Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘67 in Montreal. The garden outside the pavilion featured a sculptural pool, a coral display, animal pool, a pit for kangaroos and Eucalypts and other native plants. The indoor exhibits covered aspects of Australian art and culture, architecture, industrial design and scientific innovation, such as the Snowy Mountains Hydro-Electric Power Scheme, the Parkes radio telescope, the design of Canberra, and the Australian way of life.Colour slide in a mount. Entry to Australian Pavilion (on left), kanagaroo display and Clifton Pugh's large panel depicting kangaroos, Montreal Expo '67, Canada (see also S0115).Made in Australia / 19 / MAY 67M6expo 67, montreal, robin boyd, slide

Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘67 in Montreal. The garden outside the pavilion featured a sculptural pool, a coral display, animal pool, a pit for kangaroos and Eucalypts and other native plants. The indoor exhibits covered aspects of Australian art and culture, architecture, industrial design and scientific innovation, such as the Snowy Mountains Hydro-Electric Power Scheme, the Parkes radio telescope, the design of Canberra, and the Australian way of life.Colour slide in a mount. Unknown display, possibly at Expo '67, Montreal, CanadaMade in Australia / 16 / MAY 67M6expo 67, montreal, robin boyd, slide

Colour slide in a mount. Magazine image of 'Horizon City' plan for El Paso (1959), Texas, USA. (Architect: Lucio Costa.)Made in Australia / Encircled 49 (Handwritten) / 1.5m (Handwritten) / city 'Horizon city' (Handwritten) / 167 mile (Handwritten) / lake park (Handwritten) / Texas new El Paso (Handwritten) / Brazchari (?): Lucio Costa (Handwritten) / 13 (Handwritten)the puzzle of architecture, slide

In 1964, Robin and Patricia Boyd spent several weeks on a world tour - Boyd took a leading role at the International Design Conference in Aspen and he also visited Chicago, Yale University, and New York’s World Fair. The Boyds then travelled on to England, Finland (especially to see Tapiola), Russia and India to see Le Corbusier's Chandigarh, and also Hong Kong and Thailand.Colour slide in a mount. Section of Art Architecture Building (1958-64), Yale University, New Haven, Connecticut, USA. (Architect: Paul Rudolph.)Made in Australia / 14 / OCT 64M / 44 (Handwritten)slide, robin boyd

In 1964, Robin and Patricia Boyd spent several weeks on a world tour - Boyd took a leading role at the International Design Conference in Aspen and he also visited Chicago, Yale University, and New York’s World Fair. The Boyds then travelled on to England, Finland (especially to see Tapiola), Russia and India to see Le Corbusier's Chandigarh, and also Hong Kong and Thailand.Colour slide in a mount. Section and plan of Art and Architecture Building (1958-64), Yale University, New Haven, Connecticut, USA. (Architect: Paul Rudolph.)Made in Australia / 15 / OCT 64M / 42 (Handwritten)slide, robin boyd

In 1964, Robin and Patricia Boyd spent several weeks on a world tour - Boyd took a leading role at the International Design Conference in Aspen and he also visited Chicago, Yale University, and New York’s World Fair. The Boyds then travelled on to England, Finland (especially to see Tapiola), Russia and India to see Le Corbusier's Chandigarh, and also Hong Kong and Thailand.Colour slide in a mount. The Penthouse, Art and Architecture Building (1958-64), Yale University, New Haven, Connecticut, USA. (Architect: Paul Rudolph.)Made in Australia / 7 / OCT 64M / Encircled 24 (Handwritten)slide, robin boyd

In 1964, Robin and Patricia Boyd spent several weeks on a world tour - Boyd took a leading role at the International Design Conference in Aspen and he also visited Chicago, Yale University, and New York’s World Fair. The Boyds then travelled on to England, Finland (especially to see Tapiola), Russia and India to see Le Corbusier's Chandigarh, and also Hong Kong and Thailand.Colour slide in a mount. The Penthouse, Art and Architecture Building (1958-64), Yale University, New Haven, Connecticut, USA. (Architect: Paul Rudolph.)Made in Australia / 6 / OCT 64M / 47 (Handwritten)slide, robin boyd

Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘67 in Montreal. The garden outside the pavilion featured a sculptural pool, a coral display, animal pool, a pit for kangaroos and Eucalypts and other native plants. The indoor exhibits covered aspects of Australian art and culture, architecture, industrial design and scientific innovation, such as the Snowy Mountains Hydro-Electric Power Scheme, the Parkes radio telescope, the design of Canberra, and the Australian way of life.Colour slide in a mount. Space exploration exhibits inside the US Pavilion, Expo 67, Monreal, CanadaMade in Australia / 32 / MAY 67M6expo 67, montreal, robin boyd, slide

Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘67 in Montreal. The garden outside the pavilion featured a sculptural pool, a coral display, animal pool, a pit for kangaroos and Eucalypts and other native plants. The indoor exhibits covered aspects of Australian art and culture, architecture, industrial design and scientific innovation, such as the Snowy Mountains Hydro-Electric Power Scheme, the Parkes radio telescope, the design of Canberra, and the Australian way of life.Colour slide in a mount. Train, Expo '67, Montreal, Canada. Alexander Calder sculpture in background.Made in Australia / 9 / MAY 67M6 / Encircled 19A (Handwritten) / 18 (Handwritten)expo 67, montreal, robin boyd, slide

Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘67 in Montreal. The garden outside the pavilion featured a sculptural pool, a coral display, animal pool, a pit for kangaroos and Eucalypts and other native plants. The indoor exhibits covered aspects of Australian art and culture, architecture, industrial design and scientific innovation, such as the Snowy Mountains Hydro-Electric Power Scheme, the Parkes radio telescope, the design of Canberra, and the Australian way of life.Colour slide in a mount. Possibly interior of a pavilion, Expo 67, Montreal, CanadaMade in Australia / 20 / MAY 67M6 / Encircled 20 (Handwritten)expo 67, montreal, robin boyd, slide

Colour slide in a mount. Drawing. Section through Art and Architecture Building, 1958-64. (Architect: Paul Rudolph.)Made in Australia / Encircled 50 (Handwritten)slide, robin boyd

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Image from a magazine of Yamanashi Press and Broadcasting, Kofu, Japan, 1966-7. (Architect: Kenzo Tange.)Made in Australia / 4 / OCT 64M / Encircled 49 (Handwritten)slide, robin boyd

Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘67 in Montreal. The garden outside the pavilion featured a sculptural pool, a coral display, animal pool, a pit for kangaroos and Eucalypts and other native plants. The indoor exhibits covered aspects of Australian art and culture, architecture, industrial design and scientific innovation, such as the Snowy Mountains Hydro-Electric Power Scheme, the Parkes radio telescope, the design of Canberra, and the Australian way of life.Colour slide in a mount. West German Pavilion, Montreal Expo '67, Canada. (Architects: Frei Otto and Rolf Gutbrod.)Made in Australia / 4 / APR 67M4expo 67, montreal, robin boyd, slide

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Image from a magazine of Yamanashi Press and Broadcasting, Kofu, Japan, 1966-7. (Architect: Kenzo Tange.)Made in Australia / 3 / OCT 64M / Encircled 16 (Handwritten)slide, robin boyd

Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘67 in Montreal. The garden outside the pavilion featured a sculptural pool, a coral display, animal pool, a pit for kangaroos and Eucalypts and other native plants. The indoor exhibits covered aspects of Australian art and culture, architecture, industrial design and scientific innovation, such as the Snowy Mountains Hydro-Electric Power Scheme, the Parkes radio telescope, the design of Canberra, and the Australian way of life.Colour slide in a mount. United States of America Pavilion, Montreal Expo '67, Canada. (Architect: Buckminster Fuller.)Made in Australia / 14 / FEB 67M2 / 22 (Handwritten)expo 67, montreal, robin boyd, slide

Colour slide in a mount. Sketch elevations by Robin Boyd. Central one of Eero Saarinen's TWA terminal New York airport, 1962 . (Architect: Eero Saarinen.)Made in Australia / Encircled 1 (Handwritten)the puzzle of architecture, slide

Colour slide in a mount. Image of the Anti-fallout school designed by the Californian Institute of Architects' Committee on Nuclear EnergyMade in Australia / Encircled 7 (Handwritten) / Anti-fallout (Handwritten) / Calif AIA's Committee on Nuclear Energy (Handwritten)the puzzle of architecture, slide

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Hiroshima Peace Memorial Museum 1951-3, Hiroshima, Japan. (Architect: Kenzo Tange.)12 / B (Handwritten) / Encircled 11 (Handwritten)japan, slide

In 1964, Robin and Patricia Boyd spent several weeks on a world tour - Boyd took a leading role at the International Design Conference in Aspen and he also visited Chicago, Yale University, and New York’s World Fair. The Boyds then travelled on to England, Finland (especially to see Tapiola), Russia and India to see Le Corbusier's Chandigarh, and also Hong Kong and Thailand.Colour slide in a mount. Borodino Battle Panorama Museum, Moscow, USSR, 1960. (Architect: Mikhail Vasilyevich Posokhin.)Made in Australia / 7 / AUG 64M / Encircled 14 (Handwritten) / 10 (Handwritten)the puzzle of architecture, slide

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Rikkyo University Library, 1960, Tokyo, Japan. (Architect: Kenzo Tange.)Made in Australia / 11 / 7 (Handwritten)japan, slide

In 1964, Robin and Patricia Boyd spent several weeks on a world tour - Boyd took a leading role at the International Design Conference in Aspen and he also visited Chicago, Yale University, and New York’s World Fair. The Boyds then travelled on to England, Finland (especially to see Tapiola), Russia and India to see Le Corbusier's Chandigarh, and also Hong Kong and Thailand.Colour slide in a mount. Image from magazine, The Penthouse, Art and Architecture Building (1958-64), Yale University, New Haven, Connecticut, USA. (Architect: Paul Rudolph.)Made in Australia / 8 / OCT 64Mslide, robin boyd

In 1964, Robin and Patricia Boyd spent several weeks on a world tour - Boyd took a leading role at the International Design Conference in Aspen and he also visited Chicago, Yale University, and New York’s World Fair. The Boyds then travelled on to England, Finland (especially to see Tapiola), Russia and India to see Le Corbusier's Chandigarh, and also Hong Kong and Thailand.Colour slide in a mount. Art and Architecture Building (1958-64), Yale University, New Haven, Connecticut, USA - image from a page of a magazine. (Architect: Paul Rudolph.)Made in Australia / 12 / OCT 64Musa, slide

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Communications Centre in Kofu, Japan 1966. Now known as the Yamanashi Broadcasting and Press centre (model) (see also S0594) - image from a page of a magazine. (Architect: Kenzo Tange.)Made in Australia / 5 / OCT 64Mjapan, slide

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Hiroshima Peace Memorial Museum 1951-3, Hiroshima, Japan. (Architect: Kenzo Tange.)5japan research trip, slide

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Children's Peace Monument, Hiroshima, Japan. (Architects: Kazuo Kikuchi and Kiyoshi Ikebe.)9 / 12 (Handwritten)japan, slide

Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘67 in Montreal. The garden outside the pavilion featured a sculptural pool, a coral display, animal pool, a pit for kangaroos and Eucalypts and other native plants. The indoor exhibits covered aspects of Australian art and culture, architecture, industrial design and scientific innovation, such as the Snowy Mountains Hydro-Electric Power Scheme, the Parkes radio telescope, the design of Canberra, and the Australian way of life.Colour slide in a mount. West German Pavilion, Montreal Expo '67, Canada. (Architects: Frei Otto and Rolf Gutbrod.)Made in Australia / 3 / APR 67M4 / Encircled 28 (Handwritten)expo 67, montreal, robin boyd, slide

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Kurashiki Town Hall (1960), Kurashiki, Japan. (Architect: Kenzo Tange.)Made in Australia / 20japan, slide

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka. Boyd called it the Sogetsu Art Center in his book “Kenzo Tange”, where it is extensively illustrated (Plates 77-82).Colour slide in a mount. Sogetsu Art center (1958), Tokyo, Japan. (Architect: Kenzo Tange.)Made in Australia / 18japan, slide

One man lost his life during the building of this bridge. The bridge was constructed by the Victorian Railways between 1927 to 1929 to carry a new double track goods line. This enabled trains from all parts of the state except Gippsland to have direct access to the Tottenham marshalling and sorting yards. These yards were constructed in the 1920's to relieve congestion in the Melbourne Yard near Spencer Street station. The congestion was being caused by the construction of suburban passenger platforms associated with the electrification of the suburban railway network. Initially the bridge was for goods trains but during the Second World War it was also used by troop trains. When the standard gauge line was built in 1962 all trains to Albury and Sydney have used this route, thus avoiding travelling through Essendon and Pascoe Vale on the suburban tracks. The standard gauge track across the bridge took the place of one of the broad gauge tracks so broad gauge trains crossing the bridge in either direction have to now use the same track. The bridge is 1,257 feet (383.13 metres) long and 180 feet (54.86 metres) above the water level. It is just 63 feet (19.2 metres) short of a quarter mile in length between abutments. There is a similar bridge on the same railway line crossing the Moonee Ponds Creek between Gowenbrae and Glenroy, however it is smaller at 1060 feet (323.08 metres) length and 115 feet (35.05) height.The bridge is now Victorian Heritage Registered under Number: H1197, and Heritage Overlay Numbers HO5, and HO107. On the Heritage Register it is named RAIL BRIDGE (ALBION VIADUCT). According to the Heritage Report the bridge is scientifically and architecturally important because of its large size, and because of the cost effective design features such as two girders per span (one for each track), the K bracing in the towers, and the broad flange beams as columns. When it was being built it was the largest trestle bridge in Australia, and until the Sydney Harbour bridge was constructed it was the highest railway bridge.Five B&W yellowing photos showing stages of construction of the Maribyrnong River Viaduct known as the Trestle Bridge but mainly known locally as the QUARTER MILE BRIDGE. It is a railway only bridge which runs over the Maribyrnong River between Sunshine North and Keilor East. A sixth image, which is not part of this set of photos, is included to show what the completed bridge looks like.

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