Bold statement: A forgotten pioneer of Australian opera has finally taken her rightful place in public memory, not just in whispers but in stone and bronze for all to see. But here’s where it gets controversial: does memorializing Amy Sherwin in Hobart rewrite the public narrative that has long favored Dame Nellie Melba, and does it challenge who we consider the “first” international star from Australia?
Amy Sherwin, nicknamed the Tasmanian Nightingale, was a towering figure in the opera world during her era, even before Melba’s ascent. Born in Huonville, Tasmania, she rose to international fame but died in 1935 at age 81 in a London nursing home, described in a contemporary U.S. newspaper as “lonely and penniless.” Her memory faded as Melba’s legend grew, until now.
In 2023, supporters launched a fund to give Sherwin the hometown recognition she deserves. That effort bore fruit with the installation of a life-size marble statue, accompanied by a bronze replica, created by Peter Schipperheyn. The unveiling took place at Hadley’s Hotel in Hobart, complemented by a street festival in the city’s CBD that reenacted Sherwin’s Hobart arrival.
A bell-ringing ceremony from St David’s accompanied the moment, and Tasmanian soprano Jacqueline Ward, portraying Sherwin, arrived by carriage to perform two pieces before the gathered crowd.
Bob Brown, president of the Amy Sherwin Fund, described her as having “taken the world by storm” in the 1870s. He emphasized her origins in the bush and her message: when you aim for something, you pursue it relentlessly. He added that she was “the most famous Tasmanian in the world.”
The Amy Sherwin Fund has raised about $200,000 toward the marble statue, with roughly $50,000 still needed to complete the project. The bronze replica on Hadley’s balcony was funded separately by the hotel.
Brown hopes the double statue arrangement will restore Sherwin’s rightful place in public memory and inspire future generations of Tasmanians. He stated, “Tasmanians don’t know about her, but she’s coming back now. She’s firing back and everybody is going to know about her, and she’ll inspire young Tasmanians.”
Sculptor Peter Schipperheyn has been sculpting since 1979. The Melbourne-based artist, who moved to Italy at 19 and fell in love with sculpture, described how a phone call from Brown pulled him into the project. The more he learned about Sherwin, the more he wanted to bring her legacy to life.
Schipperheyn recalled being drawn to a particular 19th-century photograph of Sherwin in an ornate gown with pearls, lace, and voluminous sleeves. He instantly envisioned translating that image into stone. He first produced a maquette—a small-scale model—to help plan the larger work and consulted a fashion designer friend to reconstruct the gown’s back when no photographs existed.
After sculpting a full-size model, he used clay to form a plaster mold rather than rushing to stone. He then traveled to Carrara, Italy, where he hand-selected a white marble block perfect for the project. He described this block as exceptional, noting it had sat unused for two decades awaiting the right buyer’s price.
The process, for him, felt like an adventure: carving away to reveal Sherwin’s presence in a way that could resonate with both past and present audiences. He hopes the sculpture will remind viewers of the higher aspirations humans can achieve and honor a figure who once seemed forgotten by history.
If you’re intrigued by how a single statue project can reshape regional cultural memory—and invite debate about who qualifies as a national or international pioneer—this story offers a vivid example. Do you think memorials should emphasize the earliest stars regardless of later fame, or should they celebrate rediscovered figures like Sherwin who helped lay the groundwork for national pride? Share your thoughts in the comments.
