Diploma Lecture Series 2011 Art and Australia Ll: European Preludes and Parallels the Body As Nation: Australian Sculpture of the 1920S and ’30S

Total Page:16

File Type:pdf, Size:1020Kb

Diploma Lecture Series 2011 Art and Australia Ll: European Preludes and Parallels the Body As Nation: Australian Sculpture of the 1920S and ’30S Diploma Lecture Series 2011 Art and Australia ll: European Preludes and Parallels The body as nation: Australian sculpture of the 1920s and ’30s Denise Mimmocchi 16 / 17 March 2011 Lecture summary: The lecture examines transformations in sculpture in Australia during the interwar period through a study of the work of Rayner Hoff and his school, and some of the key figures of emerging modernist sculpture practices in the 1930s including Ola Cohn, Margel Hinder and Gerald Lewers. The lecture will look at how these artists, while using different sculptural languages, were connected in their practices through their figuring of the body via Vitalist principles; that is, through the belief and philosophies that espoused the idea of underlying life forces which were inherent to, and driving all natural life forms. The lecture will examine how Hoff’s Vitalist aesthetics contributed to the imagery of the body as a national ideal in the interwar decades and the years of post-war reconstruction. It will then study how modernist sculptors of the 1930s looked towards European models of contemporary sculpture which shifted meanings away from the external appearances of the body toward an abstracted rendering of its internal or spiritual forces. Slide list: *1. Rayner Hoff, Idyll: love and life , 1923/1926, marble, Art Gallery of New South Wales *2. Margel Hinder, Mother and child, 1939, wood (ironbark), Art Gallery of New South Wales 3. Rayner Hoff, relief panels, City Life Assurance building, 1936, bronze, Martin Place, Sydney 4. Bruce Dellit (architect), Rayner Hoff (sculptor) Anzac Memorial , and Rayner Hoff sculpture Sacrifice bronze 1931-34, Hyde Park, Sydney 5. Rayner Hoff, Holden lion , plaster maquette, 1926-27, Powerhouse Museum, Sydney 6. Rayner Hoff, Decorative portrait – Len Lye, marble, 1925, Art Gallery of New South Wales 7. Rayner Hoff, Deluge – stampede of the lower gods, 1927, patinated plaster, National Gallery of Australia 8. Rayner Hoff, Norman Lindsay, 1924, bronze, Art Gallery of New South Wales 9. Rayner Hoff, Faun and nymph, 1924, bronze, Art Gallery of New South Wales *10. Rayner Hoff, The kiss, 1923, bronze, Art Gallery of South Australia 11. Barbara Tribe, Lovers ,I 1936-37, bronze (cast 1981), Art Gallery of New South Wales 12. Marjorie Fletcher, Fear ,1936, bronze, Art Gallery of New South Wales 13. Barbara Tribe, Medusa, 1930-31, bronze, golden patina (cast 1991) Art Gallery of New South Wales 14. Barbara Tribe, Spirit of the sea , 1933-35, bronze, private collection 15. Rayner Hoff, Salome, 1924, bronze, New England Regional Art Museum, Armidale 16. Rayner Hoff, Australian Venus, c1927, Angaston marble, Art Gallery of New South Wales 17. Barbara Tribe, Fountain of life, 1930-33, plaster, current whereabouts unknown 18. Jean Broome –Norton, Abundance, 1934 (reworked 1987), bronze, Art Gallery of New South Wales 19. Charles Meere, Australian beach pattern, 1938-1940, oil on canvas, Art Gallery of New South Wales 20. Ola Cohn, Head with hands , c.1930, stone, current whereabouts unknown 21. Henry Moore, Reclining figure, 1929, Horton Stone, Leeds Museum and Galleries *22. Ola Cohn, Head of a virgin, 1926, bronze, National Gallery of Victoria 23. Ola Cohn, Earth, c1932, stone, current whereabouts unknown 24. Ola Cohn, Mother and child , 1928, bronze, Bendigo Art Gallery 25. Eleanore Lange, Seraph of light (maquette for a proposed memorial to Walter Duffield),1934, plaster, National Gallery of Australia 26. Margel Hinder, Seated figure, 1935, plaster with graphite finish, Ballarat Art Gallery 27. Margel Hinder, Jerry, 1945, wood, Art Gallery of New South Wales *28. Gerald Lewers, Plough, 1934, limestone, Art Gallery of South Australia 29. Robert Klippel, Harry Boyd, 1946, Hawkesbury Sandstone, National Gallery of Australia 30. Robert Klippel, No. 30,0 1972-74, brazed and welded steel, found objects Bibliography: Deborah Edwards ‘This Vital flesh’: the sculpture of Rayner Hoff and his school Art Gallery of New South Wales, 1999 Renée Free Frank and Margel Hinder 1930-1980 Art Gallery of New South Wales, 1980 Barbara Lemon (producer) The word in stone: sculptor Ola Cohn ABC ‘Hindsight’ program 28 September 2008, http://www.abc.net.au/ rn/hindsight/stories/2008 Graeme Sturgeon The development of Australian sculpture 1788 – 1975 Thames and Hudson, London 1978: chapters 7 ‘Seeds of doubt 1923-37’ and 8 ‘Individuals, groups and great events 1939-61’ Rayner Hoff , Idyll: love and life , 1923/1926, marble, Art Gallery of New South Wales Margel Hinder, Mother and child , 1939, wood (ironbark), Art Gallery of New South Wales Rayner Hoff, The kiss , 1923, bronze, Art Gallery of South Australia Ola Cohn, Head of a virgin , 1926, bronze, National Gallery of Victoria Gerald Lewers, Plough , 1934, limestone, Art Gallery of South Australia .
Recommended publications
  • Miguel Ángel García Navarrete Y Antonio R. Navarrete Orcera, La Mitología Clásica En Los Museos De
    LA MITOLOGÍA CLÁSICA EN LOS MUSEOS DE AUSTRALIA MIGUEL ÁNGEL GARCÍA NAVARRETE & ANTONIO R. NAVARRETE ORCERA IES San Juan de la Cruz (Úbeda, Jaén) [email protected] Resumen Este trabajo es fruto de un viaje a Australia en busca de mitología y naturaleza virgen. Se visitan tres importantes museos: Art Gallery of New South Wales (Sydney), Nati onal Gallery of Victoria (Melbourne) y Art Gallery of South Australia (Adelaida), que sorprenden tanto por la cantidad como por la belleza de las obras mitológicas contenidas en ellos. Palabras clave Australia, Sydney, Melbourne, Adelaida, museos de arte, mitología, pintura. Abstract This work is the result of a trip to Australia, trying to find mythology and nature. Three major museums have been visited: Art Gallery of New South Wales (Sydney), National Gallery of Victoria (Melbourne) and Art Gallery of South Australia (Adelaida). All of them are impressive not only because of the number, but also the beauty of their mythological works of art. Key words Australia, Sydney, Melbourn, Adelaida, Art Gallery, mythology, painting. Thamyris, n. s. 6 (2015) 441-469 ISSN: 2254-1799 M. A. GARCÍA NAVARRETE & A. R. NAVARRETE ORCERA 442 A las bellezas naturales que de por sí ofrece el continente australiano, se añade otra no menos atractiva, la de albergar mitología, en sus museos y en sus calles. Así lo pudimos comprobar mi sobrino Miguel Ángel —coautor de este trabajo— y yo mismo en un reciente viaje a tres de las principales ciudades de Australia: Sydney, Melbourne y Adelaida. Nos sorprendió encontrar en ellas tantas —y tan bellas— obras de mitología, que nos dio la impresión de estar en casa, a pesar de los miles de kilómetros que nos separaban.
    [Show full text]
  • ANZAC Memorial Visit
    ANZAC Memorial Hyde Park June 2013 On Thursday 27th June the Scouts from 1st Ermington had the opportunity to visit the ANAZ Memorial at Hyde Park in the city. We caught the train from Eastwood station for the journey into Sydney - alighting from the train at Town Hall station. Fortunately the weather was kind and we had a nice walk up to the memo- rial through Hyde park. Although it was early evening and dark the memo- rial looked terrific. The curator for the evening introduced himself to the troop and there was much interest in his background as he was both a Vietnam veteran and a former scout. The evening started with a short video and the scouts were surprised at the footage of the opening because at the time the memorial was the tallest building in the city and the opening was attending by 100,000 people. We were given a tour of the different parts of the memorial (inside and out). Learning about the different parts of the memorial was extremely in- teresting. The Scouts were invited to release a Commemorative star representing an Australian service man or woman killed while serving their country or since deceased - a very humbling experience Another highlight of the evening was the Scouts being able to see a banner signed by Baden Powell. We departed the memorial at 8:20 for our return trip, arriving back into Eastwood at 9:10pm. A big thank you to the Scouts and Leaders that were able to participate in this activity. The ANZAC War Memorial, completed in 1934, is the main commemorative military monument of Sydney, Australia.
    [Show full text]
  • The Paragon, Katoomba
    The Paragon, Katoomba McLaughlin Lecture, Wentworth Falls, 1 March 2014 Ian Jack Fig.1 The Upper Mountains are well supplied with icons both of the natural environment and of the European built environment. The built environment from the later nineteenth century onwards relates overwhelmingly to the tourist industry: the railway which brought city-dwellers up here for holidays, the hotels and guest-houses, the cafés and restaurants and the homes of those who serviced the visitors. I want to talk about one particular café, its local setting and its wider ethnic context, its aesthetics and its archaeology. The Paragon in Katoomba was presciently named by Zacharias Simos in 1916. There are quite a lot of Greek cafés in New South Wales, forming an important heritage genre. But I can think of no other surviving Greek café in the state which has comparable stylishness, integrity and wealth of aesthetic and industrial heritage. The Paragon dates from quite near the beginning of a new phenomenon in Australian country towns, the Greek café. Fig.2 This is the Potiris family café in Queanbeyan 1914. Although the Greek diaspora, especially to America and Australia, had begun early in the nineteenth century, it had gained momentum only from the 1870s: over the following century over 3 million Greeks, both men and women, emigrated. The primary reason for many leaving their homeland in the late nineteenth century was economic, exacerbated by a sharp decline in the price of staple exports such as figs and currants and the wholesale replacement in some places of olive-groves by 1 vineyards.
    [Show full text]
  • Guy & Joe Lynch in Australasia
    On Tasman Shores: Guy & Joe Lynch in Australasia MARTIN EDMOND University of Western Sydney The Tasman Sea, precisely defined by oceanographers, remains inchoate as a cultural area. It has, as it were, drifted in and out of consciousness over the two and a half centuries of permanent European presence here; and remains an almost unknown quantity to prehistory. Its peak contact period was probably the sixty odd years between the discovery of gold in Victoria and the outbreak of the Great War; when the coasts of New Zealand and Australia were twin shores of a land that shared an economy, a politics, a literature and a popular culture: much of which is reflected in the pages of The Bulletin from the 1880s until 1914. There was, too, a kind of hangover of the pre-war era and of the ANZAC experience into the 1920s; but after that the notional country sank again beneath the waves. Recovery of fragments from that lost cultural zone is a project with more than historical interest: each retrieval is a prospective act, contributing to the restoration of a world view which, while often occluded, has never really gone away. There is of course much which is irrecoverable now; but that is in itself a provocation; for a mosaic made out of dislocated pieces might disclose something unprecedented, neither existent in the past nor otherwise imaginable in the present: the lineaments of the new world, at once authentic and delusive, that so entranced the earliest explorers of the Antipodes. What follows, then, is an assembly of bits of one of those sets of fragments: the story of the Lynch brothers, Guy and Joe, a sculptor and an artist; and the milieu in which they lived.
    [Show full text]
  • Art Gallery of New South Wales 2017: Our Year in Review
    Art Wales South Gallery New of ART GALLERY OF NEW SOUTH WALES 201 7 2017 ART GALLERY OF NEW SOUTH WALES 2017 2 Art Gallery of New South Wales 2017 Art Gallery of New South Wales 2017 3 Our year in review 4 Art Gallery of New South Wales 2017 6 OUR VISION 7 FROM THE PRESIDENT David Gonski 8 FROM THE DIRECTOR Michael Brand 10 2017 AT A GLANCE 12 SYDNEY MODERN PROJECT 16 ART 42 IDEAS 50 AUDIENCE 62 PARTNERS 78 PEOPLE 86 BOARD OF TRUSTEES 88 EXECUTIVE 89 CONTACTS 90 2018 PREVIEW The Gadigal people of the Eora nation are the traditional custodians of the land on which the Art Gallery of New South Wales stands. We respectfully acknowledge their Elders past, present and future. Our vision From its base in Sydney, the Art Gallery of New South Wales is dedicated to serving the widest possible audience as a centre of excellence for the collection, preservation, documentation, interpretation and display of Australian and international art, and a forum for scholarship, art education and the exchange of ideas. page 4: A view from the Grand Courts to the entrance court showing Bertram Mackennal’s Diana wounded 1907–08 and Emily Floyd’s Kesh alphabet 2017. 6 Art Gallery of New South Wales 2017 DAVID GONSKI AC PRESIDENT ART GALLERY OF NEW SOUTH WALES TRUST and the Hon Adam Marshall MP, Glenfiddich, Herbert Smith Freehills, Minister for Tourism and Major Events. JCDecaux, J.P. Morgan, Macquarie Group, Macquarie University, The funding collaboration between McWilliam’s Wines & Champagne government and philanthropists for Taittinger, Paspaley Pearls, Sofitel our expansion will be the largest in FROM Sydney Wentworth, the Sydney the history of Australian arts.
    [Show full text]
  • Art Gallery of New South Wales Annual Report 2001
    ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2001 1 TABLE OF CONTENTS ART GALLERY OF NEW SOUTH WALES HIGHLIGHTS PRESIDENT’S REPORT 2 NEW ATTENDANCE RECORD SET FOR THE POPULAR ARCHIBALD, WYNNE AND SULMAN PRIZES, WHICH HAD MORE THAN 98,000 VISITORS. DIRECTOR’S REPORT 4 1 YEAR IN REVIEW 8 TWO NEW MAJOR AGNSW PUBLICATIONS, AUSTRALIAN ART IN THE ART GALLERY OF NEW SOUTH WALES AND PAPUNYA TULA: GENESIS AIMS/OBJECTIVES/PERFORMANCE INDICATORS 26 2 AND GENIUS. CORPORATE GOVERNANCE 32 DEDICATION OF THE MARGARET OLLEY TWENTIETH CENTURY EUROPEAN LIFE GOVERNORS 34 3 GALLERIES IN RECOGNITION OF HER CONTINUING AND SUBSTANTIAL SENIOR MANAGEMENT PROFILE 34 ROLE AS A GALLERY BENEFACTOR. ORGANISATION CHART 36 COLLECTION ACQUISITIONS AMOUNTED TO $7.8 MILLION WITH 946 FINANCIAL STATEMENTS 41 4 PURCHASED AND GIFTED WORKS ACCESSIONED INTO THE PERMANENT COLLECTION.TOTAL ACQUISITIONS HAVE GROWN BY MORE THAN $83.4 APPENDICES 62 MILLION IN THE PAST 10 YEARS. INDEX 92 MORE THAN 1.04 MILLION VISITORS TO OVER 40 TEMPORARY, TOURING GENERAL INFORMATION 93 5 AND PERMANENT COLLECTION EXHIBITIONS STAGED IN SYDNEY, REGIONAL NSW AND INTERSTATE. COMMENCED A THREE-YEAR, $2.3 MILLION, NSW GOVERNMENT 6 FUNDED PROGRAMME TO DIGITISE IMAGES OF ALL WORKS IN THE GALLERY’S PERMANENT COLLECTION. Bob Carr MP Premier, Minister for the Arts, and Minister for Citizenship DEVELOPED GALLERY WEBSITE TO ALLOW ONLINE USERS ACCESS TO Level 40 7 DATABASE INFORMATION ON THE GALLERY’S COLLECTION, INCLUDING Governor Macquarie Tower AVAILABLE IMAGES AND SPECIALIST RESEARCH LIBRARY CATALOGUE. 1 Farrer Place SYDNEY NSW 2000 CREATED A MAJOR NEW FAMILY PROGRAMME, FUNDAYS AT THE 8 GALLERY, IN PARTNERSHIP WITH A FIVE-YEAR SPONSORSHIP FROM THE Dear Premier, SUNDAY TELEGRAPH.
    [Show full text]
  • Anzac Memorial Considered for State Heritage Listing
    3 March, 2010 ANZAC MEMORIAL CONSIDERED FOR STATE HERITAGE LISTING The ANZAC Memorial in Sydney’s Hyde Park is to be considered for listing on the State Heritage Register. Minister for Planning, Tony Kelly, said since its completion in 1934, the iconic building had been an important place of commemoration, especially on ANZAC Day. “As well as being a monument to the sacrifices of Australian servicemen and women, the ANZAC Memorial building has long been considered one of Australia’s greatest works of public art,” the Minister said. “The result of a creative collaboration between architect Bruce Dellit and sculptor Rayner Hoff, the ANZAC Memorial is arguably the finest expression of Art Deco monumentality in Australia. “It’s also closely linked to the landing of Australian troops at Gallipoli on 25 April 1915, with fundraising for the memorial established on the first anniversary of the landing.” The building is associated with returned servicemen and women and their various organisations, including the RSL, which lobbied for the erection of the monument and occupied offices within it. Mr Kelly said the memorial represents NSW’s contribution to the group of national war memorials developed by each State capital during the inter-war period. “As a result, its heritage importance has a number of different dimensions including historical, aesthetic and social significance, and should it be considered for the State’s highest form of heritage protection,” the Minister said. The proposed listing, which follows the Government’s recent listing of three other iconic Sydney buildings – the Sydney Town Hall, the Queen Victoria Building and Luna Park – will be exhibited for public comment until Monday, March 22.
    [Show full text]
  • Annual Report 2008–09 Annu Al Repor T 20 08–0 9
    ANNUAL REPORT 2008–09 ANNUAL REPORT 2008–09 REPORT ANNUAL ANNUAL REPORT 2008–09 The National Gallery of Australia is a Commonwealth authority established under the National Gallery Act 1975. The vision of the National Gallery of Australia is the cultural enrichment of all Australians through access to their national art gallery, the quality of the national collection, the exceptional displays, exhibitions and programs, and the professionalism of Gallery staff. The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, corporate governance, administration and financial and business management. In 2008–09, the National Gallery of Australia received an appropriation from the Australian Government totalling $78.494 million (including an equity injection of $4 million for development of the national collection and $32.698 million for Stage 1 of the building extension project), raised $19.32 million, and employed 256.4 full- time equivalent staff. © National Gallery of Australia 2009 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. Produced by the Publishing Department of the National Gallery of Australia Edited by Eric Meredith Designed by Carla Da Silva Printed by Blue Star Print, Canberra National Gallery of Australia GPO Box 1150 Canberra ACT 2601 nga.gov.au/reports
    [Show full text]
  • Chapter 1 Douglas Stewart
    CHAPTER 1 DOUGLAS STEWART: THE EARLY YEARS 1925-1938 Throughout the many scholarly works that focus on Stewart’s place in Australian literature, the word that recurs in respect of Douglas Stewart’s creative work is ‘versatile’. One of its first appearances is in Nancy Keesing’s Douglas Stewart, which begins with the precise statement: ‘Douglas Stewart is the most versatile writer in Australia today ⎯ perhaps the most versatile who ever lived in this country. He is a poet whose poetry and nature as a poet are central to everything in which he excels’.93 Stewart was not only a poet whose early philosophy that the closer one moves towards nature the closer one moves towards the spirit of the earth, developed as a line of continuity which contributed to his total philosophy; this chapter focuses on Stewart’s life and poetic ambition in New Zealand until his move to Australia as an expatriate in 1938. As a mature poet he was then concerned to apply this pantheism to modern responses regarding humans and their experiences. The purpose of the introductory part of this chapter is to clarify the theme of the dissertation ⎯ Douglas Stewart’s creative impulse; the second part involves a discussion of the poet’s visit to England where he met poets Powys and Blunden. At this time he also journeyed to his ancestral home in Scotland. Upon his return to Australia in 1938 he was offered a position with Cecil Mann at the Bulletin. Stewart was also a distinguished verse dramatist, a successful editor, particularly of the Red Page of the Bulletin from 1940 to 1960,94 and a participant of some repute in journalism and publishing.
    [Show full text]
  • The Journal of Professional Historians Issue Seven, 2020 Circa: the Journal of Professional Historians Issue Seven, 2020 Professional Historians Australia
    Circa The Journal of Professional Historians Issue seven, 2020 Circa: The Journal of Professional Historians Issue seven, 2020 Professional Historians Australia Editor: Christine Cheater ISSN 1837-784X Editorial Board: Carmel Black Neville Buch Emma Russell Richard Trembath Ian Willis Layout and design: Lexi Ink Design Copy editor: Fiona Poulton Copyright of articles is held by the individual authors. Except for the purposes of private study, research, criticism or review as permitted by the Copyright Act, no part of this publication may be reproduced by any process without the permission of the author. Address all correspondence to: The Editor, Circa Professional Historians Australia PO Box 9177 Deakin ACT 2600 [email protected] The content of this journal represents the views of the contributors and not the official view of Professional Historians Australia. Cover images: Top: Ivan Vasiliev in an extract from Spartacus during a gala celebrating the reopening of the Bolshoi Theatre, 28 October 2011. http://en.kremlin.ru/events/president/news/13260/photos/10521 Bottom: Hoff’s students Treasure Conlon, Barbara Tribe and Eileen McGrath working on the Eastern Front relief for the Anzac Memorial, Hoff’s studio, 1932. Photograph courtesy McGrath family CONTENTS EDITORIAL . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..III Part one: Explorations Out of the Darkness, into the Light: Recording child sexual abuse narratives HELEN PENROSE, PHA (VIC & TAS) 2 Part two: Discoveries Discoveries to A Women’s Place: Women and the Anzac Memorial DEBORAH BECK, PHA (NSW & ACT). .. 9 Planter Inertia: The decline of the plantation in the Herbert River Valley BIANKA VIDONJA BALANZATEGUI, PHA (QLD). 20 Part three: Reflections DANCE AS PERFORMATIVE PUBLIC HISTORY?: A JOURNEY THROUGH SPARTACUS CHRISTINE DE MATOS, PHA (NSW & ACT) .
    [Show full text]
  • Creativity & Cultural Production in the Hunter
    An applied ethnographic study of Creativity & Cultural new entrepreneurial systems in the Production in the Hunter creative industries. �Newcastle THE UNIVER.51TY Of ""IIIIIIINow The University of Newcastle I April 20i9, ARC Grant LP i30i00348 NEWCASTLE AustralianCover11.111r.nt AUSTRALIA •Mlfiii 11. VISUAL ARTS 11.1 A Brief History of Visual Arts in Australia The visual arts in Australia have a very long history. In Rattling Spears: A History of Indigenous Australian Art (2016), Ian McLean indicates that Indigenous communities across the country produced symbolic work that carried meaning for its users for aeons before colonisation saw the paintbrushes of Joseph Lycett and John Glover represent the new settlements and the recent arrival of Europeans. A number of works outline the history of art in Australia (Hughes 1970, Smith 1960, 1979, 1990 and 2000, Sayers 2001, Anderson 2011, Grishin 2013). Christopher Allen in Art in Australia: From Colonization to Postmodernism (1997) sets out the stages he believes Australian Art has progressed through, from the early colonial to high colonial, the Heidelberg School, Federation, Modernism, Abstraction and Social Realism, as seen in the work of the Angry Penguins, Postmodern pluralism and more recently, contemporary art from the 1990s onward. Beginning with Joseph Banks’ illustrations of flora and fauna during Cook’s voyage to Australia, followed by George Stubbs’ ‘Kongouro’ painting in 1772, images of the flora and fauna of the continent entered the consciousness of Europeans. New settler artists, some of them convicted felons, drew and painted their new home, including its indigenous people. Joseph Lycett, for example, painted ‘Corroboree at Newcastle’ in 1818 while John Glover’s ‘Corroboree at Mills Plains’ in 1832 represented life in Van Diemen’s Land.
    [Show full text]
  • 2019 Heritage Awards CELEBRATING 25 YEARS
    CELEBRATE 1994 Winners 2019 Heritage Awards CELEBRATING 25 YEARS Winners 2019 1 From the President The annual awards ensure that the The National Trust Heritage Awards celebrates its 25th Year in 2019 – which is a significant various industries, specialist heritage milestone for such an important program. Every skills and areas of knowledge dedicated year since its inception in 1994, the announcement of the National Trust Heritage Awards has been to safeguarding and continuing the highly anticipated. The annual awards ensure that stories of our past are acknowledged, the various industries, specialist heritage skills and areas of knowledge dedicated to safeguarding recognised and celebrated. and continuing the stories of our past are acknowledged, recognised and celebrated. Winners, highly commended and shortlisted projects in each category are selected through a meticulous and rigorous process each year and are consistently of a high calibre. The National Trust Heritage Awards recognises conservation projects that emerge as a result of careful investment and exceptional built, interior and landscape design and construction expertise. It is a chance to appreciate the refinement and beauty of traditional craftsmanship and heritage trades; the depth and richness of research and authorship; and the development of education resources and exhibitions that explore and provide new knowledge for the benefit of future heritage lovers, the community and generations to come. The awards also highlight advocacy efforts that aim to protect our built, natural and cultural heritage. This commemorative publication showcases the winners of the 2019 National Trust Heritage Awards, and provides a reflection of the winners since 1994. We hope that you enjoy the step back in time and continue to enjoy the National Trust Heritage Awards in the future.
    [Show full text]