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(b San Biagio di Callalta, nr Treviso, May 19, 1939; d Melbourne, Aug 9, 1978).

Australian sculptor and draughtsman . After spending his childhood in Italy, he moved to Australia (1949). From 1958 to 1961 he was at the Royal Melbourne Institute of Technology. He travelled to London in 1962, where he studied printmaking at the Chelsea School of Arts. He then travelled to Milan and studied sculpture under Marino Marini at the Accademia di Belle Arti. After his return to Melbourne, he had his first one-man show of sculptures and etchings at the Argus Gallery in 1964. Many of his etchings of this period and later included circus characters and were inspired by the films of Ingmar Bergman and Luis Buñuel. Bergman’s Sawdust and Tinsel (1953), for example, has the violent distortion of the human figure characteristic of Baldessin’s series Stars and Sawdust and Stars and Sawdust II (1963; T. Baldessin priv. col., see 1983 exh. cat., pl. 9). His early sculptures also had distorted and tormented figures, as in ...


(William Archibald)

(b Melbourne, Australia, May 1, 1914; d London, Dec 16, 1983).

English architect and sculptor. He studied at the University of Oxford (1932–5) and the Architectural Association, London (1935–40), and then served with the Royal Engineers in West Africa and Asia. In 1948 he set up in practice in London with Fello Atkinson (1919–82), Dick Maitland (1918–69) and Stefan Buzas (b 1913). From the outset Cubitt drew on his acquired knowledge of tropical countries, designing several schools and colleges in Ghana between 1951 and 1954. The practice rapidly gained a pioneering reputation in this field and, after designing some schools in Sowerby Bridge and Pontefract, Yorkshire (1954–7), it was appointed to plan the University of Nigeria at Nsukka, a project that was not completed until 1971. Other work in the 1950s and 1960s included a factory in Rangoon, office buildings in Sierra Leone and Nigeria and the Faculty of Medicine and Teaching Hospital (...


Barbara B. Kane


(b Sisteron, Provence, 1850; d Le Pave, St Léonard-de-Noblat, Haute Vienne, March 10, 1896).

French painter, sculptor, designer and teacher, active in Australia. He trained under the architect Viollet-le-Duc and at the Ecole des Beaux-Arts, Paris, under Jean-Léon Gérôme. In 1871 he was sentenced to death for his political activities in the Paris Commune; this was commuted to transportation to New Caledonia. He arrived in Sydney in 1879 after the granting of political amnesty. He was appointed instructor in modelling at the Sydney Mechanics’ School of Arts and in 1883 became the first lecturer in art at the Sydney Technical College. He also taught privately. His influence on a generation of students that included Lucien Dechaineux (1870–1957), later director of the Hobart Technical College, A. G. Reid, the sculptor, B. E. Minns (1864–1937) and Sydney Cathels, was profound. A founder-member of the Art Society of New South Wales, his frequent contributions to their exhibitions included portraits and busts. Henry sought to establish a national style in the applied arts through the use of distinctive colours and motifs based on native flora and fauna. His delight in the Australian shrub waratah is seen in the design for two large stained-glass windows in the Sydney Town Hall and in the curious designs for a folio of 50 graphic works to be entitled ...


Geoffrey R. Edwards

(b Melbourne, Feb 9, 1929; d New York, April 19, 2005).

Australian sculptor and designer, active in the USA. He studied aeronautical engineering and later industrial design at the Royal Melbourne Institute of Technology, but left without finishing the course. From 1949 to 1953 he worked as an industrial designer, specializing in furniture. Marketed widely in Australia during these years, his furniture was distinguished by its simplicity. It was constructed with plain, undisguised materials such as steel rods, timber laminates, and cord; his tables, chairs, and shelving systems exercised a delight in linear and open structure that conveyed an impression of virtual weightlessness.

In his free time Meadmore began to produce sculptures, carving wooden shapes whose forms were similar to those of tensioned strings, and from 1950 to 1953 experimenting with mobiles. After extensive travel in 1953 in Europe, where he was particularly impressed by modern sculptures that he saw in Belgium, he produced his first large abstract sculptures in welded steel. Some of these, for example ...


Bernard Kernot and Ngarino Ellis

[Lazarus ]

(b Turanga [now Poverty Bay], NZ, c. 1800; d Turanga, Sept 29, 1873).

New Zealand Maori wood-carver, builder, and tribal leader. Rukupo belonged to the Rongowhakaata tribe and was educated in the tribal school of learning called Tokitoki. In 1831, after shore-based trading was established in Turanga, metal tools replaced stone ones, and thus all Rukupo’s extant works are carved with metal tools. He is said to have helped carve the war canoe Te Toki a Tapiri (Auckland, Inst. & Mus.) at Turanga in 1836. In about 1840 he adopted Christianity, taking the biblical name Raharuhi (Lazarus). Rukupo’s masterpiece is the carved meeting-house Te Hau ki Turanga, erected at Orakaiapu pa (now Manutuke), Turanga, to honour his recently deceased brother from whom he inherited the mantle of tribal leadership. It opened in either 1843 or 1845. It is now housed in the Museum of New Zealand, Te Papa Tongarewa, Wellington, but is to be repatriated to Rongowhakaata some time before 2019. Rukupo is also renowned for leading carvers in their work on a new Anglican church at Whakato Marae, Turanga in ...


Kathi Holt-Damant

(b Regensburg, 1946).

Australian architect, academic, sculptor and poet of German birth. Selenitsch produced work across many disciplines that reflected the migrant culture of Australia in the 1950s and 1960s. Utilizing his linguistic heritage (Russian, German and English), together with the idea of translation, he characteristically offered multiple viewpoints of the same text, enabling new meanings to emerge. With a primary interest in ideas, he examined ordinary, everyday objects, often choosing such anchoring motifs as the Southern Cross as themes. Each project (in art, architecture, or poetry) is part of a larger set of similar, but different pieces. Within each set there are operational rules that deal with relationships between elements. Each piece will reflect these rules, while being substantially altered. A set will show a series of transformations from the original object, which can be viewed graphically as a series of patterns, exposing cultural subjectivities, for example, Southern Cross, Ladders, Dante’s Purgatorio...


(b Florence, c. 1820; d Perth, W. Australia, 1907).

Australian architect, sculptor and mason of Italian birth. He travelled widely before emigrating to Melbourne in 1851. After working on the gold diggings, he established himself as a sculptor, monumental mason and contractor. In 1869 he was appointed Diocesan Architect in Goulburn, New South Wales, and worked on the cathedral there. By 1875 he had moved to Brisbane where, in the boom of the 1880s, he designed numerous buildings in a much-admired florid, Italianate style as well as some more restrained schools and Gothic churches. His work in Brisbane included the M. D. Benjamin Warehouse (later Dalgety’s; 1881; destr.), the Opera House (1886; destr.) and the residences Bertholme (1881) and Palm Rosa (1887). He also designed the Christian Brothers College (1875) and All Hallows School (1880), and the churches of St Andrew’s (1878) and St Patrick’s (1880), all in Brisbane. Undeterred by depressed conditions in Queensland after ...