Black etched picture of three US servicemen in field. Cream tile on timber blackboard'Greater love hath no man than he lay down his life for his friends. Signed by 'David Zawisa''vietnam veterans of america

Hygieia (Ύγεια, lit., “healing”) probably began as an abstraction, which later became personified. She does not appear to be a deity of extremely ancient origin, and there has been much scholarly debate as to exactly where and when worship of her first developed. Her cult most likely arose in the territory of Sikyon, where she was worshipped along with Asklepios, the legendary god of medicine. In later times Hygieia came to be regarded as the daughter of Asklepios, although her cult was not introduced to Epidauros, his principal sanctuary, until at least the 4th century BC. The earliest large-scale devotion to her is found in the aftermath of the Plague of Athens (420BC). The cult of Hygieia was taken to Rome, along with that of Asklepios (Æsculapius), in 293BC, to avert a pestilence. Here she gradually became integrated with the old Italian god Salus. Towards the end of the pagan era both Hygieia and Asklepios lost their specific associations with medicine, and became general protective deities. A beautiful wooden statue representing Hygieia, the Greek goddess of health.The figure is highly polished, which brings out the intricate grain of the timber. In it, the sculptor has endeavoured to combine the qualities of a classical pose with a contemporary yet timeless surreal sensuality. It will stand on a stone pedestal about 90cm high, and be placed in a prominent location in the Melbourne headquarters. The College’s statue is semi-abstract in style, carved from a single piece of jarrah. The piece of timber from which it is fashioned was salvaged from the remains of a century-old shearing shed on Rifle Downs, at Darkan in the south-west of Western Australia.

The Sidcup Collection came to RACS from the University of Melbourne, Pathology Department and is regarded as one of the most valuable held by the College. It includes the patient records created by the Australian Surgical Unit at the hospital and covers the period 1916 - 1919. There are 50 watercolour illustrations of patients sketched by Sgt. Daryl Lindsay, X-ray prints, photographs, diagrams and some case histories. Private Pritchard was treated by the Australian Surgical Unit during WW1.These casts are unique in Victoria An original plaster cast taken of a patient Private Pritchard, who required reconstructive surgery c1917-1921. The cast would have been used as an aid to surgery and used for future reference.On base,incised into plaster "PRITCHARD" .sidcup collection, university of melbourne, sir daryl lindsay, 1916-1919, plaster cast, plastic surgery, sir benjamin rank

This small bronze statute depicts Neville Howse rescuing a soldier from the battlefield during the Boer War. In 1900 while accompanying a group of infantry at Vredefort, Howse noticed a British trumpeter fall. As the soldier lay injured under heavy fire, the surgeon galloped to his rescue. His horse was horse shot dead from under him but undeterred, he continued on foot until he reached the man. The soldier had been shot through the bladder so Howse dressed his wounds and carried him to safety. For this brave action, Howse was awarded the Victoria Cross, the first medical person to achieve this honour. The son of a doctor who served in the Crimean war, Neville Howse (1863-1930) was born in Somerset, England. He migrated to Australia and set up medical practice in Newcastle and later, in Taree, NSW. Upon deciding to become a surgeon, he returned to the UK to undertake Fellowship of the Royal College before travelling back to NSW in 1899. In the same year Great Britain went to war with the two Boer Republics of South Africa and Howse volunteered for service. ARTIST Donated to the College in 2000 by Queensland Fellow, Neville Davis, the commissioned work is by Brisbane physiotherapist, Peter DornanBronze statue 45cm in height, on a granite base. The statue depicts Neville Howse bent over carrying a wounded soldier

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

Inscribed on back of marble base "E. CADORIN..." Not dated

(verso) c; C Douglass Richardsonsculpture, carving, plaster, bronze, goldfields, panning, gold digging, mining, bendigo, fossicker, fossicking, miner, regional victoria

No marksdecorative arts, incense, sculptural, birds, asian, burner

Nonesculpture, contemporary art, pvc, pipes, tubes, whiskey, bottle, atomic table, plastic, carving, incontinent

sculpture, australian artist, female artist, alien, young family, family, mother, motherhood, babies, baby, feeding, genetic modification

sculpture, australian artist, figure, female figure, hoodie, jeans, sitting, seated

sculpture, contemporary art, australian artist, sound scape

base; stamped: B.Csculpture, ceramic, bowl, vase, australian artist

sculpture, australian artist, figure, plywood, contemporary art

sculpture, australian artist, figure, plywood, contemporary art

sculpture, surreal, australian artist, alien, metal, dynamo, fibreglass

sculpture, woodwork, parsnip, conjurer, australian artist, plywood, creature

first nations artist, sculpture, dog, ku, animal, pet

first nations artist, sculpture, dog, ku, animal, pet

sculpture, first nations, australian artist, playing cards, peace, game, australiana, southern cross

sculpture, australian artist, taxidermy, gothic, death, still born, deer, fawn, garnet, silver, platter

sculpture, totem pole, witch doctor, egyptian artist, australian artist, duct tape, plastic, woven

Land race 1: Apple purchased through the Horsham Art Gallery Trust Fund with the assistance of the Horsham Gallery Trustees, 2014. Land race 2: Briar and Land race 3: Aloe both donated through the Australian Government's Cultural Gifts Program by Barbara Heath, 2014.

Purchased through the Horsham Art Gallery Trust Fund, 2020

Commissioned by Horsham Regional Art Gallery for their Artist in Schools Program, a collaboration with Dónal Molloy-Drum and students from Horsham College. Funded by Creative Victoria through the Full House Audience Development Program, 2019

Clifford Last Bequest, 1996

Acquired with the assistance of Arts Victoria, 1998

Gift of the artist, 2004