brown cardboard and has an old catalogue number of "P680" inscribed on it. The cardboard is torn and held together with sticky tape. On the front in italics is printed G.L. Massingham, Bendigo. 10570c Notes on the rear of the photo from Mrs Wilson state that "the photo is of Arthur T. Pattinson (Rusty), an Australian Light Horse trooper who served in the Boer War. The Boer War Memorial in Pall Mall Bendigo represents a trooper on guard. The sculptor was Jack Walker who used Pattinson as a model, and it is regarded as an excellent likeness." 10570d A letter from Harold Curnow back to Mrs Wilson on Jan 4th, 1963, acknowledging receipt of the photo and a letter received, noting the significance of the historical information. 10570e Handwritten letter 29/11/1962 from Mrs Wilson to Mr Curnow introducing herself as Mr. Pattinson's eldest daughter and answering the letter he wrote to her father. She mentions the bad health of her parents. Arthur modelled for the statue at least two to three times per week in a studio on the top floor of a building in Bull St. He was the original model to the best of her knowledge. Another model possibly Mr P. Handmear may have sat as a model for renovations (*). The rifle was a light horse rifle issued to Pattinson as he was still serving in 1904. Arthur and Handmear were boys together and very close. * Note - the plaster model was repaired prior to casting in metal. 10570f An obituary notice: 18/11/64 "On Nov. 17 at Frankston, Emma, wife of the late A. T. Pattinson (Rusty), late of Bendigo. 10570g Letter Nov. 20th, 1962, from Harold Curnow to Mr Arthur T. Pattinson, Kent St., Mornington, Vic. "Dear Mr Pattinson, Last week your brother, Brit., whom I have known for many years, supplied the Bendigo Advertiser with some interesting information regarding your role as the model for the late Jack Walker when he was making the statue for the Boer War Memorial here. Yesterday however, another claimant to the distinction of being the model was advanced in the Bendigo Advertiser by Mr Richard Marshall, of Moran Street, Bendigo who said that the soldier's model was Phillip Handmear. I understand that your brother has sent the newspaper cuttings on to you. When he called to see me yesterday, he suggested that I write to you for further particulars. Can you recall the discussion you had with Jack Walker when he approached you about acting as the model and do you remember how many times you posed for him, and whether the work was done in the house, in the yard, or in one of the outbuildings at Moran Street? In short, any details at all. At this point in time we are considering an interesting facet in Bendigo's history, so any seemingly unimportant incidents could really be useful if we knew about them. Have you any old newspaper cuttings mentioning your name in connection with the memorial? Do you remember any remarks that passed between you and Jack Walker during the long sessions you must have put in on this work? This could be very important. And do you recall where the rifle came from? Did you or Jack Walker borrow it from the military authorities? Back in 1934 Jack Walker recalled having had to pull the plaster model down and remake it when he discovered it was slightly off-balance and was slowly toppling forward. He told me he had to get his model to pose again. Do you know anything about this? Could it have been that he got Mr. Handmear in for the final stage of the work? That, of course, would apply only if you were not available. Incidentally, I never heard of Mr Handmear until I saw his name in yesterday's "Advertiser". In any case I intended contacting your brother or you to enquire whether any member of your family has an old photograph of you in your Boer War uniform, that is, one taken about the time of or just after the Boer War. I am sure that members of the Bendigo Branch of the Royal Historical Society would be most interested to see it. I hope you will have the time and inclination to consider the many points I have raised in this letter because the subject has aroused a lot of interest in Bendigo. Hoping you are well and quite as active as you wish, I remain, with all good wishes, Yours sincerely, Harold Curnow". john walker, jack walker, boer war memorial bendigo, arthur pattinson, soldiers' memorial bendigo

Vol. 4, No. 3, May-Jun 1999 CONTENTS HEIDELBERG SCHOOL REVISITED Artist's Trail extended 5 FROM JACKEROO TO ARTIST Geoffrey Dance interviewed 8 VCE TOPCATS 10 'ARTIN ABOUT 13 FERGUSON'S PADDOCK, HOME TO CHALLENGING NEW SCULPTURE 15 LA MAMA & THE COMEDY FESTIVAL 17 THE POETRY OF HISTORY The Hanging of Jean Lee 18 MUSEUM OF MODERN ART exhibitions and future plans 34 SHORT STORY High Voltage 22 DINING OUT WITH SIGMUND JORGENSEN 24 CD REVIEWS 26 BOOK REVIEWS 30 CAFE & RESTAURANT LISTINGS 32,33 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, arthur boyd, know & grow, heidelberg artists' trail, carlucci's, geoffrey dance, vce art, kasimir burgess, clare james, andrew kelly, jason harris, nichaud fitzgibbon, noella clohesy, willy wonka's ice cream gourmet food, natalie troubnicova, ellen mileo, fergusons paddock, cathy smith, la piazza restaurant bar & cafe, la mama theatre, comedy festival, anne delaney, jordie albiston, dymocks booksellers, dynamic vegies, alison lonsdale, montsalvat, sigmund jorgensen, jacques reymond's restaurant, yarra valley country club, leslie avril, caitlin ogden, geoff achison, neil adam, judy turner, wild hill dog, louis mcmanus, adams of north riding, lovegroves of cottles bridge, artspeak studio gallery, peter sculthorpe, elizabeth scarlett, carmel bird, michelle lonsdale, museum of modern art at heide, st andrews hotel, volumes

Watkins created his sculpture for an exhibition in Melbourne 1866: "I dressed the pillar about 2 foot 6 inches high and 16 inches square and proceeded to carve in each panel representation characteristic of Victoria 1st Panel a Kangaroo in a small scrub thicket, 2nd an Emu amongst a clump of little flowering correa; 3rd the Wimmera Down and on the 4th side my name and the date AD 1866 On the top of the pillar was an urn of globular form to represent the seed pod of the Eucalypti with spreading leaves underneath" Extract taken from 'Victoria's Wonderland' a Grampians history Monument now in private handsHeatherlie Quarry; Obelisk : Photo shows stone monument created by Francis Watkins using materials from quarry Photo shows two sided view of monument with large stone on topquarrying, mt difficult quarry

Three articles under the title 'Bennelong Designs" (1) Drawing a dream by Mungo MacCallum (2) Dream into sculpture", (3) Consultant's role by Ove Arup. Robin Boyd’s desk cupboard contained two exercise books (item D482.1-D482.2) and assorted articles, essays and other material regarding the building of the Sydney Opera House, inserted inside the front cover of Walkabout magazine, July 1966 (item P1377). This publication is one of those inserts. Many of these were collected by Boyd’s eldest daughter, Mandie, who recalls that her father was writing a book, but was very disillusioned with the way the entire Opera House saga unfolded.Newspaper booklet of 24 pages, Nation No 192. pp. 12-15sydney opera house, utzon, sydney opera house project, walsh st library

RMIT University's first ceremonial mace was commissioned by Professor David Beanland, Vice-Chancellor, Royal Melbourne Institute of Technology in 1992, and designed by Ian Wong, a lecturer in Industrial Design. It was the result of a collaborative effort, with staff from industrial design, gold & silversmithing, sculpture, engineering, applied physics, and optical technology working on its production. Materials used include carbon fibre, optical fibres, computer chips, honeycomb aluminium, gold, titanium and crystal. This design drawing shows how the University's distinctive pixel log (that conveys a sense of being at the forefront of technology) was incorporated into the design of the top element of the mace. Michelle Novacco, 2017Sketches of designs for RMIT ceremonial maceSigned bottom right corner, 'IAN WONG / iw / 1992 'ceremonial mace, industrial design