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Darebin Art Collection
Sculpture - Cathy Adams, Cathy Adams, Snake, 2003
"This work is a snake that is constructed with a skeletal framework of thin strip steel and fencing wire. The framework is covered with Hessian which is then covered with three layers of fibreglass blanket and resin. The entire snake is painted with acrylic artist’s paints and acrylic house paint. The snake is approximately six metres long by one metre wide. This work represents “Mindi” the Red-Bellied Black Snake. The Wurundjeri people of the Kulin Nation regard “Mindi” as a spirit of good fortune. (Objective code A1571518)" -
Darebin Art Collection
Sculpture - David Bell and Gary Tippett, David Bell and Gary Tippett, The Nest, 2012
The symbolic egg form at the heart of this design echoes the hope for recovery and new life, and for the rebirth of the land. The piece also references the conservation role of the park and in particular the role this park plays for the many birds that live and nest within. The 4 metre high egg form is made from recycled timbers and is designed to be tactile, organic and peaceful within the environment. (Objective A1455462) -
Darebin Art Collection
Sculpture - Irianna Kanellopolou, Irianna Kanellopolou, The Gathering, 2003
This work consists of three “piles of rock-like forms” set in vertical formations. The work is made from clay and cement. The clay used in these pieces reflects the history of the site by referring to the earth and to the brick manufacturing that took place in the area. The formations of the rocks represent the strength of the community and the building blocks of our multicultural heritage. -
Darebin Art Collection
Sculpture - Irianna Kanellopolou, Irianna Kanellopolou, Unit, 2003
This work consists of three figures (each approximately one metre high) made from cement, and painted three different shades of a Red Iron Oxide colour. The works were made with the intention of celebrating community and the importance of diverse cultures to the identity of Darebin. Uniqueness and individuality are reflected while creating an overall sense of unity and belonging. -
Darebin Art Collection
Sculpture - Michael Snape, Michael Snape, The Connection, 2007
A curving stainless steel sculpture of linked human figures, 4 metres wide, 2 metres deep and 2.5 metres high. The Connection depicts many people coming together in an animated, alive way, the separate components becoming one. It refers to the meaningful links between different groups in the community and the connections which contribute to harmony in Darebin. -
Darebin Art Collection
Sculpture - Simon Normand, Simon Normand, The Eye On High, 2002
This artwork consists of a large work formed like a sign outside the Stuzzi Restaurant. A large, stylised eye, with steel eyelashes, the work is constructed from steel and fibreglass. -
Darebin Art Collection
Sculpture - Simon Normand, Simon Normand, Sailing Down The Steps, 2003
Two large boat forms with mosaic inlays. The mosaic inlays have been crafted by local primary school students. The “Sunken” boat represents the Merri Creek and some of its important elements as if seen through a magnifying glass -
Darebin Art Collection
Sculpture - Wendy Watjera Berick (Constructed by Cathy Adams and Urban Colours), Wendy Watjera Berick, Meeting Place, 2003
Wooden poles made from treated pine with painted designs in acrylic paint. The work also includes 12 Redgum “stepping stones” set into the ground in concrete pads. -
Darebin Art Collection
Sculpture - Lynda Draper, Lynda Draper, Winter, 2019
"AN UNCANNY LIKENESS It’s difficult to escape the flight of the imagination in Lynda Draper’s new work. Set within a dream-like milieu, an anthology of wondrous and majestic objects float and bob in space. Referencing kings and queens, and the flamboyance of the French Baroque, these large filigree works are woven from clay, and while not explicitly figurative, possess familiar facial markers which bring into play the metaphysical qualities attributed to inanimate objects by human memory and experience. Draper spent the European winter near Versailles, where marble sculptures set among the gardens are shrouded in the winter months to prevent frost from taking its toll on precarious limbs. And while the influence from her residency is certainly evident, rather than stimulating work of this nature, it has merely activated and amplified elements of her recent practice. From smaller ‘tiaras’ in 2016, her work has evolved into sizeable ‘crowned portraits’ of clay. Hovering somewhere between the real and the unreal, these works are architectural and figurative, formed and formless, literal and fictional. They bewitch and amuse, revealing multiple characters and personalities only after careful observation. The medium of clay is so exquisitely anomalous in Draper’s work that it becomes, to the viewer, an afterthought rather than a dialogue prompt for works that are traditionally contextualised by their medium. And this is how it should be. Clay has undergone a renaissance in the past decade or so; no longer is it in the domain of craft. With a strong conceptual narrative and by pushing the medium beyond its natural limits, ceramicists like Draper can be counted among Australia’s significant artists who contribution is gaining ground in contemporary art discourse. And yet, it is the use of clay which makes Draper’s work so utterly extraordinary. Ambitious in scale, virtuosic in composition, she has the ability to make the unmakeable. Drawing from a conventional practice of coiling and handbuilding, the maker’s hand is evident on every square inch of her work. The uneven coils are shaped by the impressions of her grip on the responsive nature of the material. But Draper somehow dispenses with the inherent limitations of the soft clay medium, manipulating it in a way which defies physics and logic. Her award-winning installation for the Sidney Myer Australian Ceramic Award in 2019 is testament to an artist whose practice has consolidated. Her ambition, robust conceptual thinking and technical understanding of materials have reached a zenith which has been rewarded her with one of the most prestigious prizes in Australian art" -
Darebin Art Collection
Sculpture - Nathan Beard, Tropical Flesh (ii), 2023
Tropical Flesh (ii) draws upon the slippery experience of identity to explore family connection. There are threads of dislocation and the thickness of tropical time. Silicone casts of tropical jackfruits are fused with a cast of the artists’s aunt’s foot, the cast of which was made upon her permanent return to Thailand. Together, the visibly-aged foot and a fruit that decays quite vividly, evokes a sense of time passing. The work is informed by the experience of witnessing members of family age in slices of time, across vast distances. The artist asks us to consider the work as a memento mori. -
Darebin Art Collection
Sculpture - Hannah Gartside, 'Wall Kisser', 2022
Wall Kisser is a kinetic sculpture that is hand-cranked by the viewer. On turning the handle the wall receives the repetitive, kiss-thud, kiss-thud of the leather and velvet hearts which have been padded out with dried lavender and rosemary from the artist's garden (a version of an 18th Century pot pourri recipe commonly used to ward off disease and disguise bad smells). The sculpture's rotating form is loosely based on the design of a vibrator that the artist saw online: an electromechanical wheel of 10 plastic ‘tongues’. This sculpture was part of a body of work entitled Gorgeous, first presented at the inaugural Ellen José Art Award at Bayside Gallery in 2022. Gorgeous was an exhibition that imagined the physical gallery (walls, floor space), as if an abstract version of a lover’s body. Gartside explains, "I am curious about the potential connections between a viewer and an artwork... What could we ask of viewers beyond their attention, and as artists, what can we offer? What is possible when both artwork and viewer have skin in the game? In this work I am teasing out possibilities for eliciting surprise, delight, humour through art, and offering my gratitude for the 'lover' type relationship that I have with my art practice." -
Darebin Art Collection
Sculpture - Hootan Heydari, 'Your Place is Empty (Gold)', 2024
Your Place is Empty is an expression used in Iran as a way of saying ‘you were missed’. The works in this show are like spaces left behind when someone or something is gone, temporarily or permanently. They are disjointed, fading memories of a long time ago. They have become unreliable fragments, manifesting like floor plans of a childhood home drawn from memory. But the lines are disjointed, no longer connecting enough to make any discernible maps. They are fading trails. -
Bass Coast Shire Council - Robert Smith Collection
Sculpture - Warrior Figure, Anonymous Chinese
ChineseUntitled Warrior Figure -
Bass Coast Shire Council - Robert Smith Collection
Sculpture - Grimacing Face with ornamented headdress, Anonymous Fijiian
FijiianCarved wood -
Bass Coast Shire Council - Robert Smith Collection
Sculpture - The Judge c.1964 - 1965, George Luke
Cement fondue -
Bass Coast Shire Council - Robert Smith Collection
Sculpture - Ozymandias 1960' s ?, George Luke
Fibreglass with bronze finish -
Bass Coast Shire Council - Robert Smith Collection
Sculpture - Don Quixote c.1964, George Luke
Cement fondue -
Bass Coast Shire Council - Robert Smith Collection
Sculpture - Family n.d, George Luke
Cement fondue, resin and oil on composition boardSigned u.l -
Melbourne Tram Museum
Newspaper, The Age, "A W class gets to stand tall", Nov. 2013
Newspaper clippings from The Age, Nov 2013, titled "A W class gets to stand tall" about the positioning of full scale model of W7 1040, at the corner of Spencer and Flinders St. Item details the Art project, sponsored by the City of Melbourne and undertaken by David Bell and his team. Consists of two pieces of newspaper, not known how they went together. See also Reg Item 499trams, tramways, melbourne, sculpture, art works, flinders st, spencer st -
The Mrs Aeneas Gunn Memorial Library
Book, George Routledge, The two paths : being lectures on art and its application to decoration and manufacture, delivered in 1858-9, 19
The following addresses, though spoken at different times, are intentionally connected in subject; their aim being to set one or two main principles of art in simple light before the general student, and to indicate their practical bearing on modern design. The law which it has been my effort chiefly to illustrate is the dependence of all noble design, in any kind, on the sculpture or painting of Organic Form.Ill, p.232.non-fictionThe following addresses, though spoken at different times, are intentionally connected in subject; their aim being to set one or two main principles of art in simple light before the general student, and to indicate their practical bearing on modern design. The law which it has been my effort chiefly to illustrate is the dependence of all noble design, in any kind, on the sculpture or painting of Organic Form. art, design -
Damascus College
Sculpture - Statue of Mother and Child
Artwork created by Leopoldine Memovich -
Damascus College
Sculpture - St Martin de Porres
This bronze statue of St Martin de Porres was commissioned by the Sisters of Mercy for St Martin's in the Pines in 1967. Artist Ernesto Murgo was asked to embody the college motto 'Raise your eyes aloft'. The statue had a fibreglass interior overlaid in bronze.Bronze statue of St Martin de Porrescatholic education, ernesto murgo -
Bendigo Historical Society Inc.
Postcard - POSTCARD. THE FAIRIES TREE AND THE SCULPTURE, MISS OLA COHN, 1932
Postcard Ola Cohn has autographed the photo at the right front of the photo. dated 1932. This tree was a gift to the children of Melbourne. -
Clunes Museum
Sculpture - WOOD CARVING, LESLIE CHAMPION, 1940
WOOD CARVING WALL HANGING, ORNATE OVERALL PATTERN. DONE BY LESLIE CHAMPION 1940LESLIE CHAMPION 1940wood carving, wall hanging, leslie champion -
Wyndham Art Gallery (Wyndham City Council)
Sculpture, Dean Bowen, Cat, 2012
public art, sculpture, australian sculpture -
Wyndham Art Gallery (Wyndham City Council)
Sculpture, Brigit Heller, The Guardians, 2004
public art, female artist -
Wyndham Art Gallery (Wyndham City Council)
Sculpture, Bill Perrin, Conundrum, 2005
public art -
Wyndham Art Gallery (Wyndham City Council)
Sculpture, Karen Casey, CodeX, 2006
public art, australian first nations art -
School of Health and Biomedical Sciences, RMIT University
Sculpture - Acupuncture ear model and vaccaria seeds
Large soft, hollow plastic model of ear with red spots and black Chinese script on purpose made, removable dark brown wood stand. Ear is attached to mount by two small horizontal wood dowels that meet holes in rear face of ear. One (1) pack of vaccaria seeds in small plastic snap lock plastic bag. There are ten (10) sheets of vaccaria seeds with each sheet holding sixty (60) seeds on translucent orange sheets with small, square fabric backing at the rear of each seed compartment. acupuncture, chinese medicine, vaccaria, herbal medicine, rmit chinese medicine collection -
School of Health and Biomedical Sciences, RMIT University
Sculpture - Bust, Confucius
Large bronze bust of Confucius sitting on top of a purpose built black painted wood plinth with red painted wood topper. Bronze plaque at front.Confucious (551Bc - 479BC) [Chinese script] (Kong Zi)confucius, chinese medicine, rmit chinese medicine collection