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Bendigo Historical Society Inc.
Photograph - GOLDEN SQUARE LAUREL STREET P.S. COLLECTION: GSPS 'AUSSIE FOOTY' TEAM 1990
Coloured photograph of the GSPS'Aussie Footy' Team 1990. The names of the boys are:- N. Rice, D. Johnson, B. Thompson, N. Cameron, M. Lea, N. Maber, D. Goodwin, D. Brown, K. Roberts, M. Bourke, G. Lockwood, S. Worrell, A. Hinck and T. Reid.education, primary, golden square laurel st p.s., golden square laurel street p.s. collection - gsps 'aussie footy' team 1990, n rice, d johnson, b thompson, n cameron, m lea, n maber, d goodwin, d brown, k roberts, m bourke, g lockwood, s worrell, a hinck, t reid -
Glenelg Shire Council Cultural Collection
Document - Ticket - Colonial Ball, Portland, 1984
... n/a ...Donate by Barry & Carol PayneOrange cardboard with black print. "Henty's Landing at Portland", darker shade of orange.Front: n/a Back: n/ahentys landing, colonial ball -
Glenelg Shire Council Cultural Collection
Memorabilia - Ticket - Ticket for the Colonial Ball, 1984
... n/a ...Barry & Carol PayneGinger Cardboard. Black Print. "Henty's Landing at Portland", darker shade of ginger.Front: n/a Back: n/a -
Bendigo Historical Society Inc.
Document - SANDHURST SCHOOL OF MINES COLLECTION: LETTER RE THE STUFFING OF A CANARY
SANDHURST SCHOOL OF MINES- letter re the stuffing of a canary from Miss N Quinn ? To the caretaker of Museum dated Elmore June (19)16 / from Mrs N Quinn ?document, sandhurst school of mines / taxidermy -
Melbourne Legacy
Photograph - Photo
A photo of Legatee Eddie Jowett dancing with a widow. Eddie would help entertain the widows at many events and is seen singing or dancing on several occasions including the World War 1 Widows lunches. This occasion is not known but was with a group of photos that had notations that they were published in various editions of the Answer.Legatees held many events for the widows.Colour photo of Legatee Eddie Jowett and a widow.Printed on the back 1850131 N N N 32 on Kodak paper.widows, activities -
Eltham District Historical Society Inc
Folder, L.N. Bill, 1883
Folder of information on L N Bill, Kangaroo Ground 1883l.n bill -
Running Rabbits Military Museum operated by the Upwey Belgrave RSL Sub Branch
Photo
Photo Photo Of Pat Green Maiden Name N/Kphoto, ran -
Wycheproof & District Historical Society Inc.
Photo, Mrs Elaine Storey, Wycheproof School Honour Roll 1914 - 1919, 1919
This plaque recognises the Wycheproof servicemen from State School No1757 who served in the 1914-1919 War. The actual large Honour Roll hangs in the old historic Wycheproof State School building.This Honour Roll contributes to and is part of the nation's collection of War Records; it is unique,believed to be the only one of its kind.PHOTO of large Wycheproof School Honour Roll WW1, on wall at the former Wycheproof S.S. No.1757 building - now the Mount Wycheproof Museum. The plaque of solid wood has cylindrical wooden pillars each side of the 55 gold inscribed names - 12 FALLEN servicemen and marked with a +. Raised wooden carved grapes and leaves adorn the top edge. In the centre, on the scroll are dedication words in Honour of the Brave Men From Wycheproof State School. A small wooden cupboard is attached underneath for War Service Records. This photo is in a display Book registered number 02089 at the Court House. Anderson, E. , Anderson, N. , Boyce W. , Bruce R. , Brotherson, H. , + Brotherson, L. , Barker, D. , Beardon, G., Currie N. , Currie, G. , Cutts, R. , Cutts, A. , Chisholm, A. , Cooper, C. , Duckmanton, S. , Dooley, N. , Dooley, J. , Donnelly, T. , Gibb, J.R. +Gregson A. , Hurcules, W. , Hurcules, C. , Hurcules, N. , + Hayes, L. , Hayes, G. , +Hotham, J. , Hindson, E. , Heap, A. , Holloway, V. , Headley, J. , + Kearney, P. , Matheson, H., Matheson, J. , Miles, H. , McDonald, G., McDonald, W., +W., McElphinney, D. , McElphinney, D. , Pratt, A. , + Orrock, P. , + Orrock, A. , + Robinson, S. , Redgen, J. , + Ryan, J.F. , + Slocombe, R. , Stewart, C. , Stewart, R. , Stavely, W. ,+ Sayers, W. , Secombe, W. , Taylor, R. , Tucker, C. , Thomas, R. , Wilson, S. , Ward, P. + Supreme Sacrifice Anderson, E. , Anderson, N. , Boyce W. , Bruce R. , Brotherson, H. , + Brotherson, L. , Barker, D. , Beardon, G., Currie N. , Currie, G. , Cutts, R. , Cutts, A. , Chisholm, A. , Cooper, C. , Duckmanton, S. , Dooley, N. , Dooley, J. , Donnelly, T. , Gibb, J.R. +Gregson A. , Hurcules, W. , Hurcules, C. , Hurcules, N. , + Hayes, L. , Hayes, G. , +Hotham, J. , Hindson, E. , Heap, A. , Holloway, V. , Headley, J. , + Kearney, P. , Matheson, H., Matheson, J. , Miles, H. , McDonald, G., McDonald, W., +W., McElphinney, D. , McElphinney, D. , Pratt, A. , + Orrock, P. , + Orrock, A. , + Robinson, S. , Redgen, J. , + Ryan, J.F. , + Slocombe, R. , Stewart, C. , Stewart, R. , Stavely, W. ,+ Sayers, W. , Secombe, W. , Taylor, R. , Tucker, C. , Thomas, R. , Wilson, S. , Ward, P. + Supreme Sacrifice wycheproof - school, honour roll, world- war-one, wycheproof- servicemen -
National Vietnam Veterans Museum (NVVM)
Award - Medal set, Australian Defence Medal, 2006
From the Swainston Collection, a set of documents and medals from a National Serviceman. The Australian Defence Medal recognises Australian Defence Force personnel who have completed either an enlistment period or four years service after 3 September 1945.This is an example of the Australian Defence Medal for which all Vietnam veterans were eligible.Cupro-nickel Australian Defence Medal plus miniature of same, attached to red and white striped ribbons with black edges to represent the colours of the Flanders poppy, symbol of the Anzac spirit. Three red stripes signify Army, Air Force, Navy. Striped ribbon bar with pins forms part of set. Covering letter addressed to N E Swainston, dated '27 April 2011'. The information card about symbolism of medal and original hard black case complete the set. Front shows Commonwealth Coat of Arms surrounded by the words 'THE AUSTRALIAN DEFENCE MEDAL'. Reverse bears "FOR SERVICE' plus Crown of St Edward within a wattle wreath.'3801127 N E SWAINSTON' engraved around bottom edge of large medal.medal, defence medal, honours -
Seaworks Maritime Museum
Plaque
Rectangular plaque states, 'In memory of Capt. I. N. Macfarlan (1919-1995). Plaque features a raised border around the edge and two screw two screw holes at back. Text is cast into the plaque with a brown, mottled background surrounding. IN MEMORY OF/ CAPTAIN I. N. MACFARLAN/ (1919-1995)/ FOR HIS SERVICE TO THE/ PORT OF MELBOURNE (1950-1982)/ AND AS/ HARBOUR MASTER (1973-1982)/ Placed by the/Company of Master Mariners and/ The Port of Melbourne Authority. on verso: ROESZU72?/363485/25/7 (marker) PMA1531 (B72) -
Bendigo Historical Society Inc.
Document - MCCOLL, RANKIN AND STANISTREET COLLECTION: NORTH DEBORAH GMC N L - CASH BOOK, 1938 - 1968
Document. Black hard cover book with loose leaf pages and bound with screw posts. Contains payments to various payees for the Central Deborah N L and the North Deborah N L.McColl, Rankin & Stanistreetorganization, business, north deborah gmc n l, mccoll, rankin & stanistreet, north deborah gmc n l, central deborah gmc n l:, gold mining, cash book -
Melbourne Legacy
Photograph - Photo, Widows function, Card games
A group of Legacy Widows playing cards at Legacy House. Names and date unknown. Legacy House hosted many activities for the widows to attend, card games were regular events.Legacy provided the opportunity for many gatherings of widows to enjoy social interaction and companionship.Colour photo of Legacy widows playing cards at Legacy House.Printed on back: 120 0122 N N N 22 (on Kodak Paper)widows, activities -
Carey Baptist Grammar School
Photograph (item) - Carey Baptist Grammar School foundation staff and scholars, 1923, 12 February 1923
Back Row: A. Locke, H. Owen, H. Swanton, R. Phillips, unknown, H. Jenkin, G. Swanton, E. Tuckwell, C. Spicer, G. Spicer, A. Barber, D. Kinloch, E. Pearson. Second Row: L. Bills, D. Pascoe, A. Mathias, M. Wain, R. Wain, F. Biggs, A. Knell, A. Dempster, H. Thompson, B. Graham, R. Bills, B. Bethell, J. Seymour, R. Lethbridge. Third Row: C. Webb, S. Doery, E. Stevens, L. Hicks, S. Stewardson, G. Allpress, K. Patterson, K. Rees, H. Tranter, R. Booth, N. Howie, R. Fraser, W. Holdsworth, G. Chapman, R. Moore. Fourth Row: D. Evans, A. Patterson, S. Cameron, W. Culbert, C. Rees, Mr. J. Bills (B.A.), Mr H. G. Steele (M.A., Dip. Ed. (Headmaster)), Mrs H. V. Corkhill, Mrs L. Hickman, C. Beasley, H. Buxton, A Spicer, R. Woolcock. Front Row: C. Booth, C. Mathias, S. Swanton, D. Buxton, R. Biggs, D. Nash, L. Hughes, N. Cartwright, M. Bills, R. Robertson, A. Mellor, F. Spry, H. Spry, R. Coutts, F. Pascoe.Back Row: A. Locke, H. Owen, H. Swanton, R. Phillips, unknown, H. Jenkin, G. Swanton, E. Tuckwell, C. Spicer, G. Spicer, A. Barber, D. Kinloch, E. Pearson. Second Row: L. Bills, D. Pascoe, A. Mathias, M. Wain, R. Wain, F. Biggs, A. Knell, A. Dempster, H. Thompson, B. Graham, R. Bills, B. Bethell, J. Seymour, R. Lethbridge. Third Row: C. Webb, S. Doery, E. Stevens, L. Hicks, S. Stewardson, G. Allpress, K. Patterson, K. Rees, H. Tranter, R. Booth, N. Howie, R. Fraser, W. Holdsworth, G. Chapman, R. Moore. Fourth Row: D. Evans, A. Patterson, S. Cameron, W. Culbert, C. Rees, Mr. J. Bills (B.A.), Mr H. G. Steele (M.A., Dip. Ed. (Headmaster)), Mrs H. V. Corkhill, Mrs L. Hickman, C. Beasley, H. Buxton, A Spicer, R. Woolcock. Front Row: C. Booth, C. Mathias, S. Swanton, D. Buxton, R. Biggs, D. Nash, L. Hughes, N. Cartwright, M. Bills, R. Robertson, A. Mellor, F. Spry, H. Spry, R. Coutts, F. Pascoe.carey baptist grammar school, 1923 -
Ballarat Tramway Museum
Photograph - Digital image, Keith Kings, 27/10/1962 12:00:00 AM
Yields information the condition in 1962 of an old ESCo Tram body that was sold.Digital image from the Wal Jack Ballarat Album of the interior of ESCo 10, rear of 36 Corbett St, Ballarat in 1962, photo taken by Keith Kings, No. N(y)(18) on Ilford paper. Has the details on the rear of the photograph. For rear of postcard - see image i2. On rear in ink "Ballarat / Interior of original electric tram No. 10 / Rear of 36 Corbett St, Ballarat East. " "Flash, 1/25, 516 + 12ft. 27/10/62" and Keith Kings stamp with No. N(y)(18)trams, tramways, esco, scrapped trams, tram 10 -
Ballarat Tramway Museum
Photograph - Colour Photograph/s - set of 2, Austin Brehaut, 18/11/2002 12:00:00 AM
Set of two colour photographs of BTM hosting the "cops n' kids", charter on 18/11/2002, taken by Austin Brehaut on Kodak Royal Paper. Included with the worksheet file is an article prepared by Dave O'Neil and edited by Simon Green for Jan. 2003 issue of Fares Please! 2264.1 - Group at the ice-cream tram. 2264.2 - Crew with some of the charter participants. A third photograph - Dave O'Neil and participants standing by No. 40 - sent to Trolley Wire Editor 12/1/2003. Shown in image only. With worksheet is a Courier Cutting of 9/6/03 about Sgt John Moloney, organiser for the event and his receipt of the Australian Police Medal. - see related documents.2264.1 - " 'Cops n' Kids' trip 18.11.02 at the 'other' tram." / APB" in blue ink. 2264.2 - " 'Cops n' Kids' charter 18.11.02 with crew Austin Brehaut and Dave O'Neil" / "APB" in blue ink.charters, cops n' kids, tram 40 -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white print, 631/2/5, 1947
Road to Swan Street from College. "N Easter 1947." EMGswan street, e. m. gibson collection -
University of Melbourne, Burnley Campus Archives
Document, Hydrangeas, 1948
"Donated by Mr. N. Scoble, Blessington St. Gardens, St Kilda"flowers, hydrangeas -
National Vietnam Veterans Museum (NVVM)
Book, New Testament Bible
New Testament Bible presented to Tom Robinson s/n 3803662book, bible -
Bendigo Historical Society Inc.
Photograph - PHOTOS - NEW ZEALAND - BENDIGO NZ GOLD FIELDS
DVD. Photos, New Zealand, Bendigo N Z Gold Fields. -
Royal Australian and New Zealand College of Obstetricians & Gynaecologists (RANZCOG)
Sculpture - Porcelain figurine of a doctor holding a newborn baby
This piece was made in Japan and bears an export mark associated with Arnart Imports (N with a stylised crown). Arnart was an importer and distributor, rather than a manufacturer.Porcelain figurine of a male doctor holding a newborn baby. The doctor has brown hair and a moustache and is in surgical attire, with a white gown and white surgical hat. The cuffs of his blue trousers, and his brown shoes, are visible below the gown, and a blue jacket is visible through the gaps in the back of the gown. The doctor is holding the baby upside down by its legs, with his left fand around its calves, and is holding his right hand as if to tap the baby on the bottom. The figurine is standing on a white base decorated with green and black stripes, and is supported by a rectangular block which sits behind the figure. There is a gold coloured, floral decoration at the front of the base. There is a stamp on the underside of the base of the figurine consisting of the letter 'N' below a stylised crown. The number '3446/2' is handwritten on a sticker on the underside of the base. A second, oval shaped sticker is printed with the text 'Made in Japan'. -
Melbourne Legacy
Photograph, Legatee Grattan, 1994
A Legatee Grat Grattan with the President of the Melbourne Legacy Widows Club, Mrs Irene Noll, on the occasion of his 100th birthday celebrations at Legacy House. This photo was used in a newspaper article in 'Vetaffairs' October 1994. The article says Oriel John Grattan was born in WA and enlisted in the First AIF in 1916. He served in France and Belgium before he was wounded near Menin Gate. As a Legatee he was widely respected, he was 'something of a father figure - many of the girls were given away at their weddings by this kindly Legatee'. It continues with an interesting piece on the acquisition of Legacy house. It says: 'Perhaps his most lasting monument is Melbourne Legacy House. Through his friendship with one of the principals of the firm, Brown and Dureau, Legacy was given a donation of 30,000 pounds in 1944. A condition of the donation was that Legacy had only eight days in which to buy a building. A building across the road from the Royal Melbourne Institute of Technology was bought for 18,000 pounds and the balance invested. The building was sold in the early '50s and the proceeds plus the invested money enabled Legacy to buy its headquarters, Dureau House, in Swanston Street in 1955." Vetaffairs is a newspaper for the veteran community published monthly. The entire 8 page issue is kept but only the Grattan article has been scanned here.A record of a Legatee Grattans' achievements, both in the army and in later life and the impact he had on Legacy.Colour photo x 3 of Legatee Grat Grattan for his 100th birthday and article from Vetaffairs.Printed on the back "128 0133 N N N 2 2" on Kodak paper. legatee, birthday, grat grattan, dureau house -
Eltham District Historical Society Inc
Magazine, Did The House Live Up To Expectations?, Home Beautiful, March 1969, pp6-13, 1969
Article on home designed by Alistair Knox for Lindsay Maurice Edward, teacher, at 151 Old Eltham Road, Lower Plenty. The home was originally featured in Home Beautiful magazine in 1953 and was revisited in the March 1969 issueMagazine, 92 pages , 28.5 cm Digital scan of magazine article saved as searchable PDF documentN/Aalistair knox, home beautiful magazine, lindsay edward, lower plenty, old eltham road, susan edward -
Nillumbik Shire Council
Print: (archival inkjet): Jessie IMAM, Jessie Imam, Ground Cover, 2017
Imam is represented in the Nillumbik Shire Art Collection and was the winner of the 2015 Nillumbik Prize for her work "Diagram of sentiment #1" (judged by Linden New Art Director Melinda Martin). She was also a finalist in the Nillumbik Prize 2016, 2015, 2013 and 2010. Imam completed a residency at Laughing Waters in 2011. Imam works within photography, the moving image and installation to create works centred on themes of embodiment and the female perspective. In this work she participates in a dialogue between her body and the Finnish Archipelagos in order to develop a relationship with the islands as both a place and an organic body [of land] where flux and change occurs. Photograph of the artist immersed from the waist down in green moss (landscape).N/Afinnish, archipelago, inkjet, print, photographic, body, island, moss -
Nillumbik Shire Council
Painting: Kevin CHIN, Kevin Chin, Castle Under the Sky, 2018
This painting was sparked by a US studio residency at Yellowstone National Park, shortly after Trump’s election. In America, Chin witnessed conservative nationalism and divisiveness, but also an equal reaction promoting diversity and challenging structural inequality. Developing this work in Australia, Chin examined how a sense of place forms fluidly in the consciousness, to surpass geographic borderlines.Kevin Chin is a local artist. He has been a finalist in the Nillumbik Prize for Contemporary Art (2015, 2019). In this painting Chin explores economic, cultural and social structures that shape the world in which we live, questioning who has built what, who takes ownership, and who has the right to the land. Landscape painting depicting a house (upside down) and a half finished urban structure sitting amongst mountain peaks and land that has been cleared and immersed in fog/smoke.N/Alandscape, kevin, chin, structural, inequality, castle, trump, painting, nillumbik, residency, yellowstone, realism, oils -
Nillumbik Shire Council
Painting: Isobel CLEMENT, Isobel Clement, Two Vases and Two Cups, 2008
Isobel Clement has been practising since the 1980's. She completed her post graduate diploma at Phillip Institute (RMIT) in 1990. She paints, draws and uses installation for creative discourse. She has had more than ten solo exhibitions. Her work is included in collections such as National Gallery of Australia, the Australian Print Workshop Archive, Art Bank Australia and The Bundanon Trust. She has been shortlisted for the contemporary painting prize, the Bayside Art Award, on three occasions in recent years and was the winner of the Nillumbik Prize in 2009.Isobel Clement is a local artist who won the 2008 Nillumbik Prize. Painted in monochrome the artwork depicts two vases (with decorative edges) and two cups on a table in a row. Each of the four objects are slightly different in scale and shape and parallel to the picture plane. N/Astill life, nillumbik prize, painting, monochrome, vases, cups -
Nillumbik Shire Council
Sculpture, Ghost, 2012
The (logging) truck carries a representation of John Glover’s painted landscapes, which Cox has painted on a solid block of wood. John Glover is one of Australia’s most celebrated colonial landscape painters. Born in England, he was a highly successful water-colourist and painter of landscapes in the tradition of French artist Claude Lorrain. Arriving in Australia in 1831, Glover adapted his picturesque style and luminous technique to his new surrounds, creating naturalistic and atmospheric paintings of Australian nature, settler life, and Aboriginal culture. Working out of doors, Glover developed an understanding of the unfamiliar Australian landscape, especially the twisting forms of native eucalyptus trees. His direct experience of nature, as both pioneer settler and painter, resulted in a new approach using a subtle palette of olive greens, ochres, misty greys and intense blues, and layered glazes of mauve, grey and gold, to portray Australian light and atmosphere. Dale Cox continues the ongoing preoccupation and tradition of landscape painting in the Nillumbik area and our impact on the environment in a contemporary way. The truck creates a playful nexus between painting (representational landscape) and sculpture, purposely bluring boundaries across these traditionally distinct disciplines. ‘Ghost’ seeks to convey the idea that when we remove something significant from a location, like the landscape itself, the remaining ‘place’ changes to become a new ‘place’. This may seem self-evident until we think more deeply about location and landscape. The white truck is a ghost, an ethereal, transient being that spirits away an entire place, forever removed from itself, and forever changed. Logging wild trees can never be like harvesting a ‘crop’. Logging removes a landscape, and changes a place forever. The ‘packaging’ of this painted landscape highlights the anomaly between commodity and our environment. Dale Cox was a local artist and this work was highly commended at the 2012 Nillumbik Prize. White plastic toy (logging) truck with a landscape painting on a wooden block. The landscape painting is reminiscent of paintings by colonial artist John Glover. N/Alandscape, truck, sculpture, environment, john glover, colonial, painting, ghost, nillumbik prize -
Nillumbik Shire Council
Public Art: Edward GINGER (b.1951 Kegalle, Sri Lanka - arrived 1975 Aus), Edward Ginger, The Breeze, Location: Main Road, Research - opposite Eltham Little Theatre, 1990
The first sculpture awarded the Shire of Eltham 'Art in Public Places' Award/Commission. The Judges were Inge King, Jenny Zimmer and Daryl Jackson. The work deals with the juxtaposition of suburban and rural surroundings. This scupture is a typical example of the artist's oevre of the period. This sculptre is site specific and refers to the nature of the environment. The colour - bushfire red / sienna - alludes to the history of fire in the urban/rural fringe and the title, as well as the sculpture's shapes, forms and material refer to the natural and local elements. Judges report noted: "The most vital and expressive work for the site...with a great sense of dynamic movement and vibrant colour. Its' abstract forms will enliven the surroundings and the urban and natural environment. This work is the most appropriate for the site and expressive of the dynamics of an evolving community in which artistic discourse and debate has always thrived." The work has acquired the status of a major landmark from the National Trust. The Breeze is an abstract work made out of welded steel and painted in enamel in bush fire red / sienna. It comprises a series of flat, cut-out shapes, interlocking at different angles, giving the impression of being hinged together rather than fixed. The work references nature and the built environment. Its geometric shapes suggest man-made structures within industry and suburban life, while rural areas can be identified by the organic flame-like shapes fanned by the wind. The circular cut-out in the eye mimics the sun, symbolising the intense heat of the Australian climate, while the colour red alludes to the history of bushfire within the urban and rural fringe. N/Apublic art, ginger, red, sienna, elements, steel, abstract, breeze, fire, sculpture -
Nillumbik Shire Council
Public Art: Ernst FRIES (b.1934 Wurzburg, Germany - arrived 1959 Aus), Ernst Fries, Surveyor of Suburban Environs, Location: Alistair Knox Park, Main Road, Eltham, 1991
'Surveyor of Suburban Environs' was one of the acquisitions from the 1991 Eltham Art Awards (now known as the Nillumbik Prize - and formally the Nillumbik Art Awards). This was the first piece acquired from this award which was suitable for a public space. Nillumbik is referred to as the "Green Wedge" and the sculpture "Surveyor of Suburban Environs" suggests a watchful observer of the surrounding landscape. The sculpture's central motif represents an eye held up on a pedestal by a tail. Its form has been likened to the Eye of Horus, an ancient Egyptian symbol of protection, royal power and good health personified in the goddess Wadjet or 'green one'. This likeness would suggest that the observer or surveyor has a divine status and spiritual connection to its environment. Polished stainless steel sculpture comprising an eye reminiscent of ancient egyptian hieroglyphics, which is held up with a tappered and jaggered tail like pedestal. Concrete base. N/Apublic art, fries, spiritual, eye, stainless steel, goddess, surveyor, sculpture, environment -
Nillumbik Shire Council
Sculpture: Tony Trembath (b.1946 Sale, Victoria), Tony Trembath, The Fences Act 1968 - Location: Edendale Farm (entrance) 30 Gastons Road, Eltham, 1989 - 1994
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 -
Nillumbik Shire Council
Public Art: Robert BAINES (b.1949, Melb, Aus), Robert Baines, Transaction (Location: entrance, Nillumbik Shire Council Offices, Civic Drive, Greensborough), 1994
The site specific sculpture is located at the entry to the office of Nillumbik Shire Council. It was commissioned in 1994 by the Shire of Diamond Valley for their 20 year celebration. Baines was chosen from a short list of three artists. He is an internationally renowned artist, particularly in the field of gold and silver smithing. 'Transaction' takes on the visual and aesthetic vocabulary of its surroundings. It is a statement of the geometry and idiosyncrasy of its immediate site. The series of arcs are reinterpreted into longitudinal curves in the sculpture. It is a transaction between the place and the anticipated entry to the building. The title also suggests the flow of civil and administrative procedures that take place daily within the Shire's offices. A large cascading form in stainless steel. Multiple rows of concave dishes set on long steel stems, which progressively increase in size as they rise in height. The work plays elaborately with perspective, and its repeated shapes are arranged in a orderly mathematical series. It faces a wheelchair ramp lined with polished steel rails, and is integrated with the architectural features of its forecourt setting, for which it was designed. The piece is sited in a small garden area and can be viewed from within the building's foyer. In bright sunlight, its dish-shapes cast elliptical shadows across walkways and lawns. N/Apublic art, transaction, ekphrasis2017, stainless steel, disks, poles, council