Front Cover Loretta Quinn Digital collage of Beyond the Ocean Burke and Wills by of Existence, 1993 Charles Summers bronze on granite and Vault by Ron plinth Robertson–Swann

For the first time a selection of 20th century. Relevant books, maquettes and models of in catalogues, newspaper articles and central , from the collection statements by the artists on display of the , plus works give added information and touch on sourced from private collections and some of the controversies. various institutions, are on display in The exhibition catalogue contains a the City Gallery. The exhibits make simple map as a guide for those who, clear the emphasis on monuments and having seen the artist’s drawings or memorials during the 19th and early maquettes, wish to see the final work 20th centuries and the emergence of in situ. abstract public in the late Deborah Halpern Angel, 1987-89 SCULPTURE IN THE CITY steel armature, painted ceramic tiles KEN SCARLETT on ferro-cement In the collection of the National Gallery of

This exhibition of maquettes, models The sculptor Charles Summers rose and artist’s drawings acts as a potted to the occasion with a larger than life- history of public sculpture in the sized depiction of Burke and Wills central area of Melbourne. It enables which, astonishingly, he cast himself the visitor to view the sculptor’s initial in a foundry he built at the top of ideas and compare with the finished Collins Street. The sculptor exhibited sculpture, particularly if they sally his knowledge of classical sculpture, forth, map in hand to inspect the work for the seated figure of Wills has in situ. The time range is from 1860 to links with Michelangelo’s Giuliano De the present, from Burke and Wills to Medici and the noble head of Burke has Vault and on to the present. a resemblance to the bearded Moses. The monument was commissioned in Looking back 150 years we have December1863 and unveiled in 1865 in reassessed the Burke and Wills 1860 the presence of an estimated 10,000 expedition from Melbourne to the Gulf people. of Carpentaria. There is no doubting their fortitude and bravery, but their While Burke and Wills was certainly unwillingness to relate to the local Melbourne’s first public monument*, Indigenous people meant that Burke from the end of the 19th century and Wills died of starvation in an the city’s streets and parks became environment that provided adequate thickly populated with a plethora food for the Aborigines. John King of bronze statues of civic leaders, was accepted by the Yandruwandha politicians, military personnel, kings people, lived with them and survived. and queens. Statues of the great public The people of Melbourne in the 1860s, benefactor, Sir and of however, viewed the expedition quite , the founder of the differently: they saw the explorers as Workingmen’s College (now elevated national heroes whose exploits and to the Royal Melbourne Institute of tragic death should be remembered Technology University) were both with a public monument. unveiled in 1887. But the public were as Simon Perry James White Public Purse, 1994 Queen Victoria red granite, Memorial, 1904-07 stainless steel Carrara marble, granite

keen to see cast in bronze a figure who the State Library of Victoria and instated outside ACCA (Australian had never visited Australian shores: the the series of popular personalities Centre for Contemporary Art) leader of Britain’s expansionist designs at Docklands, including Dame Edna The furore over this abstract sculpture on the Sudan in Africa, General Gordon, Everage, all by Peter Corlett, suggest made architects, developers and was placed on a remarkably tall plinth that there is still a lingering demand landscape architects very wary in 1889. The degree of popular public for physical representation. No longer and probably severely limited the support for monuments and memorials linking back to classical sculpture, commissioning of public sculpture in can be judged by the attendance of the however, Corlett’s figures, instead, Melbourne for several years. Slowly, vast crowd at the unveiling of Burke have a heightened realism and a direct, but inevitably, however, attitudes were and Wills and by the fact that 100,000 popular appeal. changing and by the late 1980s sculptors citizens subscribed towards the cost of such as Akio Makigawa, Anthony the General Gordon Memorial – it was, Pryor and Peter Corlett were installing in fact, over subscribed. works in relation to office blocks and The Age newspaper instituted a new apartments. By the time of the popular one-shilling subscription fund Southbank development on the southern after the death of Queen Victoria, side of the Yarra, begun in 1982 and which led to a commission for James completed in 1993, the policy of 1% for White. One might have thought that art had been accepted. In a nice reversal this sentiment for memorials would of earlier attitudes, it was the City of fade with the death of Queen Victoria, Melbourne that led a revival of public whose elaborate and extravagant sculpture within the central business monument was unveiled in 1907, but A dramatic change occurred in 1980 was taken up by the press. Commonly district with the Swanston Walk project. nothing could be further from the when Ron Robertson-Swann’s Vault called the Yellow Peril, critics linked A series of commissions were instituted, truth. In the 1920s and 30s there were was unveiled on the newly completed racial prejudice and anti-communist including such innovative works as a series of commissions – King Edward City Square designed by Denton Corker attitudes as a means of belittling the Architectural Fragment, 1992, by Petrus V11, 1920, the explorer Matthew Marshall. The architects had seen work. In spite of strong protests, the Spronk or Simon Perry’s light-hearted Flinders in 1923, the preacher, John the sculpture as a focal point on the sculpture was ignominiously banished to Public Purse, 1994. While there were Wesley, 1935 - while recent statues square, but ill-informed councillors a seldom-frequented patch of parkland some admirable sculptures, the standard of Governor La Trobe, placed outside began a campaign of vilification, which beside the Yarra and only recently re- varied, including works such as Three Ron Robertson- Swann Vault, 1978-80 painted steel

Businessmen Who Brought Their Own Our growing maturity and Lunch: Batman, Swanston and Hoddle, sophistication, nevertheless, was which has become all-too popular as a clearly illustrated when Melbourne’s place for tourists to be photographed. first Asian-born Lord Mayor John So, spoke at the ‘unveiling’ of Vault, By the time of the huge Docklands moved to its third location in 2002, development, which occurred a few on the site beside ACCA. No longer years later, it was assumed that public ridiculed it was now ‘welcomed like an sculpture was old and respected an integral part It was the City friend into a new of the planning; of Melbourne that home. Times have Docklands led a revival of public changed’ said the probably has more Lord Mayor. contemporary sculpture within sculpture per the central business This evolution building than any district with the of public and where else in Swanston Walk project. official attitudes . was further to create Birrarung Wilam, the park’s the present, between the Indigenous demonstrated complex major art work: patterns that peoples and those of us who arrived Melbourne has become all the richer with with the establishment of Birrarung may have been drawn in the earth are much more recently. the placing of public sculpture within Mar beside the Yarra. Remembering now translated into a pattern that our every-day environment: the public Times have indeed changed. that the land of the Wurundjeri snakes across the riverside path, have grown to accept contemporary and Boonwerrung peoples was wooden shields are displayed in bronze Ken Scarlett sculpture, to accept the challenges appropriated to build the city of and hand-held message sticks appear Curator of often extremely diverse styles of Melbourne, it was symbolic that as towering wooden posts, a group expression. While we can justifiably claim the City Council established this of engraved boulders provide visual to be the cultural capital of Australia, we new parkland to commemorate and and cultural ballast and stories are *Charles Summers also did the larger than haven’t recently managed to attract a life figure in the River God Fountain, now in celebrate their connection to the told through touch-activated audio crowd of 10,000 to an unveiling as the the Fitzroy Gardens, which he produced in land. Vicki Couzens, Lee Darroch and panels. Birrarung Wilam has become Burke and Wills Monument did in 1865. association with Clement Hodgkinson in 1862. Treahna Hamm were commissioned a symbolic link between the past and 06 E CITY OF MELBOURNE SCULPTURE WALK Birrarung Marr The sculptures are listed alphabetically, starting with works south of the Yarra River and going north along Swanston Street and D returning via Elizabeth Street. See list on pages 12 & 13 for artwork details.

RUSSELL ST A VICTORIA ST

Town Hall H B START P O N J I G F C OR No1 Tram to SWANSTON ST Vault at ACCA M L K

T

ELIZABETH ST River Yarra Q U R Victoria Market S

QUEEN ST FLINDERS ST DUDLEY ST FRANKLIN ST A BECKETT ST ST LATROBE ST LONSDALE LT ST LONSDALE BOURKE ST LT BOURKE ST COLLINS ST LT COLLINS ST FLINDERS LN SCULPTURES ON THE CITY OF MELBOURNE SCULPTURE WALK

All sculptures are in the City D. Vicki Couzens, Lee Darroch H. Pamela Irving L. Edward Ginger P. Peter Corlett T. Simon Perry of Melbourne Art and Heritage and Treahna Hamm Born 1960 in Melbourne Born Sri Lanka 1951, Born 1944 in Melbourne Born in the United Kingdom in collection, unless otherwise arrived in Australia 1975 1962, arriving in Australia in 1992 Birrarung Wilam, 2006 Larry Latrobe, 1996 Governor La Trobe, 2006 stated. stone, wood, stainless bronze The Echo, 1997 bronze The Public Purse, 1994 A. James White. steel, bronze, nickel and (original version of 1993 fabricated steel, Plinth 50 x 50 x 50.5 cm Calca red granite Born Edinburgh, in audio installation was stolen in August 1995) polyurethane paint Sculpture 235 x 64 x 55 cm and stainless steel 1862, arrived in Australia 1884, Consists of mound campsite, 34.2 x 39 x 21 cm 450 x 200 x 190 cm In the collection of the 65 x 200 x 140 cm died in Brisbane in 1918 eel pathway, two message sticks, State Library of Victoria I. Charles Summers M. Bronwyn Snow U. Tom Bass five shields, ancestor stones, Queen Victoria Memorial, Born 1825 at East Charlton, Born in Cairns in 1962 Q. John Simpson Mackennal Born in 1916 in Lithgow, interpretive panels, water vessels 1904-07, Somerset, . Arrived Born 1832 near Stranraer, , died and an audio installation Resting Place, 1994 Carrara marble, granite in Australia 1853 and left in Ayrshire, Scotland, arrived in in 2010 Located at Birrarung Marr steel and jarrah total height 10.5 m 1867. Died in 1878, in Australia in 1852 or 1854. 300 x 260 x 100 cm The Children’s Tree, 1962-3 Includes four figures E. Deborah Halpern, buried in Died in 1901 bronze representing Progress, History, Born 1957 in Melbourne N. James Gilbert/ Burke and Wills Memorial, Cow, Bull and Sheep, 1884 Currently owned by Challenger Wisdom and Justice. Queen . Angel, 1987-89 1865 painted cement Managed Investments Ltd. Victoria carries orb and sceptre. James Gilbert was active in steel armature, painted bronze on granite base Located within the semi-circular Located at Queen Victoria Melbourne in the 1890s. Percival Take No 1 Tram on Swanston ceramic tiles on ferro-cement standing figure 390 cm, arch at entrance to Meat and Gardens. Ball was born in England in 1845, Street to ACCA 924.5 x 992.5 x 351.5 cm Fish Hall, Queen Victoria Market. base 460 cm arriving in Australia 1885, but left B. Tom Bass. Originally installed in the There are also two rams heads Ron Robertson-Swann, J. Akio Makigawa in 1899. Died in 1900 Born in 1916 in Lithgow, moat of the NGV, relocated on either side Born Sydney in 1941 Born in 1948 in Japan, New South Wales, died to Birrarung Marr in 2006 Sir Redmond Barry, 1880-1887 arrived in Western Australia R. Pauline Fraser Vault, 1978-80 in Sydney in 2010 In the collection of the begun by Gilbert in the in 1974. Died Melbourne 1999 Born in 1953 on Christmas Island painted steel National Gallery of Victoria early1880s, completed The Genie, 1973 6.15 x 11.84 x 10.3 m Time and Tide, 1993-4 by Ball 1886-7 Wind Contrivance, 1994-95 bronze, F. Charles Web Gilbert Installed on City Square 1980, basalt, carrara white marble, bronze, over life-size bronze, redgum, Harcourt granite 185 x 180 x 175 cm Born at Cockatoo, near removed and installed at bronze, cast and fabricated figure on pedestal 274 x 150 x 65cms Located at Queen Victoria Talbot in 1867, died 1925 Batman Park 1981, relocated stainless steel, cast concrete In the collection of the Gardens. S. Mark Stoner to ACCA (Australian Centre for Captain Matthew Flinders with fibre optics and white State Library of Victoria Born 1951, Contemporary Art) Southbank C. Konstantin Dimopolous. Memorial, 1923-25 gold-leaf O. Petrus Spronk. arrived in Australia 1956 2002 Born 1954 in Egypt, moved to bronze on granite base 800 x 500 x 2500 cm Born Haarlem, The Netherlands, in 1963 and then approx 390 x 160 x 230 cm Passage, 1993 K. Paul Quinn arrived in Australia 1957 settled in Melbourne in 2003 basalt G. Loretta Quinn and Alison Weaver Architectural Fragment, Main element 300 x 210 x 137 Red Centre, 2006 Born Hobart in 1956 Both artists born in 1962 1992-93 cms plus three separate blocks high performance Beyond the Ocean Three Business Men Who basalt and gold-leaf lettering (Originally there were four composite, concrete of Existence, 1993 Brought Their Lunch: Batman, 2.5 x 7 x 5 m blocks) Height 7 m, base 2.5 x 2.3 m bronze on granite plinth Swanston and Hoddle, 1993-94 In the collection of 550 x 270 x 200 cm bronze Federation Square Each figure 2m high SCULPTURAL MAQUETTES ACKNOWLEDGEMENTS AND MODELS IN THE EXHIBITION

1. Tom Bass 6. Deborah Halpern 12. Ron Robertson-Swann 16. Mark Stoner Our thanks to all the artists who have Maquette for The Maquette for Angel, 1987 Model of Vault, 1979 Maquette for Passage, 1994 enriched our city with their sculpture Children’s Tree, 1962-3, earthenware painted steel painted concrete bronze 16.5 x 12 x 16 cm 49.5 x 115.5 x 59.5 cm Main element and to the numerous sculptors, private 23.5 x 18 x 19 cm On loan from the artist Edition of 10 30.5 x 21 x 18 cm collectors, galleries and institutions Edition of 15 City of Melbourne Art Three separate blocks 7. Pamela Irving who have made models, maquettes On loan from the and Heritage Collection 4 x 14.4 x 6 cm Maquette for Larry Latrobe, Tom Bass Studio School Donated by Dr Joseph Brown 4.9 x 11.4 x 5.1 cm and ephemera available for display. 1992 5 x 10.5 x 6.5 cm This exhibition has only been made 2. Fionna Clarke painted ceramic 13. Ron Robertson-Swann City of Melbourne Art and Ken McKean 65 x 60 x 23 cm Model of Vault, 2000 possible with the dedicated support of and Heritage Collection Maquette for Eel Trap, 2006 On loan from the artist painted aluminium the staff of Art and Heritage Collection, painted and engraved steel 31 x 65 x 24 cm 17. Charles Summers 8. Akio Makigawa City of Melbourne, particularly Eddie 55 x 47.5 x 10.5cm Edition of 10 Maquette for Burke and Wills, Maquette for Time and Tide, City of Melbourne Art On loan from John Fasham, 1865 Butler-Bowdon and Catherine Hockey, 1993-4 and Heritage Collection J.K.Fasham Pty. Ltd painted plaster of Paris Carrara white marble, basalt who have worked with the curator, Ken 118 x 70 x 54.2 cm 3. Peter Corlett 46 x 47 x 30 cm 14. Bronwyn Snow Scarlett, to co-ordinate the display On loan from Warnambool Maquette for Governor On loan from Carlier Makigawa Maquette for Resting Place, Art Gallery and the organization of the catalogue, La Trobe, 2006 1994 9. Akio Makigawa which was so skillfully designed by the bronze wood and metal 18. Charles Summers Maquette for Time and Tide, 40 x 15 x 15 cm 44 x 55 x 35.5 cm Maquette for Burke and Wills, staff of Round, Rhys Gorgol and Robert 1993-4 On loan from John Drury, City of Melbourne Art 1865 painted balsa wood Nudds. The assistance of Erin Reeve with Honorary Secretary, the and Heritage Collection painted plaster of Paris 28 x 42 x 28 cm publicity was invaluable. Special thanks C.J.La Trobe Society 72 x 35 x 30cm On loan from Carlier Makigawa 15. Petrus Spronk On loan from the Royal to Dr John Denton, the guest speaker at 4. Edward Ginger Maquette for Architectural 10. Simon Perry Society of Victoria the official opening of the exhibition. Maquette for The Echo, 1997 Fragment, 1992 Maquette for Public Purse, painted aluminium painted balsa wood 1994 56 x 25.5 x 24.5 cm 23 x 81 x 56.3 cm Exhibition dates Rear Cover plaster of Paris City of Melbourne Art City of Melbourne Art 03.02.11 – 16.04.11 Digital collage of 12 x 21 x 20 cm and Heritage Collection and Heritage Collection Captain Matthew City of Melbourne Art Gallery hours Flinders Memorial by 5. Deborah Halpern and Heritage Collection Monday 10am – 2pm Charles Web Gilbert Maquette for Angel, 1987 11. Loretta Quinn Tues to Fri 11am – 6pm and Architectural steel, wire mesh Maquette for Beyond the Saturday 11am – 4pm Fragment by Petrus 84.5 x 25.5 x 66 cm Ocean of Existence, 1993 Spronk. On loan from the artist City Gallery bronze Melbourne Town Hall 38 x 21 x 25 cm Swanston Street City of Melbourne Art (enter via halftix) and Heritage Collection