Newspapercourier, nursing career, regional victoria, leanne, shea, bhs chief nursing & midwifery officer, kylie ward, chief australian college of nursing, 2017

Steel Rope Winch with Ratchet wheel. Cable Drum contains ~6m of 10mm dia wire rope.Lettering on Gear Wheel - DAWN MFG CO - 2 TON AUSTRALIA

Eltham Council (now the Shire of Nillumbik) commissioned this work in 1989 to create an entrance / gateway to Edendale Community Farm. It was also aided by a grant from the Ministry of the Arts (now Arts Victoria). The former name of this work was "Gateway to Edendale Farm". Edendale Farm is a demonstration farm modelling sustainable environmental practices, providing support to the local residents of Nillumbik. Established in 1986, the land was purchased in 1970. It was previously an English gentleman's residence and was used for grazing. It consists of 5.6 hectares, with the Diamond Creek meandering through the property. The Victorian Fences Act 1968 governs liability of occupiers of adjoining lands to fence, and deals with disputes between neighbours regarding boundaries fences and costs. This work took into consideration ideas and suggestions from residents and committees, who required the use of recycled materials and that the work celebrate man's relationship with nature, animals and the earth, as well as relate to the fence-line on the far side of the carpark. Trembath also absorbed significant aspects of local history, making references to Eltham's agricultural past, the clearing of the land, the destruction of trees, the ruthless pruning of trees by suburban Councils and incorporated such Australian features as the post and rail fence. 'The Fences Act 1968' is significant for aesthetic, historic and social reasons at a regional level. It makes prominent the historical and social significance of Edendale and the rural aspects of Nillumbik. The use of existing tree stumps and salt pots in the work explores the iconography of the countryside such as the isolated farmhouse, pioneering farming practices, post and rail fencing and the regrowth of lopped trees. The title of the work, as well as the extensive community involvement in its creation, also makes reference to the Victorian Fences Act 1968, which makes neighbours jointly responsible for the cost of construction and maintenance of fences in the partitioning of land for settlement. 'The Fences Act 1968' has been classified as of regional significance by the National Trust of Australia. The work is an installation of wood and metal, approximately twenty five meters long. The design is very informal and rustic and runs the full width of the fence-line. It comprises groups of recycled tree trunks fitted with metal caps (chrome-nickel 'salt pots' that are shaped like tall bowler / top hats). Metal rods protrude from the trunks and some of these rods have metal birds. Two larger, sentinel-like stumps at the two outer ends have metal flame-like wings, which bend inward. To the left of the entrance, a simple architectural element indicates an isolated farmhouse. The rustic fence runs between the groups of tree trunks with native planting in clumps along it. The fence-line incorporates a functional engineered double gate and post and rail fencing. There may be many interpretations of the work and the intention is to stimulate interest and imagination rather than alienate. Interpretation is based on the personal experience that a visitor brings. The artist recommended that no explanation of the design logic be positioned with the work. N/Apublic art, sculpture, edendale, recycled, wood, metal, fences act 1968, gate, trembath, salt pot, tree stumps

Alan Marshall was an author of more than fifteen books, and lived much of his life in Eltham. He became a central figure in the area's arts community of writers, artists, sculptors, film makers, actors and musicians. He is shown stroking a book to his heart, perched on a crutch, which references his disability (contracted polio when he was young), and his status as one of Australia's most successful and loved authors. His most famous book, 'I Can Jump Puddles' is based on his life story and the obstacles he faced as a child in trying to overcome his disability. Marcus Skipper submitted the idea for the work to the first 'Art in Public Places' Awards in 1990. The selectors at the time recommended that the work would be more suitably placed near the Eltham Library. It was commissioned and installed for the new Eltham Library, which was designed by Greg Burgess in 1994. It was partially funded by the then Shire of Eltham's Art Development Fund (Eltham Arts Council) and the rest donated by the artist Marcus Skipper. This work has significance for its reference to two well known names associated with Eltham and its history. The sculpture is a realistic statue of the famous Australian author Alan Marshall who wrote "I Can Jump Puddles". He lived and worked in the Shire. The artist Marcus Skipper represents a highly recognised family of artists associated with Monsalvat. The sculpture 'Alan marshall' has been classified as of regional significance by the National Trust of Australia. A realistic depiction (almost life size) of Alan Marshall cast in bronze with green patination. Dressed in a jumper and slacks, Marshall is shown perched on a crutch, holding a book to his heart, gesturing to his audience to come and listen to his words. alan marshall, bronze, skipper, i can jump puddles, eltham library, novalist, ekphrasis2017, figure, public art

Collection of Latrobe Regional GalleryCURTIS, J.W. Born England 1839 Died Australia 1901Signed l.r., ink "JCW". Not datedlandscape with horse and cart

RealismHENDERSON, John Black Born 1827 London, England Died 1918 AustraliaRecto: Titled l.c. ink"Bad Saddle, Wilsons Promontory" Verso: On mount board u.r., pencil "Wilsons/Prom"landscape.

Acrylic on canvasSigned and dated l.l. pencil "Joseph Brown 1998"hill

Explorer and settler Angus McMillan and Gunai Kurnai manSynthetic polymer paint on canvasOn reverse, on canvas c.l. "70 ARDEN STREET (JUDITH PUGH GALLERY) / MELBOURNE 1987 / MONASH UNIVERSITY / GIPPSLAND 1988 / - / AUSTRALIA GALLERY ('THE UPSIDE DOWN RIVER') / NEW YORK 1991" On stretcher c.r. green felt pen "COVENTRY" Titled on reverse on canvas u.r. cnr., pencil '"MAKURNAI" / A/g M 1987 / (arrow) (210 x 140) cm."' c.r., pencil "87"angus mcmillan, gunai kurnai

C-Type Print

Silkscreen print on paperSigned, dated 2014 and edition 2/5 on reverse, bottom rightsilkscreen, print

Graphite frottage series of 12, drawings on paperNot signed. Not dated. new york, frottage, street, urban, trace

Graphite frottage drawing on paper.Not signed. Not dated.

Graphite frottage drawing on paperNot signed. Not dated.frottage, text, words, urban

Silkscreen print'THE ROYAL NUCLEAR SHOW 2' lower left corner. Not signed. Not dated. politics, poster, australian politics

Digital photograph. Printed in 2018Not Signed. Not dated.signage, direction, poet, text, street, intervention

Digital photograph. Printed 2018Not signed. Not dated.text, signage, freeway, intervention, melbourne freeway, documentative

Digital photographic print. Not signed. Not dated.signage, text, intervention, city

Silkscreen print on paperSigned, dated 2014 and edition 2/5 on reverse, bottom left.screenprint, line, contours, abstract

Silkscreen print on paper.Signed, dated 2014 and edition 2/5 on reverse, bottom rightscreenprint, geometry, abstract, shape, line

Colour pencil drawing on paperNot signed. Not dated.drawing, diagrams, map, grid

Colour pencil drawing on paperNot signed. Not dated.grid, places, travel, buildings, snapshots

Colour pencil drawing on paperNot signed. Not dated.landscape, buildings, view, factory

Linocut print. Printer's Proof'P/P' in bottom left below printed section, 'ULMAI' in centre, signed along bottom right edge of paper.culture, pattern, linocut

Linocut print on paper. Printer's Proof'P/P' in bottom left under printed section, 'DAWN RAID STRATEGY' in centre under printed area, signed on bottom right edge.linocut, line, pattern

Linocut print on paper. Printer's Proof.'P/P' below printed section bottom left, 'Iian Mask II' under printed section centre, signed along bottom right edge of print. linocut, symbolism, pattern, line

Linocut print on paper. Printer's Proof.'P/P' bottom left under printed area, 'HUNTING DHANGAL' centred under print, signed along bottom right edge.linocut, symbolism, pattern, cultural reference, astronomical, hunting