Karl Duldig carved this marble sculpture of a mask in the Vienna Kunstgewerbeschule (School of Applied Arts) in 1921. His teacher, Anton Hanak, the Professor of Sculpture at the School, encouraged him to carve directly into the stone. It was an accomplished work for the 19 year-old student and was selected by Hanak to represent the students of the School at the Deutschen Gewerbeschau (German Applied Art exhibition) in Munich in 1922, an early accolade for the young artist. The sculpture and another Kneeling Nude were reproduced in the journal Deustche Kunst and Dekoration in 1923-24 in an article on the Hanak-Klasse. In 2011 Mask was exhibited in the National Gallery of Victoria exhibition Vienna: Art and Design. The sculpture is one of ten substantial sculptures in marble and stone, and a larger group terracotta sculptures and masks, portrait busts and small stone sculptures created by Karl Duldig in Vienna that are held in the Museum collection. These art works are complemented by an archive of contemporary documents including letters, photographs, documents and ephemera. In 1938 Duldig’s Viennese sculptures were sent to Paris in 1938 for a proposed exhibition, and were hidden in Paris by Slawa Duldig’s sister Rella, throughout the Second World War, and arrived in Australia post-war over 5 decades. Karl Duldig was a student of the Kunstgewerbeschule from 1921 until 1925, and then attended the Akademie Der Bildenden Künste (Academy of Fine Arts) from 1929 until 1933. He was accepted into the Professor Josef Mullner’s “Meisterschule” at the Academy of Fine Arts from 1929 until 1933. His teacher at the Kunstgwerebeschule was Austria’s foremost contemporary sculptor Anton Hanak, and he was a formative influence on Duldig’s work. Hanak had been a member of Viennese Secession, and worked with Josef Hoffman on architectural commissions prior to the First World War. Hanak shared both his love of the expressive quality of materials and a humanist vision with his students. Various writers have written about Duldig’s interest in masks. His interest may have been stimulated by his classical education, the Greek and Roman antiquities in the Kunsthistoriches Museum in Vienna, or the ethnological collections in Vienna’s Museum of Ethnology (now known as the Weltmuseum). The mask was a motif explored by expressionist and cubist artists whose work was exhibited at the Vienna Secession. Duldig would have been familiar with the psychological investigations of the neurologist and founder of psychoanalysis Sigmund Freud, who established his practice in Vienna. In the Duldig Studio library, Duldig’s keen interest in the arts of a myriad of visual cultures is apparent. Of particular note are two well-thumbed copies Rudolf Utzinger’s, Masken, published by Ernst Wasmuth in Berlin in 1923, depicting masks from around the world. It is likely that a multitude of influences were at play. Slawa Duldig also worked with this motif, and also carved a smaller mask in Salzburg marble as well as a remarkable mask in clay, and these are held in the collection. Ann Carew 2016The Mask has national and international aesthetic significance. It is one of the earliest works by Karl Duldig in the Studio collection, and is a subject that he would continue to explore throughout his working life. The sculpture demonstrates a high degree of technical skill and mastery at an early age. It is evidence of Duldig’s engagement with the art of his peers during this period – the mask is a motif that inspired contemporary expressionist and cubist artists. It also demonstrates his interests in portraiture, human psychology, and the creation of identity and transformation of personalities. The Mask also provides an important link to the studio practice in the Vienna Kunstgwerbeschule, the teaching of Anton Hanak, and the program of international art exhibitions in Europe during the period. It is also of historical significance: the story of its survival and eventual recovery provides a counterpoint to the story of the Nazis’ confiscation of art during the Second World War. Ann Carew 2016Carving in Salzburg Marble. Holes for eyes and mouth cut through the block. Highly polished finish at front contrasting with rough finish at back and stylised curled hair. Marble base separate (75 x 275 x 198, wt 9000) and added later by artist. Karl Duldig 1921 incised on back

B&W photograph of Reg Livermore in ''Wish you were here''. Touring Victoria with the Victorian Arts Council. Livermore is the strident battleaxe Gloria and her derelict ex-husband Leonard Dover and their only child Nola.Photo of artist heavily made up in rough garb.

This tin contained waterproof wax vestas, a short match with a wax shaft. On the bottom of the tin there is a rough surface which was struck to light the match.A small brown with dark blue and aqua stripes on the front of a rectangular tin. Three lines of print on the front hinged lid.BELL'S/WATERPROOF/WAX VESTAShouston, william, houston, joan, george evans collection, commercial packaging

Part of a collection of photographs out of an old photo album with multiple photos on each page. Donated by Margaret Webster. Margaret's parents were Sir Charles & Lady McGrath who lived near the RSL in Ventnor Road, Cowes.286-18 - Sepia photograph of The Tea Room at Shelly Beach, Phillip Island or San Remo?. Two men, a lady and dog beside two cars. One car has a woman inside. 286-19 - Sepia photograph of a group of 13 people in coastal scrub land at Shelly Beach. 286-20 - Sepia photograph of a group of 13 people in coastal scrub land at Shelly Beach. 286-21 - Sepia photograph of a group of people having a picnic in front of the San Remo Hotel. 286-22 - Sepia photograph of 3 people at The Nobbies, Phillip Island. 286-23 - Sepia photograph of rough seas at The Nobbies, Phillip Island. 286-24 - Sepia photograph of a man with a young penguin possibly at Slummerlands Phillip Island. 286-25 - Sepia photograph of breakers at The Nobbies, Phillip Island. 286-26 - Sepia photograph of The Continental Guesthouse with guests on the verandah. 286-27 - Sepia photograph of an unmade road with scrub vegetation on the sides. 286-28 - Sepia photograph of Cowes foreshore with the Jetty in the background. 286-29 - Sepia photograph of the Cowes Jetty with people arriving off a ferry. 286-30 - Sepia photograph of Cowes foreshore with the Jetty in the background and a ferry.286-18 - "The Teahouse - Shelly Beach" 286-19 - "A Confidential Chat - Shelly Beach" 286-20 - "The Wanders - San Remo" 286-21 - "Lunch at San Remo" 286-22 - "The Nobbies - P.I." 286-23 - "Rough Seas - The Nobbies" 286-24 - "A Young Penguin" 286-25 - "Breakers - The Nobbies" 286-26 - "The Contin - Cowes" 286-27 - "The Road to the Back Beach" 286-28, 29 & 30 - "Beach and Jetty at Cowes"the nobbies phillip island, young penguins, wildlife - penguins, tea house behind shelly beach, shelly beach, san remo hotel, the continental guesthouse, the continental hotel, cowes jetty, margaret webster

Probably made and used by Dick Richards, who lectured in Physics at the Ballarat School of Mines, and later became the principal. Earlier Dick Richards had been a member of Shackleton's Antarctic Exploration Expedition. A 15cm diameter glass disc, 2.3 cm thick. ONe side is ground concave to 7'=5" (s s7 cm) radius. Rough-hewn circumference. Stored between a pair of 5cm thick 16 x 20 pieces of polystyrene slab, hollowed to accomodate mirror.scientific instruments, mirror, telescope mirror, dick richards, r.w. richards

This green glass bottle has been handmade from about the 1840s to 1870s. The bottle, possibly used to store or soda or mineral water, was found in the coastal waters of Victoria. It is part of the John Chance Collection. Glassblowers made bottles like this one by blowing air through a long pipe into the molten glass blob at the end of the pipe. The glass was blown out to fit into the shape of the cylindrical dip mould. Once it hardened, the glass was removed from the mould and the glassblower would continue using the pipe to create the neck while carefully using a tool to hold the base. A 'ponty' tool would have been used to form the shallow base. The mouth of the bottle was cut off from the blowpipe and a piece of soft glass would be added to the mouth to then form the lip. Bottles like this would usually be sealed with a cork.Although this bottle is not linked to a particular shipwreck, it is recognised as a historically significant example of handmade, 1840s to 1870s beverage bottles imported for use in Colonial Victoria. The bottle is also significant for its association with John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several shipwrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value.Bottle, green glass. Applied blop lip, deep scratch on neck. Shoulder seam, body tapers inward towards base. Wide heel, shallow base. Glass has ripples, creases, scratches and has a rough surface on the outside on one side. Sediment inside bottle.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, handmade, mouth blown, blown bottle, collectable, bottle, dip mould, soda bottle, beverage bottle, green glass

Document. Greeting Cards. Black & white photo card of Bush Hut, Morley's Flat. A rough, wooden slab hut in the forest. A man is sitting near the doorway reading a paper. Some equipment is hanging on the side of the hut. In front of the hut is the wood heap with an axe stuck in a log.person, greeting cards, malone collection, malone collection, greeting cards

A postcard in a series produced by the Rose Stereograph Company in Victoria, Australia as a souvenir of Marysville.A colour photograph of the view of the surrounding hills from Nichol's Lookout which is on the Marysville-Wood's Point road near Marysville in Victoria.POST CARD The "Rose" Series/ De Luxe A Real Photograph/ Produced in Australia Published by the Rose Stereograph Co.,/ Armadale, Victoria. The country we're going is very rough/ different to this and rises between/ 2500 to 4500 feetnicol's lookout, lookout, marysville, victoria, p. 2324, rose series postcard, postcard, souvenir, marysville-wood's point road

It was a rough voyage from Brisbane to Port Moresby in cyclonic conditions. Dorothy David and Elwyn Kinnane travelled from Brisbane to Port Moresby on this vessel. Light purple card with blue printingM. V. Bulolo Dinner Menu Sunday 7th December 1958

This is the ninth issue of the Orbost High School annual magazine. The name Croajingolong derives from the Australian Aboriginal Krauatungalung words galung, meaning "belonging to" and kraua, meaning "east". This magazine belonged to Mary Gilbert, a former teacher at the school.This magazine is the 9th issue of the annual magazine produced by Orbost High School and is a useful reference tool.A 50 pp magazine with a gold/orange cover with dark blue print : Croajingolong printed vertically on the left hand side . The Orbost High School crest , a dark blue oval around a a sheaf of yellow corn is in the centre. This is a rough printed book. The contents have not been professionally printed.croajingolong orbost-high-school

This is the tenth issue of the Orbost High School annual magazine. The name Croajingolong derives from the Australian Aboriginal Krauatungalung words galung, meaning "belonging to" and kraua, meaning "east". This magazine belonged to Mary Gilbert, a former teacher at the school.This 10th issue of the annual Orbost High School magazine is a useful research tool.A stapled 50 pp magazine with a cream cover with dark blue printing : Croajingolong vertically on the left hand side. The Orbost High School crest , a dark blue oval around a a sheaf of yellow corn is in the centre. The cover has been professionally printed while the contents are rough printed.croajingolong orbost-high-school

This is the 11th issue of the Orbost High School annual magazine. The name Croajingolong derives from the Australian Aboriginal Krauatungalung words galung, meaning "belonging to" and kraua, meaning "east". This magazine belonged to Mary Gilbert, a former teacher at the school.This is the eleventh issue of the Croajingolong magazine and is a useful reference tool.A stapled 54 pp magazine with a blue cover. Croajingolong is printed vertically on the left hand side in dark blue. The Orbost High School crest of a yellow sheaf of corn inside a dark blue oval is in the centre of the front cover. This publication is a rough print. It contains some photo pages.croajingolong orbost-high-school

This is a simple household labour-saving device. The box was fitted to the end of the table and knife polish was sprinkled on the cloth inside. The knife was then placed in the centre of the box and clamped in tightly. The knife was then pulled backwards and forwards several times (three seconds was the suggested time) and the object was then deemed to be polished. All households had cutlery of some sort and many had good silver pieces that were meant to be kept in a sparkling polished condition. This cleaner would have assisted those in a household assigned to the care of the cutlery. These would have included the women of the household, the children or domestic employees. This item is retained as an interesting example of a household labour-saving device from 100 years ago. This is a circular wooden box with an extra piece at one end of the base and a sliding top lid with a wooden knob. The lid lifts up and the inside of the box and the lid is covered with rough cloth. Some of this cloth has rotted away. The top of the lid has a printed label pasted on. This is torn and soiled. ‘Patent The Magic Knife and Fork Cleaner’ ‘I am handy and useful where’r I am used, To clean knives and forks brightly I never refuse, In mansion or cottage to both I do go, So buy me, and try me, my worth you will know.’ household devices, history of warrnambool

Softcover Book, 442 Pages, Apps 1-9, Bibliography and Index, by Paul W Simpson. Front cover depicts the vessel in question in rough seas (oil painting), wide blue horizontal bands above and below the picture. Back covers is portion of a period photograph of the Loch Soy.non-fiction“The Loch Soy was built for Aitken, Liburn & Co of Glasgow. She sailed between Britain and Australia for more than twenty years. In that time she established a reputation as a crack wool clipper. … The clipper lasted twenty one years before coming to grief on the jagged shore of Kangaroo Island during the predawn hours of April 24th 1899 ...”--Back cover. Contains biographical information. Includes bibliographical references (pages 407-420) and index.clipper, loch, jammer, shipwreck, simpson, kangaroo island, loch sloy ship, wool, transportation

Wooden cabinet with wire mesh inserts on sides and doors. Swivel door with latch at the top and three shelves. Polished pine body with rough sawn timber back. A raised surround on three sides of the top. Evidence of a latch hook on left hand door and keyhole on right hand door. uebergang, allansford, food safe, food storage

Black and white panorama with mine workings (puddling machine and two horses and two workers) with scattered (residential?) buildings in open rough background. Inscriptions: on front - 'horse puddling machine 1861' hand printed across top. On back - 'Gold Mines Bendigo 1861, this could be Victoria Hill'.place, mining site, victoria hill ?

Black and white photograph of large group of men, women and children (approx. 100?). Children in front on grass. Ladies (seated?) and men in couple of rows behind. Rough pole and shingle building in background. Inscriptions: GP65, 'R Dermer Smith, Bull St, Bendigo'. On back - RHSV stamp.R Dermer Smith, Bull St, Bendigoperson, group

Black and white photo from Bendigo - the way we were series in the Bendigo Advertiser, November 14, 2000. The photo shows the township of Long Gully, Ironbark Hill in the distance. Date unknown. The photo shows houses, mine chimneys, trees and a rough picket type fence in the foreground.bendigo, history, long gully history group, the long gully history group - bendigo - the way we were - long gully, bendigo advertiser 14/11/2000, ironbark hill

The Blashiks were a German family and friends of the Brinkkotters. The son was Len Blashik. The family had a rough time during the First World War. They made tanks.The Reynolds family were early settlers in Research. The Reynolds/ Prior collection of photographs were taken by Tom Prior, the maternal uncle of Ivy Reynolds, around 1900 and the 60 photos in the album give a fine overview of many of the landmarks of Research and Eltham over 100 years ago. lvy lived in the family home for many years at 106 Thompson Cres Research. Ivy's father, Ernst Richard Reynolds and grandfather, Richard Reynolds, lived at the same address. Ivy's father Richard worked for Mr. Trail on his property in Research. Reynolds Road is named after the family. Mr Tom Prior (wife Eva) worked at the Melbourne zoo. He was very innovative and made his own camera, using the black cloth hood to exclude the light. The photographs are a reminder of the rural nature of Research and Eltham and its rich heritage. Black and white photograph mounted in an album, the Reynolds/Prior Photograph Collection, this being one of 53 reproduced black and white images of early Eltham.The Reynolds/Prior Photograph Collection, Presented to the Eltham District Historical Society, 14 June 2006 by Ross McDonald. A second copy was also presented to the Andrew Ross Museum, Kangaroo Groundblashik family home, houses, ingrams road, len blashik, research (vic.), reynolds prior collection

MEDIUM: Acrylic and gouache on canvas. DESCRIPTION: Gold painting on blue background, no frame. Crowded luminous stick figures dominate the canvas; a dark blue midnight sky the background, the strokes rough and brushed, the crowd is captured with sparks of light, points of activity around and amongst the figures gives the work movement. Signed and dated proper left hand side of image.the, in, gouache, bove, out, crowd, acrylic

Black and white photograph. View of Bendigo Many small buildings, weatherboard, stone, paling. Trees on horizon, Beehive stores in middle distance. Rough vertical stick fences, fencs in foreground. Taken from high ground. In image on parapet of building in middle distance ' Francis Brothers Beehive Stores'A. Fox ( James Lerk 11.2.2000 )place, streetscape, bendigo

This is one of a collection of items associated with Dr Felix Henry Meyer (1858-1937). Meyer was a very prominent early obstetrician and doctor, playing a part in the establishment of the role of the chair of obstetrics at the University of Melbourne in 1929. He was also a foundation member of the Royal Australian College of Surgeons.Surgical tool consisting of four metal prongs, extending from a frame in the rough shape of a pointed oval. The two lower prongs are straight, and the two upper prongs taper downwards towards the lower prongs. The top of the frame has a butterfly type screw point and two handles/finger grips.surgery

Diggers & Mining. Life Of the Selectors. Picture titled 'A Habitable Dwelling. ROUGH PARTY (appearing suddenly out of the end of a hollow log). ''Hullo, mate, what the blanks your little game?'' FREE SELECTOR. - ''Oh! Nothing much; going to take up a bit of land-run a few sheep, that's all friends.'' ROUGH PARTY. - ''Well, you needn't have come so blanked to the HOME STATION.'' Picture depicts man climbing out of a log and a man sitting on the log, and the billy over the fire with horse in background. Markings: Life Of the Selectors 1860 - 1890 Set 432 No. 20. A Habitable Dwelling- ''Melbourne Punch,'' October 22, 1874. Used as a teaching aid.Visual Education Centereducation, tertiary, goldfields

Rough Correspondence from the Ballarat School of Mines to the Victorian Department of Education concerning the World War One enlistment of staff members William Paterson and Ken Moss, and Mr Brown,and whether the department will keep their positions open for them after the war. A paragraph of the handwritten correspondence has been crossed out. world war one, recruitment, william paterson, ken moss, brown, repatriation

This is an artist's impression in reproduction of the Mechanics Institute building as it was in the 1880's. It has since changed quite significantly, especially what can be seen of the surrounds. The insert picture is an impression of the Industrial Pavilion which, as is stated, was used between 1856-1864 as temporary premises for the Institute. The print was first published in 'The Australian Sketcher' under the title "Sandhurst Mechanics Institute and free library: the new and old." [Go to the State Library of Victoria and the following link for more details.] http://www.slv.vic.gov.au/miscpics/gid/slv-pic-aab22020This is a significant print in an historical context, portraying the Bendigo School of Mines and Industries as it was in the 1880's, as well as the Industrial Pavilion. It indicates the significance of it to the community that an artist's impression was sought. Significance assessed in-house.A3 print on heavy paper. A reproduction of an artist's impression of the Mechanics Institute Building in the 1880's. The picture is of the building with an insert impression of the Industrial Pavilion used as temporary premises for the Institute from 1856-1864. It is a black and white print of the front of the building with rough depictions of people, horses, a carriage and trees in front of it."A reproduction of an artist's impression of the Mechanics Institute Building in the 1880's. / Insert. An impression of the Industrial Pavilion used as temporary premises for the Institute from 1856-1864"bendigo school of mines and industries, industrial pavilion, mechanics institute, bendigo, 1880, 1856-1864

Handwritten note on back of government form stating that plans were found in a plan press in PWDstockman's residence, plans, a.w. jessep