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

This piece of fabric, known Fälter (butterfly), was designed by Mathilda Flögl (1893-1958), who worked in the textile department of the Wiener Werkstätte in Vienna. It is a remnant of the fabric that was used to make a bedspread for Karl and Slawa’s bed in their Vienna apartment where it lay decoratively over a gold brocade eiderdown. The purchase demonstrated Slawa’s interest in and knowledge of modern design and her commitment to the idea of enriching everyday life with beautiful objects, a principal of the Viennese Secession. Following the Duldigs removal from Vienna, the original bedspread and remnant were safeguarded and preserved by Slawa’s sister, Rella, in the basement of her Paris apartment. In 1948 the bedspread and this remnant were sent to Australia. The bedspread was a much-loved item but deteriorated over the years. In 1955 it was made into curtains, which are held in the Duldig Studio Collection. The Photographs of the bedspread in its original location are also held in the collection. The remnant is in pristine condition. The Wiener Werkstätte (Vienna Workshop) was a guild of designers and craftsmen that was founded by the architect Josef Hoffman (1879-1956) and the designer Koloman Moser (1868-1918). The firm manufactured a range of interior furnishings between 1903 and 1932. The textile department opened in 1900, and produced about 1,800 designs, mainly for printed fabrics for furnishings and apparel. The designs were characterised by simplified forms and vivid colours, and inspired by Eastern European peasant art and geometric motifs in contemporary painting. The workshop had a profound impact of European art and design, and its work is still celebrated today. Mathilde Flögl was born in the Czech Republic in 1893, and studied at the Kunstgerwerbeschule in Vienna. In 1916 she began working at the Weiner Werkstätte, and where she designed more than 120 textile patterns. This fabric Fälter or Butterfly was designed in 1924. The butterfly was a favourite motif of Flögl. In this design she plays with a variety of whimsical abstractions and arrangement of both the butterfly and the snail on a background of abstract colour stripes and blocks. Ann Carew 2016The fabric is of great aesthetic interest as an example of the work of the Viennese workshops, and the noted designer textile designer Mathilde Flögl. The original pencil drawings, pencil and gouache designs, and fabric swatches for Fälter are held in the MAK Museum in Vienna, and the Victorian and Albert Museum in London have a sample of piece of the silk fabric in an alternate colour wave. The Museum of Applied Arts in Sydney holds a swatch book of textiles from the Wiener Werkstätte, however Flögl’s work is not represented. The National Gallery of Victoria holds a similar swatch book. The remnant has an excellent provenance, is associated with a powerful personal narrative, and is significant and rare item relating to history of the Wiener Werkstätte in Vienna, and the oeuvre of Matilda Flögl.   Ann Carew 2016Remnant of a block-printed silk fabric used to make the bedspread for Karl Duldig and Slawa Horowitz-Duldig's bed in Vienna.

This sculpture is a bronze cast of Karl Duldig’s 1956 terracotta sculpture titled 'Moses'. The terracotta sculpture won the 1956 Victorian Sculptor of the Year award, an honor given by the Victorian Society of Sculptors. The National Gallery of Victoria purchased the original terracotta sculpture for the Gallery’s collection in 1956. In 1979 the NGV allowed Karl to cast the original terracotta sculpture in bronze (to a limited edition of 5). The National Gallery of Victoria holds one of these casts and one is in Duldig Studio collection. The original terracotta sculpture was exhibited in 1956 at the Olympic Arts Exhibition in Wilson Hall at the University of Melbourne. Two other works by Karl were also exhibited, a sandstone titled 'Adam and Eve' and a work titled 'Fountain'. The catalogue for the Olympic exhibition, which promoted modernism across a variety of disciplines, noted that Australia’s post war immigration program had given ‘further momentum to the modernist cause’. The identification of émigré artists, such as Karl Duldig, with the acceptance of modernism in Australia became a major theme in any discussion of art and design in the post war period. Ann Carew 2016The subject Moses and the tablets of law is an important theme in the history of art. For example the National Gallery of Victoria collection includes paintings on this topic by the Australian Aboriginal artist, Queenie McKenzie (1991), prints by the Russian-French modernist artist, Marc Chagall (1956), and a painting by 19th century British academic painter, John Rogers Herbert (1870s). Michelangelo’s sculpture of Moses is perhaps the most famous sculptural interpretation of the subject. In Karl’s hands we have a modern interpretation of the theme. His simplification and abstraction of form and attention to surface modeling is masterly. The figure has an emotional intensity and despite its relatively small scale, a ‘forceful monumentality’. The sculpture is aesthetically significant for its craftsmanship, expressive qualities and modernity. It is historically significant because of its associations with the 1956 Olympic Arts Festival. The Duldig Studio’s bronze cast of the sculpture was exhibited in the exhibition '1956: Melbourne, modernity and the XVI Olympiad, Museum of Modern Art at Heide.' Apart from the formal qualities of a work like Moses, its relevance as a motif in Judaism and Christian faiths ensures its place as a work of spiritual significance. Ann Carew 2016Bronze cast from terracotta sculpture. Depicts Moses as in Exodus 32 when he returns from Sinai with the tablets of the law to find his people worshipping the golden calf, in his fury he holds the tablets aloft above his head before crashing them down on the ground.

Nicholas Nedelkopoulos is an established artist, his work is represented in the Metropolitan Museum of Art, New York, the National Gallery of Australia and in numerous International and Australian Public and Private Collections. His work has been included in major historic exhibitions: the National Gallery of Australia's Federation touring exhibition, The Australian Bicentennial Folio and Victoria's 150th Anniversary exhibition curated at The State Library of Victoria and National Gallery of Victoria. He has a Diploma of Fine Arts from Victorian College of the Arts, a Master of Fine Art from the University of Melbourne (Victorian College of the Arts) and has a Doctorate from Monash University. Nedelkopoulos' work is based strongly in graphic tradition which can be seen throughout all of his media.'The Sneeze' alludes to a feverish response, an irritation, a period of temporary discomfort, or a sign of sickness. On a visit to Eltham in 1995 Nedelkopoulos became aware of the disquiet felt by many residents because local government was not in the hands of elected representatives. 'The Sneeze' is an allegorical work, which serves as a reminder of this period in our municipal history. Nedelkopoulos has constructed an environment similar to a theatre set in which every element is a symbol to be deciphered. Whether you read the red-nosed figure as democracy being challenged by the political circumstance, as representing the unelected commissioners surrounded by the criticism of the community, or as another player in the story, to unravel the meaning of individual elements will provide direction and add weight to your interpretation. Without knowledge of the artist's intention the work can convey quite straightforward messages and responses. For example, the misery of hayfever in Spring, or how germs spread from a single sneeze. Such ideas are relevant and provide the metaphoric basis for a more in-depth analysis.Pastel drawing on paper. Image depicts a small black figure with a small monkey on a lead. The figure has a red nose to which he is holding a tissue. He is walking through what appears to be a flowering forest.nedelkopoulos, the sneeze

Penelope Aitken lives and works in Melbourne, Australia. She makes paintings and installations about relationships: between people, between things and between people and things. Recurring subjects include friendship, genealogy, romantic liaisons, and cross-cultural exchange as well as gardening, craft and landscape design. 'I am interested in the social, psychological and aesthetic motives behind organisation, belonging and displacement and I often make work that investigates such arrangements.' She has held regular solo exhibitions since 1995 and has been represented in group exhibitions since 1989. These have included shows in public and commercial galleries, artist run spaces, outdoor projects and festivals in Melbourne, Sydney, Perth, Brisbane, Bundaberg, Kuala Lumpur, Taipei, Tokyo and Famagusta, Northern Cyprus. Aitken has previously worked at the Australian Centre for Contemporary Art and at Asialink at the University of Melbourne. From 2006 - 2009 she was a board member of the Melbourne artist run gallery, West Space and she has also curated and coordinated numerous exhibitions and written and edited catalogues, articles and essays. She holds a Bachelor of Arts and a Bachelor of Education (Visual Arts) both from The University of Melbourne and completed her Masters of Fine Art at the Victorian College of the Arts in 2004. In 1997 Aitken was selected to be a studio artist for two years at Gertrude Contemporary Art Spaces, Melbourne and in 2000 she undertook an Australia Council Studio at the Taipei National University of the Arts, Taiwan. More recently she spent two months in 2007 at the Laughing Waters Residency, Birrarung, in Eltham, Victoria. There she began her current interest in the rocks used in the landscape designs of Gordon Ford. Paintings of Ford's rocks made since 2007 as well as glacial erratics, meteors, and other natural and displaced rocks were exhibited in March 2011 at the Light Factory Gallery in Eltham in a show called My History of here, and Second Nature, one work from this exhibition, was awarded first prize at Eltham Masterworks 2011. Other work made about rocks in nature and culture include: the project, A dark archive, as well as in two installations: You seem so settled for one that doesn't belong held at West Space in 2009 and Gathering these things to remind me of home shown in 2010 at the Bundaberg Regional Art Gallery, Queensland. In July and August 2007 Aitken undertook an arts recidency at Birrarung, a house and garden designed by Gordon Ford and managed as the Laughing Waters Artist in Residence Program by the Shire of Nillumbik Victoria. The rocks depicted in the painting 'Mapping Mass & Void 10' are all taken from the garden at Birrarung. Aitken has made reference to those rocks and the way in which Ford thought of the rocks as individuals that need to be handled and placed with consideration to show off their best aspects.oil and acrylic on linen ek prac 2015

Important Victorian Labour Day annual event in Melbourne and many floats form a lengthy parade - celebration in the streets of Melbourne, concluding at the Alexandra Gardens along River Yarra; it is a presentation of various communities, arts and cultural performances in the State of Victoria.Getting together, celebrating multicultural community and many facets of social lifeGold plated trophy presented to Slovenian Association Melbourne in 1980 for the entry of a float at the Moomba parade.Melbourne Moomba Festival Chairmans Trophy 1980 Best Float by First Time Entrantslovenian association melbourne, moomba parade, moomba festival melbourne, moomba float

This photograph informs the viewer of the grand ballroom at Rippon Lea homestead in Elsternwick in the late 1800s. One of 33 rooms in this mansion, built for Fredrick Sargood in 1868, the ballroom stood where the swimming pool is currently located. Louisa Jones’ (nee Nathan) love of the 1930s Hollywood style prompted her to demolish the old ballroom and replace it with the swimming pool. She converted Sargood’s billiard room into a ballroom during the late 1930s. Large black and white photograph (now sepia with age) in a ' landscape format' mounted on cardboard. The room featured in the image has an arched dome-shaped roof, a floor adorned with rugs, a vast and heavily ornate space and approximately 12 wicker chairs in the foreground.Written on verso of mount: 'Ballroom & organ at Rippon Lea' Stamped onto front left bottom corner of photograph: 'Johnstone & O'Shannessy/ & Co./ Propy. Ltd/ Collins St. Melb.' rippon lea, 1890s, ballroom, architecture, decorative arts, sargood family

Collected by Adele Grey and owned by Jenny Lang who was a member of the Embroiderers Guild of Victoria and held exhibitions of her work at the Arts & Crafts SocietyTwo White pillow shams (3861.1 and 3861.2) with white embroidery flower design and eyelet work in each corner and oval design in centre. 7cm crochet lace around edge. Make Reg No NA3861.1-2manchester, bedding

Embroidered pieces donated by Adele Grey from the collection of Jenny Lang who was a member of the Embroiderers Guild of Victoria and held exhibitions of her work at the Arts & Crafts SocietyCream linen edged in orange silk buttonhole stitch centre embroidered with yellow and orange daisies and green leavesmanchester, table linen

Silk piece donated by Adele Grey from the collection of the late Jenny Lang. Jenny was a member of the Embroiderers Guild of Victoria and held exhibitions of her work at the Arts & Crafts SocietyCream silk square with scalloped edge. Each corner is embroidered with a design of flowers, leaves and butterflies. The scallop edging is embroidery os hand worked with silk thread.costume accessories, female

Coaster showing 'Pannam's Store 1900' is historically incorrect as Pannam did not come to Vermont until c1934. It appears that it was known as 'Vermont Store' in 1900.Boxed set of six square coasters with rounded edges. Gilded alloy surface etched with black line graphics featuring scenes of early of the former municipality of Nunawading. Each coaster is backed with blue foam/felt. Rectangular presentation box with maroon colour lid - label inside.On each coaster-:|Pannam's Store, Vermont 1900|First Nunawading Council Chambers 1925|Backhouse's Dairy 1920|Nunawading Coat of Arms 1872|Blackburn Railway Crossing 1882|Schwerkolt Cottage Pump 1864|On label is typed 'Collector's Item. This is one of only 100 sets of coasters showing early Nunawading, designed by Jean Abbott, for Nunawading Arts Council to celebrate Victoria's 150 anniversary'|Written in ink '75'. Signature in ink 'jean Abbott'.civic mementoes, souvenirs, domestic items, table setting

Coloured photo of president of Nunawading and District Historical Society, Valda Arrowsmith, receiving Accreditation Certificate from Minister for the Arts, Mary Delahunty on behalf of Museum Accredit ion Program (MAP) of Museums Australia Victoria at the Capitol Theatre melbourne.museums australia (vic) museum accreditation program, nunawading and district historical society, schwerkolt cottage and museum complex, arrowsmith, valda, delahunty, mary, victoria. ministry of the arts

Contains historical reference to Dandenong, Victoria, Australia.Glass plate issued for the centenary of Dandenong, Victoria, Australia. Contains a print of the official blazon. Then origin/meaning of the blazon is as follows: The shield portrays from base to chief the development of Dandenong, since its beginning about 1865. The red gum forests used to cover the area, and when cleared cattle were raised. In the modern era the city is known for its variety of modern industrial plants, represented by the gear wheels. The rising sun in the crest suggests that this phenomenal rise is only just a a beginning of Dandenong's develpment. The lyre alludes to the annual three-week Dandenong festival of Arts and Music. The value of horses in the pioneering days, when Dandenong was the 'Gateway to Gippsland Victoria' is recalled in the two supporters, which also refer to the importance of the weekly horse sales in the modern era.Crest in the centre of the plate with the latin phrase VIRTUTE ET OPERA. Under the crest is the centenary 1873 - 1973.

On awards night for the combined repertory groups of Victoria, the Mitcham Repertory Group donated the Max Grant Perpetual Trophy for 'best actor in a comedy'. In 2002 a plaque was installed by the Nunawading Arts Council, acknowledging the contributions of Max Grant, Albert Brown,Hazel Mourney, Noel Browne and Joan Abbott as members of the Nunawading Arts Council.Black & white studio-type photograph of Max Grant in collar and tie. His name is adhered to right upper corner.mitcham repertory group, grant, max

The V&A is the world’s leading museum of art and design, housing a permanent collection of over 2.3 million objects that span over 5,000 years of human creativity. The Museum holds many of the UK's national collections and houses some of the greatest resources for the study of architecture, furniture, fashion, textiles, photography, sculpture, painting, jewellery, glass, ceramics, book arts, Asian art and design, theatre and performance. https://www.vam.ac.uk/info/about-usDigital photographs of a stained glass window at the Victoria And Albert Museum, Londonvictoria and albert museum, window, interior, stained glass window

Jacqueline Dark attended Ballarat Grammar school. She has won many awards for singing and performs with Opera Australia.A4 page in colour from school magazineJacqueline Dark was recognised in Melbourne's premier arts award ceremony. The Green Room Awards recently for her work as Composer in Victoria Opera's Ariadne and Naxos. Jacqui was nominated in the category of "Female in a Leading Role" along with Yvonnne Kenny, Dominica Matthews, Tiffany Speight and Susan Bullock. All performances were of exceptional quality. The nominations and awards are made by the Green Room membership of industry professionals via sub-committees for each discipline.jacqueline dark, the green room, awards, yvonnne kenny, dominica matthews, tiffany speight, susan bullock

In 1969 RMIT lecturer Gerard Herbst arranged an exhibition the work of his Industrial Design students at the NGV’s Design Centre. In ‘Design with Paper' the students explored the characteristics of a sheet of paper, an exercise based on similar ones set by Josef Albers at the Bauhaus, Germany and Black Mountain College, USA. The exhibition attracted press attention, Bulletin critic Brian Hoad noting You are told that in the tradition of Gropius and his Bauhaus experiments of the ‘twenties they are attempting to bridge the gulf between the fine arts and the technical crafts to produce one day from among their numbers a new type of creative thinker. Photograph featuring students in 'Designs Performing' exhibit. Students are from the RMIT Industrial Design course.design, rmit university, bauhaus, industrial design

Site plan drawing of the Shepparton Aboriginal Arts Council building, now known as the Bangerang Cultural Centre. The building is located in the Parkside Gardens, formerly the Shepparton International Village, and is the first Aboriginal cultural museum developed and managed by the Aboriginal community. The building is part of the Victorian Heritage Register. Romberg designed the building in conjunction with project instigator and Bangerang Elder, John Sandy Atkinson, OAM. At the request of Romberg, Atkinson created some concept sketches for the building from which Romberg designed the finished structure.Site PlanInitialed in grey pencil, bottom right: 'F.R'architecture, museum

Joyce Coffey (nee Hiddlestone) was the first woman to receive recognition as a designer in a major Australian manufacturing business, Kempthorne Lighting, where she was the chief designer in the post war period. These design drawings by Joyce Coffey were for the Well Glass lamp series of lights that were designed for indoor and outdoor use. Joyce Coffey worked in partnership with Selwyn Coffey on the designs. In 1956 lights from this series won a bronze award in the Industrial Design section of the Arts Festival exhibition of the Melbourne Olympic Games. Ann Carew, 2017Drawings of a Kempthorne Well Glass Wall Bracket and Ceiling Lamplighting, design, melbourne olympic games, industrial design

Robin Boyd wrote this when he was a Trustee of the National Gallery of Victoria. This article is a critical assessment of Australia's and Australians attitude to art and artists and culture.australian culture, arts, artists, walsh st library