office buildings and there was a high degree of co-operation between the artists and architects at this period. Prestige buildings of this period generally commissioned public art highlighting the high profile of the buildings in company marketing strategies and also possibly arising from benevolent policies of these companies. Bim (Vernon Arthur) Hilder (1909–1990) trained at the East Sydney Technical College and first exhibited his sculptures in 1945. Hilder had worked as a carpenter for Walter Burley Griffin. His murals were styled "wall enrichments in metal". Aside from the Reserve Bank mural (1962–64) he also designed the large mural on the facade of the Wagga Wagga Civic Theatre (1963) and a memorial fountain to Walter Burley Griffin in Willoughby City area (1965). His work is represented in the Art Gallery of New South Wales and the University of New England. Margel Hinder (1906–1995) was American born moving later to New South Wales. Along with her husband Frank, they contributed to the development of Modernist Australian art focusing on abstraction. They were contemporaries of the Lewers, Ralph Balson, Yvonne Audette, Carl Plate, and Tony Tuckson. Margel Hinder's work is represented in every major Australian Gallery. Her major commissions include the James Cook Memorial Fountain, Newcastle (1966), Northpoint Tower (1970) (now at Macquarie University, Sydney); Woden City Plaza, Canberra; the Western Assurance Co. Building, Sydney (1960); and the State Office Block, Sydney (demolished). Hinder received an Order of Australia in 1979. Clay from the excavations for the Bank from its initial construction and extension was set aside for the production of a series of commemorative handcrafted pots. These were commissioned from Henry A. Le Grand of Canberra, some were purchased by officers of the Bank and the others were used as decorative elements in the executive suites and remain in the building. A specially woven tapestry, 10 ft by 5 ft for the Board Room was designed by Margo Lewers and woven in France at the Aubusson workshop in 1968. Entitled "Wide Penetration" the abstract design in blue and yellow was woven in a limited edition of three copies. The tapestry is no longer hung in the Board Room but remains in the Bank's extensive art collection. A second specially commissioned tapestry was made in 1988 by Sue Batten for display in the Board Room. The tapestry was woven at the Victorian tapestry workshop and the design was inspired by the Bank's Charter