Sale, Victoria:
Esso BHP Billiton Wellington Entertainment Centre
Annemieke is grateful to Mr Peter Synan (historian) for his help with research and advice.
1.
MARY GRANT BRUCE (1878-1958) Well
known Australian author, Mary Grant Bruce, was born in Sale in 1878,
where her father was a surveyor. She
is particularly remembered for her Billabong series and other works
for children, but she also wrote many newspaper articles and columns
and, during the war, many radio broadcasts. Her
work provided a major contribution towards building an Australian
self-image. Country life and the Australian bush featured largely in
her works, often based on her experiences at family properties in
Gippsland. Her
best known works - the Billabong series - inspired the shape of the
bronze which honours one of Sale’s most famous
daughters. The
house depicted represents her birthplace on the Sale-Maffra
Road. The
trees, River Red Gums (Eucalyptus camaldulensis), symbolise
the ancient trees which grew in this district, as well as the
Australian bush which Mary Grant Bruce wrote about so lovingly. A
few of these old trees still remain on the property and along the
roadside to Maffra. The gum leaves, blossoms, nuts and buds are the
same, now-threatened, species. The eaten-out holes represent the
devastation occurring today, with intense insect decimation to
single trees as the tree numbers decline. "Possum",
one of Mary Grant Bruce’s books about a wild, unfeminine, good as a
man, 16-year-old girl, is represented with the East Gippsland
Feathertail Glider (Acrobates
pygmaeus). Mary
Grant Bruce also travelled widely - all over Gippsland, Victoria and
Europe - gaining ideas for her stories: her proclivity to be a
wanderer is reflected by the Wanderer or Monarch Butterfly being
eyed by the possum. An open book engraved with an Art Nouveau ‘B’
for Bruce, lists her 38 children’s books.
2.
ALLAN McLEAN (1840-1911)
The chains of political office formed the inspiration for the
design of the bronze of distinguished Gippsland parliamentarian
Allan McLean. A Scottish immigrant, he held many significant positions in
public life, including that of Premier of Victoria,
1899-1900.
The cameo-style frames contain 15 images from his life, while
seven open links suggest the unknown, less public
facets. The highly polished oval frames form a decorative Scottish
hat or kilt brooch, with the House of Representatives mace forming
the pin to the brooch. Symbolising McLean’s national involvement in politics, it
runs dominantly through the axis of the
design.
The appearance of the chain as loosely joined, apparently
ready to change shape, is how the artist defines
politics. The first oval portrays the windjammer which brought McLean
to Australia in 1842. Next are the Thistle, floral emblem of McLean’s Scotland, and
his family kilt brooch featuring Duart Castle and the motto “Virtue
Mine Honour”, followed by the Heath, floral emblem of Victoria,
where McLean settled and gave so much to
politics. The steam train is a reference to his work as Local Member to
obtain the extension of rail services to Gippsland in general, and
to his own electorate of Gippsland North in
particular. President of Maffra Beet Sugar Company, he also ran his own
stock and station agency which boasted numerous
branches. The gracious house is Duart, the home he built in McLean St.,
Maffra (now backpacker accommodation). The four emblems surrounding
his portrait refer to his public life. Member for Gippsland North in
the Legislative Assembly from 1880-1900, he was leader of the
Country Party and served 11 months as
Premier. Following Federation, he was elected to represent Gippsland
in the House of Representatives, serving from 1901 to 1906. A
foundation Councillor and Shire President of the Shire of Maffra, he
helped form the Municipal Association of Victoria
(MAV). 3.
ALFRED WILLIAM HOWITT (1830-1908)
The
multi-talented Alfred William Howitt made an outstanding
contribution to early Gippsland, encouraging settlement and
providing an understanding of its natural
resources.
His influence
during Gippsland’s early days has inspired Annemieke to choose the
egg shape for this bronze, recalling the beginning of the region’s
discovery and westernisation.
Howitt, a
public servant, served Gippsland as a police magistrate and gold
warden. However, his incredible talents have reserved his place in
history as an explorer, naturalist, scientist and anthropologist as
well.
From his right shoulder roll balls of wattle, symbolising his
massive contribution to the colony’s botanical knowledge. Commonly
known as Sticky Wattle, the plant is a native of East Gippsland and
is named after Howitt - Acacia howittii.
Clinging to
the last leaf is a Christmas Beetle (Anaplognathus
chlorophyrus
),
representing Howitt’s prediction (being witnessed today) of the
devastation these beetles (larvae) would cause with extensive land
clearing for farming.
The lizard forms a window effect reflecting Howitt’s open
mind on all issues, as well as his interest in
wildlife. Found in all our rivers and water ways throughout Gippsland
is the Eastern Water Dragon or Physignathus lesurii howittii,
again named after Howitt.
The gold
panner, with his highly polished “find”, works from a curve of large
rocks, which breaks the regular outline of the oval frame.Howitt’s
prime hobby as a geologist provided a well-documented record of his
discoveries, while as leader of a government prospecting party, he
was instrumental in the establishment in 1860 of the important
Crooked River goldfields.
Howitt
studied the Gippsland Aboriginals, their behaviour, customs and
language. He wrote many papers on their needs and assimilation
problems with great empathy, which was unusual for his
time.
The background
mountains are those in Gippsland he crossed on foot and horseback.
He was a skilled bushman and an instinctive
survivor.
Some of the
many qualities of an incredible man who demonstrated foresight,
understanding, tenacity, kindness and a love for adventure, are
depicted in Annemieke’s portrait of Howitt.
4.
ANGUS McMILLAN (1810-1865)
Angus
McMillan, the first explorer to enter East Gippsland, is portrayed
in traditional Scottish Highlander’s hat, symbolising his
clansmanship and strong national pride.
The design
depicts some of the conflicts between today’s values and those of
last century, particularly in relation to the treatment of the
Aboriginal tribes. McMillan had
a loyalty to all Scotsmen and championed the cause of Scottish
settlers, including their territorial ascendancy over Gippsland
Aboriginals (a common attitude at that time).
The dominance
of the thistle, the Scottish national floral emblem, over the
Gippsland gum-nuts, enforces this nationalism and the lack of any
attempt at assimilation, then the accepted
attitude.
The McMillan
clan crest depicts two hands to the sword in a most aggressive pose,
with the motto “Miseris Succerrere Disco” - literally ‘to help the
less fortunate'.
Dominant
features of the design - the saddle pack-bag and grass - symbolise
McMillan’s search for new pastures and his success as a pathfinder
and trailblazer. The sheep and cattle skulls represent the thousands
of animals he was responsible for, both as Macalister’s manager and
as a pastoralist in his own right. They also reflect the harshness
of the times with isolation, loneliness and death, and few rewards.
Such was McMillan’s own experience: he was virtually penniless at
his death.
The
horseshoes denotes his fondness for horses and the enormous
distances he covered on horseback, as well as recalling his death,
recorded as due to injuries sustained in a fall from his horse at
Iguana Creek.
The saddle
pack reveals the outline of two human skulls; a subtle reference to
the sad loss of our Gippsland Aboriginal tribes.
The
horse-neck water pack. an essential item for the vast distances
McMillan travelled, also symbolises his reputed love for alcohol
(whisky) and his reputation as a very generous
host.
Not shown in the photograph are some detached Ironbark
(Eucalyptus sideroxylon) gum blossoms and leaves that flow
down the wall and rest alone, just as McMillan lived and died in
Gippsland.
5.
NEHEMIAH GUTHRIDGE (1808-1878)
Sale’s
first Mayor, Nehemiah Guthridge, is portrayed as a seaman in
acknowledgement of his contribution to the development of shipping
in Gippsland. The bronze also highlights his business acumen, his
service to local government and his dedication to town
beautification. Guthridge,
in seaman’s hat, sou-wester and allweather coat, is depicted in a
typical seaman’s stance. This is a reference to his work in
establishing the first effective, regular shipping service between
Melbourne and the Gippsland Lakes. Standing with hand at brow, he
has a pensive but strong expression.
The
anchor is also a symbol of the sea and shipping, with the dominance
of this feature reflecting the strength his shipping service gave
the community at a time of poor and irregular communications with
the rest of the colony. On the anchor are three symbols: the plain
cross because he helped establish the Wesleyan Church in Sale; the
horse shoe in reference to his occupation listed in 1862, when he
first arrived in Sale, as ironmonger; and the coach because his
family established a coach-building firm.
The
Borough of Sale emblem, with the swan symbol retained to this day by
the local council, marks his role as a councillor and as Sale’s
first mayor in 1863.
Guthridge’s
interest in native flora and fauna are also obvious from the
design.
Lake
Guthridge, named in his honour, and other local rivers and lakes,
are common habitats for the Eastern Snake-Necked tortoise, captured
as it breaks through the water with a loving look at Guthridge.
The
Gippsland native, Banksia serrata, is a reference to his work
in helping to establish the Sale Botanical Gardens in the 1860s,
recently restored on the site in Guthridge Parade. The Banksia is
shown in full cycle with bud, full bloom and seed pods as well at
its typical saw edged leaves.
The
wheat represents the Guthridge family’s phase as grain merchants, an
industry which diversified and strengthened the community’s
independence.
6. ADA CROSSLEY
(1871-1929) The internationally famous singer, Ada Crossley, was born at
Tarraville, Gippsland and grew up in the Yarram district. She
studied in Melbourne and Europe and achieved recognition as a
contralto with a special gift for oratorio. The importance of music in her life is expressed in the use
of the cello as the basis for the external shape. This is enhanced
by the juxtaposition at a variety of angles of the bass clef dots
and all. The treble clef also symbolises music, its dominance
immediately and simply conveying Ada’s vocation. The delicate
fluting, revealing the wall behind, gives a light and spacious feel
to a highly detailed design. This very decorative Art Nouveau design
also is in keeping with the singer’s era. Ada’s full length portrait is taken from a cover picture on
one of her programs. Her dress features an ornate bodice finished
with appliqué, beading and embroidery, while the form-fitting skirt
is seen to billow out to accentuate other features of the
bronze. The coin-like portrait of Queen Victoria represents Ada’s
command performances; she gave five performances before the Queen in
two years. The flannel flowers found in Gippsland convey Ada’s love for
flowers, particularly Australian wildflowers, and were also used on
one of her programs. In 1903 Ada returned to Gippsland as part of a triumphant
concert tour of Australia, This included a concert in Victoria Hall,
Sale, depicted at the top of the bronze. The costumes and
horseriders set the era at the Hall, which is still standing today.
“Home Sweet Home” was one of the songs presented at that concert and
is said to have “brought the roof down.” Always sung at Ada’s
Australian concerts, it is featured on the music sheet in the
bronze. Although a very simplified version, it can actually be
played from the music sheet.
Saint Mary's Cathedral (Sale)
MARY McKILLOP (1842 - 1909)
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Size: 107(h) x 116(w) cm. Annemieke was commissioned by Bishop Jeremiah Coffey, the former Catholic Bishop of Sale to produce a bas-relief bronze sculpture of Mary McKillop in 1994.The bronze was completed in 1995, shortly after her beatification. It is displayed in Saint Mary's Cathedral, Sale. She was canonised to sainthood in 2010 and is known as Saint Mary of the Cross McKillop.
The bronze is in two parts, flowing down the wall in the shape of a 'J'. Mary McKillop founded the Josephite order which have three J's in their emblem (standing for Jesus, Joseph and John the Baptist).
The face of Mary depicts her when she was about 40 years old and shows the head slightly tilted and capturing her sense of loving, endearment and humbleness. Her face is surrounded by the veil to enhance the qualities of saintliness, serenity and sensitivity.
The Josephite emblem is displayed prominently - a cross and the three J's.
Incorporated into the bronze is a relic of Mary's cedar coffin (embedded in resin) and placed at the position of Mary's heart.
To depict Mary's Australian roots, gum leaves together with gum nuts and blossom from the eucalypt species Southern Blue Gum (Eucalyptus globulus ) were portrayed in bas-relief and also 'flowing' down the wall.
In the lower part of the design, the books, papers and documents portray her dedication to education and social welfare, as do the figures of children holding Mary's hands and being guided by her (shown on the cover of one of the books). A bible with a simple cross embossed on the front honours her religion and code of living.
Coincidentally, the finished colour of the bronze sculpture closely resembles the brown habits worn by the Josephites, who were commonly called 'Brown Joeys'. |
Bendigo, Victoria.
'Backhaus Arcade'
HENRY BACKHAUS D.D. (1812 - 1882)
Size: 140(h) x 105(w) cm |
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Annemieke was commissioned by the Bishop of Sandhurst in 1987 for this bas-relief bronze sculpture of Dr Henry Backhaus. It was completed in 1988. It hangs in the Backhaus Arcade in Bendigo.
Dr Backhaus was a pioneer priest on the goldfields around Bendigo. He was also an astute businessman and acquired considerable wealth, which he left to the Catholic Church. His estate continues to have significant influence in Bendigo to this day.
A dominant feature of the design is the cross, standing tall over the left shoulder of Backhaus. His costume features the 'Roman Collar' that was new to Catholic priests between 1840 and 1850. The books, papers and documents reflect his valuable contribution to Catholic education and excellent book-keeping of church records of marriages, births, baptisms and deaths. The books include The Roman Missal for the Celebration of Mass (in Latin), a Register of Baptisms, and a book labelled 'MUSIC by Dr H. Backhaus' signifying his numerous church music compositions.
Seven cornflowers(one for each decade of his life) and their foliage are included. Cornflowers are the Floral Emblem of Germany. Backhaus was born in Paderborn, Germany. The City of Paderborn's Crest (or Stadtwappen) is also shown. The Coat-of-Arms of the City of Sandhurst (now called Bendigo) is included to reflect Backhaus's enormous influence on religion, education, culture, business and investments in Bendigo.
The statue of St. Kilian is included because Backhaus dedicated his first church in Bendigo to this Irish monk in recognition of his Irish flock.
The keys portrays Backhaus's call to the church.
The national emblem of India reflects the 10 years Backhaus spent in India as a missionary priest (1836 - 1846). The waratah clebrates Backhaus's arrival in Sydney in 1846, and the Sturt Desert Pea his time in South Australia 1847 - 1852.
Pink heath is the floral emblem of Victoria and is found around Bendigo where Backhaus was priest until his death in 1882. The heath is shown cascading from beneath the papers symbolising the far-reaching consequences and legacy that he left for the future.
Gum leaves are included to represent the Australian bush where Backhaus spent much of his time around Bendigo.
Two money pouches are portrayed. The open one reflects Backhaus's generosity to the poor and for education and the church. The closed one symbolises his careful husbandry of assets for future financial needs. |