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Gippsland Art Gallery
Sculpture, Woollard, John, Green Turned Red Gum Bowl, c.1991-94 c
Donated by the artist, 2017Forest Red Gumgippsland, artwork, permanent collection -
Gippsland Art Gallery
Sculpture, Woollard, John, Green Turned Red Gum Bowl, c.1991-94 c
Donated by the artist, 2017Forest Red Gumgippsland, artwork, permanent collection -
Gippsland Art Gallery
Sculpture, Woollard, John, Green Turned Red Gum Bowl, c.1991-94 c
Donated by the artist, 2017Forest Red Gumgippsland, artwork, permanent collection -
Gippsland Art Gallery
Sculpture, Woollard, John, Green Turned Red Gum Bowl, c.1991-94 c
Donated by the artist, 2017Forest Red Gumgippsland, artwork, permanent collection -
Gippsland Art Gallery
Sculpture, Woollard, John, Green Turned Red Gum Bowl, c.1991-94 c
Donated by the artist, 2017Forest Red Gumgippsland, artwork, permanent collection -
Gippsland Art Gallery
Sculpture, Woollard, John, Red Gum Bowl, 1983
Purchased with the assistance of the Crafts Board of the Australia Council, 1983Red Gum burlgippsland, artwork, permanent collection -
Gippsland Art Gallery
Sculpture, Woollard, John, Walnut Bowl, 1982
Purchased, 1982Dargo walnutgippsland, artwork, permanent collection -
Gippsland Art Gallery
Sculpture, Zolin, Lesley, Cast, Formed and Etched Mushrooms, 1979
Purchased with the assistance of the Crafts Board of the Australia Council, 1979Metal, Pewtergippsland, artwork, permanent collection -
Gippsland Art Gallery
Sculpture, Kleehammer, Col, Jewel Box, 1986
Purchased, 1986Blackwood and feltgippsland, artwork, permanent collection -
Gippsland Art Gallery
Sculpture, Knorr, Hans, Preconscious Memory, 1975
Purchased, 1978Blackwoodgippsland, artwork, permanent collection -
Gippsland Art Gallery
Sculpture, Knorr, Hans, Seascape, 1978
Donated by the artist, 1978Red gumgippsland, artwork, permanent collection -
Gippsland Art Gallery
Sculpture, Last, Clifford, Custodian I, 1982
Donated from the estate of the artist, 1996Pinegippsland, artwork, permanent collection -
Gippsland Art Gallery
Sculpture, Marcus, Donna, Woodworm, 1997
Purchased with the assistance of the Gippsland Art Gallery Society, 2003Metal, Aluminium, Enamelgippsland, artwork, permanent collection -
Gippsland Art Gallery
Sculpture, Taylor, Neil, Contemplation, 1994
Donated by the artist through the Australian Government Cultural Gifts Program, 1995Metal, Steelgippsland, artwork, permanent collection -
City of Ballarat
Sculpture - Public Artwork, George Grant, Thomas Moore Memorial Statue George Grant, 1889
Irish poet and balladeer Thomas Moore, best-known for penning The Minstrel Boy and The Last Rose of Summer, is honored in this statue prominently located in Sturt Street created by sculptor George Grant from white Carrara marble. George Grant was trained at the School of Art associated with the National Gallery of Victoria, apparently in the 1880s, and then worked as an artist, specialist house painter, and banner artist. Several of his paintings are held by the Ballarat Art Gallery. Moore`s writings range from lyric to satire, from prose romance to history and biography. His popular "Irish Melodies" appeared in ten parts between 1807 and 1835. Moore was a good musician and skillful writer of songs, which he set to Irish tunes, mainly of the 18th century. This statue is of historic and aesthetic significance to the people of Ballarat.Marble statue of Thomas Moore above a large sandstone pillar West: Presented to the City Council of Ballaarat by the following citizens: H.F. Elliot, The Honorable E. Morey M.L.C., Cr C.R. Retallick, Cr J. Heinz. South: R.S. Mitchell, P. Papenhagen, T. Elliot, J. Snow, G.K. Coutts, C. Bailey, J.J. Goller & Co, W.E. Ballhausen, G. Thompson, W.H. Figgis. North: S. Seward, F.G. Haymes, Craig Williamson, R. Giddings, G. Berry, R. Inge, J.A. Pittard, L. Lederman, H. Bremer, D. Jones. thomas moore -
City of Ballarat
Sculpture - Public Artwork, Ruth by Charles F. Summers, 1899
Statue of Ruth is a religious reference to the harvest and to the importance of motherhood. Ruth was sculpted by Charles Summers a central figure in Australian art from the mid 19th Century. Summers was a founder of the Victorian Society of Fine Arts in 1856 and in 1863 he became a member of the commission of inquiry into the promotion of the fine arts in Victoria. He created many portraits and busts and is known for his bronze depiction of Burke and Wills in MelbourneThe sculpture is of historic and aesthetic significance to the people of BallaratMarble sculptural depiction of the biblical figure RuthPresented to the City of Ballaarat by the following citizens./ H F Elliot Mayor/ The Hon E Morey MLC/ Cr C B Retallack/ Cr J Heinz/ Cr C C Shoppee/ J N Wilson/ T Stoddart/ ruth, harvest -
City of Ballarat
Sculpture - Public Artwork, Hebe by Charles F. Summers, 1899
This statue of Hebe standing tall in Sturt Street is a religious reference to the youth. She holds aloft the cup of youth while the flask or jug of knowledge hangs in her fallen arm. Both Hebe and Ruth as iconic figures face each other across their garden beds forming a part of the sculptural vista of Sturt St. Hebe, Greek Goddess of Youth and the biblical figure Ruth, were the gift of wealthy local benefactor John Permewan, who owned carrier firm Permewan & Wright. He commissioned Charles Summers to sculpt both of the women figures. The artwork is of aesthetic and historical significance to the people of Ballarat.Marble sculptural depiction of the Greek goddess Hebe Presented to The City Council of Ballaarat by John Permewan J.P. 1899/ Unveiled 3 April 1889. / This wealthy gentleman of the firm of carriers Permewan & Wright, was also an investor.hebe -
Federation University Art Collection
Sculpture
If you can provide information on this artist or artwork please use the email link below. portrait, horns, cera, ceramics, alumni -
Federation University Art Collection
Sculpture - Terracotta, 'Clay Form' by Ray Pearce
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, terracotta, ceramics -
Kew Historical Society Inc
Sculpture - Plaster Relief of King George V, J.S.D, c.1936
While its provenance is unclear, it is probable that this framed plaster relief was once hung in the Kew Town Hall. While the artist has not yet been identified, it is assumed that the work may be mass-produced from an original copy.Gilded and framed plaster-relief of King George V.Artist initials "J S D" lower rightgeorge v, plaster relief, royal portraits -
Ararat Gallery TAMA
Sculpture, Richard Clements, Shell Form
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Ararat Gallery TAMA
Sculpture, Bronwyn Oliver, Slough, 1992
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Ararat Gallery TAMA
Sculpture, Kathy Temin, Bill Problem, 1994
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Royal Australasian College of Surgeons Museum and Archives
Sculpture - Hygieia, 2004
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. -
Royal Australasian College of Surgeons Museum and Archives
Sculpture - Plaster cast, Private Pritchard
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 -
Darebin Art Collection
Sculpture - Adrian Mauriks, Adrian Mauriks, The Source, 2005
Six white sculptural components: a tall bud-like form, a reclining form that refers to various kinds of animals (possum, dugong), a round form that visitors to the park can sit on to view the artwork and three squarish forms that define the space the art is placed in and that park visitors can also sit on. The work relates to the themes outlined in the artists brief, particularly to the “Present” and “Future” with an emphasis on the natural environment. The colour and the reclining form, which appears embryonic, bring to mind birth and new beginnings and the bud, the flowering of life -
Darebin Art Collection
Sculpture - Alistair Knox, Jacqui Staude, Ian Sinclair, David Davies, Alistair Knox, Jacqui Staude, Ian Sinclair, David Davies, Fairfield Industrial Dog Object (Fido), 2000
Through the use of sensors and digital controls, FIDO talks to passers-by, wags its tail, wiggles its ears and lights up at night. The materials used, the form and the interactive nature of this monumental work were chosen specifically to respond to the friendliness and vitality of Fairfield Village and enhance the sense of community for this dog-loving precinct. -
Darebin Art Collection
Sculpture - Anderson Hunt, Cameron Robbins, Janine Stratton, Remnant Bush Rock Wall, 1998
This work is a large structure of stones, a cairn. It is constructed using volcanic rock from the area and has a number of metal plaques set into the sides of the rock structure. On one plaque the wording reads “Remnant Bush”, another says “Urban Push” and the third plaque reads “Machine Axe & Fire”. -
Darebin Art Collection
Sculpture - Anuradha Patel and Zabelski Han, Anuradha Patel and Zabelski Han, Blue Orchid, 2011
The work consists of a sculpture and seat. The sculpture is a tree form and the seat is based on a leaf shape. History is evoked through the flora and fauna imagery, from Indigenous plants to those of the farms, back-yards and kitchen gardens of the area, and diversity is evoked primarily through figures holding hands. Both pieces are fabricated from powdercoated mild steel. -
Darebin Art Collection
Sculpture - Arhonda Orestia, Arhonda Orestia, Petals, 2003
Two petal-shaped forms made of galvanised steel. The petals represent voyage, destination and arrival to a new place.