Born: Melbourne, Victoria, Australia 1848; Lived and worked: New Zealand 1866-1877, New Zealand, United Kingdom, United States 1892-1905; Papua New Guinea 1916 and 1918; Died: Macedon, Victoria, Australia 1922VictorianLedger Bequest, 1993Watercolour and gouache on paper depicting pink flowers and yellow butterflies in a sparse field. Gold brushed timber frame with off white window mountRecto: Signed "Ellis Rowan" in red watercolour in l.l.c of composition; Not dated; Not titledwatercolour, landscape, flowers, sky, clouds, trees, butterflies

Signed and dated, left of centre (on bottle), grey oil"J. Giles/1866".

The Buddhist monk Guangqia visited Karl Duldig’s studio on two consecutive days, in the company of the noted Chinese writer, Professor Yu Dafu, a friend of Karl’s. Karl made two portraits of the monk, the first depicting him sitting, and the second in a standing pose. The portraits were drawn using a Chinese brush and Indian ink. Surviving sketches in the Studio’s collection indicate that Karl thought about creating a life-size sculpture later on, but this was not realised. Guangqia added inscriptions in his own hand to both drawings and stamped them with a red seal. The seated drawing has an inscription in which he quoted from a Buddhist poem, ‘A Contented Mind’ by the scholar Lingfeng of Mt Tiantai. In the summer I went to visit the Austrian sculptor Duldig with Professor Yu Da Fu. My virtue is slight – I cannot accept your offerings and gifts; I am amply rewarded by the clouds and springs. Rather than a table laden with pearl-like rice, I prefer the wind and leaves falling on my bed. Sitting quietly on my meditation cushion Is sweeter than the wheat offered by a thousand families. The pity is that I am gradually growing old; My bitter journey is not worthy of your offerings. The second drawing has a quote from a Buddhist poem on the study of Chán (Zen) Buddhism, by the famed Chán master, Dàjiàn Huìnéng (638–713): The portrait, with its figure positioned on a scroll-like ground and inscription is reminiscent of traditional Zen Buddhist portraiture. In this school of portraiture, which stretched back to at least the thirteenth century, monks were depicted sitting or standing facing the viewer, and typically the monk added an autographic inscription to the portrait. The portraits were often passed from master to disciple, continuing the disciples’ journey of spiritual enlightenment and were revered for their association with remarkable or holy priests. The Buddhist monk, Guangqai who added his inscription and stamp to the drawings would most certainly have been aware of this tradition. It is likely that Karl was aware of this tradition, one of the points where the studio’s collections of art works from Singapore intersect with the earlier Viennese collections can be found in the Library where a catalogue of an exhibition, 'Ausstellung Ostasiatischer Malerie und Graphik' is held. The Viennese Friends of Asian Art and Culture and the Albertina Museum staged this exhibition of East Asian painting and graphic works in 1932. Such was the internationalism of Duldig’s education in Vienna, that adaption to a new environment and culture in the Straits Settlement was swift, and he was able to interpret the artistic traditions of the place, and make them his own. It is part of the strength of the collection, that in many cases contemporary supporting documentation for the works of art is available. In this case there is a photograph of the Monk with Yu Ta-fu, and Karl and Eva Duldig, outside the studio at the time the drawings were made. Ann Carew 2016The portraits of Guangqai have national and international aesthetic significance. The works of art demonstrate the artist’s skill in capturing the physical appearance and demeanour of his subject, and his ability to adapt his working methods to incorporate traditional Asian materials and cultural practices. The portrait is one of few examples in Melbourne of a central European modernist artists working in, and engaging with Asia, during this period and it is culturally and aesthetically significant for this reason. The portraits are also historically interesting in documenting the life and experiences of Karl Duldig in the Straits Settlement (Singapore). Ann Carew 2016Brush drawing in chinese ink on paper. Seated Buddhist Monk. Chinese calligraphy hand written in black ink. Two red stamps under calligraphy.Signed Karl Duldig in l.r. corner. Dated Singapore 1940 in l.l. corner.

WoodcutSigned and dated l.r. cnr. beneath image, pencil "Rick Amor '86"runner

Drypoint etchingTitled, edition 1/25, signed and dated 1923 under printed imagefactory, industrial, etching, architectural

Oil on canvasSigned R. Forbes in lower left corner. Verso: 1989 upper corner.

PrintSigned 'Kees Hos 422' in lower right corner under printed image.

PrintSigned 'Kees Hos 424' in lower right corner under printed image.

PrintSigned 'Kees Hos 426' lower right corner under printed image.

PrintSigned 'Kees Hos 428' in lower right corner under printed image.

Charcoal on paperTitled, signed and dated 'THE SWAMP Bellany '83' in lower right corner of drawing.

Charcoal on paperTitled, signed and dated 'The Scream Bellany '83' in top left corner of drawing.

Pastel on paperTitled, signed and dated in lower right corner of drawing: 'Jeff' Bellany 83'

Charcoal on paperTitled, signed and dated in top left corner of drawing: Cockatooman Bellany 83

EngravingSigned and dated 'J Mather. 87' lower left corner in printed image.

PhotographSigned and dated 'Colin Suggett 2001' lower right corner under image.

Colour photographSigned 'Colin Suggett 2001' lower right corner under printed image.

Colour photographSigned 'Colin Suggett 2001' in lower right corner under printed image.

Oil on canvas board Signed and dated 'T De Kessler 1962' in lower right corner of painting.

Pencil on paperSigned and dated lower right corner: T DeKessler 1963 10th July

Pen and ink drawing on paperDated '8.1.53 Melbourne' in lower left corner of image. Signed lower right.

PastelSigned and dated lower right corner of drawing, pencil, monogram "R.S./ 86".

From 1838 early Ballarat was settled by pastoralists in ideal conditions, a peaceful, verdant valley where the hills were clothed in virgin forest and the flats covered with lush pasture. Then gold was discovered to spark off what was Victoria's first great gold rush. This book covers the gold rush after on the aboriginal ownership and early pastoral activities.Ballarat: the formative years. A.W. Strange. B. & B. Strange; Ballarat (Vic); April 1982. viii, 100 p.; illus.; map. Soft cover. ISBN 0 9596802 3 3Signed: "A.W. Strange 10/1/1983" Map inside back cover.ballarat; pastoralism; aborigines; gold rush; mining; eureka; local government; a.w. strange;

Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Pen and wash drawing, set in an external card mount, depicting the south wing of Xavier College, Kew by Joy Stewart.Inscription: "South Wing" - Xavier College." Signed lower right: "JStewart 78".joy stewart, xavier college - kew (vic), schools - kew (vic)

Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Sydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.Watercolour, pen & Ink on paper by the artist and local historian Joy Stewart of 45 Cotham Road, Kew. Inscription: "Doorway -, 45 Cotham Road, Kew." Signed lower right: "JStewart".cotham road (kew), joy stewart

Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Sydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.Watercolour, pen & Ink on paper by the artist and local historian Joy Stewart of a building in Studley Park Road, Kew.Inscription: "Farmhouse" - St. Paul's School for the Blind." Signed lower right: "JStewart".joy stewart, st paiul's school for the blind, neama

Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Sydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.Watercolour, pen & Ink on paper by the artist and local historian Joy Stewart of 'Roberts House', Trinity Grammar School. Inscription: "Roberts House / Trinity Grammar School." Signed lower right: "JStewart"roberts house - trinity grammar school, property illustrations -- kew (vic.), joy stewart 1925-2018

Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Sydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.Pencil, pen & Ink sketch on paper of the pair of two-storey terrace houses at 14-16 Princess Street, Kew by the artist Joy Stewart. Inscription: "14-16 Princess Street, Kew". Signed lower right: "JStewart".joy stewart, princess street (kew)

Includes: viewing penguins in the 1920's; Summerland - AKT Sambell, 1944 Town Planning Act, the Summerland Comunity, and Summerland today. The author is a local resident and foundation member of the Surrey Hills Progress Association. Content is centred on the Phillip Island penguin parade and charts a conservation and development struggle that endured for almost 80 yearsContent is centered on the Phillip Island penguin parade and charts a conservation and development struggle that endured for almost 80 yearsSigned on inside cover page by author: Gregor Buchanan / 18/8/15penguins - phillip island, birds - victoria, wildlife conservation - victoria, phillip island penguin reserve - victoria, summerland estate