Hard cover - Black with author and title in gold on spine. White dust cover - photo of solder on front and six photos on back. 704 pages - illustrated - 7 mapsDonated by Len Burke on fly leafdocuments-diaries, military history

Defying the Odds tells the story of officers of B & E Forces interred at Sandakan & Kuching during World War II.Soft card cover. Red & cream cover illustrated front & back. Title on cover & spine in black letters. 237 cut edge pages. Black & white illustrations.On first page: Len Burke 12.10.06, Donated by Len Burke.books, military, history, valour

Book, soft cover. Front cover has an image of jungle vegetation & coastline. Print is gold & red ink. 255 pages, illustrations & some maps.Len Burke Donated by Len Burkebooks, military, history

"In Memories of Vietnam" Australian who knew the war from close up look back over the years and recall their experiences in their own words. Sft cover, card board, white, beige and black print of front book and spine. Front cover illustrated with black and white photographs of three soldiers in uniform with jungle background, beige colour back cover bacvkground. 283 pages.On front fly leaf - hand written blue ink " Donated by Leon Burke".books, militar history

WARRNAMBOOL MECHANICS’ INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in November1884 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year Joseph Archibald established a Museum; however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established, and in 1885 a new building was built at the back of the Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished)). In 1911 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until the contents of the Museum and Art Gallery were removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historic books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historic Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library, ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. The Warrnambool Mechanics' Institute Library book collection is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. Journal of Landsboroughs Expedition From Carpentaria in search of Burke and Wills (maps missing) Publisher: Wilson & Mackinnon Date: 1862Label on spine cover with typed text RA 919.4 LAN Pastedown front endpaper has sticker from Warrnambool Mechanics Institute and Free Librarywarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, great ocean road, book, warrnambool library, warrnambool mechanics’ institute, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, warrnambool public library, journal of landsboroughs expedition, carpentaria, wilson & mackinnon

Helene Frances nee Tickell, daughter of William Tickell of Quarry Hill. She first married George Joshua Francis "Fred" Parkinson (27 January 1884 – 22 October 1913), a railway worker and AFL player. Fred died after a horrific railway accident leaving her with a three months old baby. She then married Patrick Thomas Burke in 1915. Patrick Burke was called up on 18 June, 1915, and placed in the 7th Reinforcements for the 8th Battalion, 2nd Brigade. He was made Acting Corporal for the duration of the voyage when the group left Melbourne on HMAT Demosthenes A64 on 16 JulyCommemorative Plaque for Helene Frances Burkehelene frances burke, 1958, williamstown, lightkeepers' auxiliary, treasurer, flagstaff maritime museum, mrs p. burke, mrs p.t. burke, patrick thomas burke, helene frances parkinson nee tickell, helene frances burke nee tickell

Book developed from the Heritage Week 2011 display featuring some pioneering farming families connected with Warrnambool Cheese and Butter Factory Ltd. The book was printed and launched at the 125th Anniversary celebrations of the factory in May 2013. Families featured are Anderson, Burke, Burleigh, Chislett, Kelly, Logan, Mahony, McConnell, Rea, Taylor, Uebergang.Records the contribution of early dairy farming families connected with Victoria's oldest dairy processing manufacturer. The company was established in May 1888 and commenced commercial processing in November 1888. The company remained as an independent processor until early 2014.White cloth bound book with chrome screw binding, green and cream Warrnambool Cheese and Butter Factory Company logo and title in green print; 12 laminated pages, full colour. Book printer details on sticker on inside back cover.Spectrum Print Solutions/for all your printing needs/Shop2,377 Raglan Pde, Warrnambool/Ph 03 5561 5233 www.spectrum-oz.comdairying, dairy processors, milk, butter, cheese, families, anderson, burke, burleigh, kelly, logan, mahony, mcconnell, rea, taylor, uebergang, warrnambool cheese and butter factory company, wcb, anniversary celebrations

Commercial account book used to record attendance at board meetings of the directors of Warrnambool Cheese and Butter Factory Limited including special board meetings. Meetings were held at Allansford and Garvoc. Signatures of directors between November 1932 and February 1985 are recorded. M Burke was chairman during this period from the first entry in 1932 until June 1953. Other directors at the first recorded meeting were James Burleigh, RP Harney, JP Logan, JC Mattinson, TC Blain; WA Anderson was absent. James Burleigh was another long-term director retiring in June 1960. Final entry is 28 February 1985 when John F Anderson was in the chair; directors were JP Mahony, Anthony Rea, James McKinnon, MG Carey, Charles j Wines, Douglas J Logan. A second attendance book is also in the collection.This Attendance Book is important because it is the earliest known original record of directors' attendance at board meetings as previous records from 1888 were destroyed in a fire in 1929. It also records the succession of families from father to son to the board.Rectangular commercially printed portrait orientations hard bound account book with green paper tape on spine; covered in gold paper with sticker on the front adhered with sticky tape; typewritten label in capital letters ATTENDANCE BOOK with decorative typed underlining. The early entries are in ink and change to ballpoint pen for later entries.[Board] Meeting held at Garvoc factory 17th November 1932warrnambool cheese and butter factory company ltd, garvoc, allansford, board meetings, directors, 1932 to 1985, burke, burleigh, anderson

The Ballarat School of Mines had a 'Model Mine' that was used to teach students. Practical work was undertaken for a fee, supervised by laboratory superintendents. Copies of assays undertaken are compiled together in this book. Leatherbound ledger with transfer copies assay reports from the Ballarat School of Mines. Those seeking assaying work from the Ballarat School of Mines are listed in alphabetical order in the front of the ledger. The ledger contains 543 pages. .2) Foolscap assay report on foolscap Ballarat School of Mines letterhead, and signed by Alfred Mica Smith, Superintendent of Laboratories. The report was on eight samples of Quartz submitted by R.C. Morgan, Scotts, Hotel, Melbourne .3) Assay report on Ballarat School of Mines letterhead, dated 14 August 1985, and signed by Andrew Berry, Registrar. The assay was supervised by Professor Alfred Mica Smith, and undertaken for James Burke, Broken Hill, New South Wales. .4) Assay report on Ballarat School of Mines letterhead, dated 18 August 1988, and signed by Alfred Mica Smith, Superintendent of Laboratories. The assay was undertaken on samples of Limonite submitted by James Burke and others, Broken Hill, New South Wales. The report includes information the the Ballarat School of Mines museum and the search for geological specimens from all Australian colonies for the collection. .5) A 'rough' assay report on samples of stone submitted by H. Major Senr, Wilcannia, New South Wales. 5) A 'rough' assay report on sample quartz drillings from quartz reef submitted by H. Morris, Egerton, and an sample of quartz and pyrites for determination by Professor Krause submitted by R.M. Serjeant. ballarat school of mines, a.c. allan, brittania g.m. co., s. body, black horse company, john m. bickett, william bell, james barker, w. bliss, w. bailey, william barrou, w.h. batten, w. bechervaise, band and albion, budd bros, charles barker, i. cahir, a. chamber, w. cahill, james coglan, d. clarke, a.w. dobbie, john dosett, john dunstan, j.a. evans, l. eggleton, charles forbes, d. fitzpatrick, e. ford, michael goold, j. graham, john greenwood, james hayes, ed hardy, arthur harvey, george hodges, john hall, jubilee gold mining company, krause, luplau, lempiere, mt lyell co, john law, ed meadway, john murray, j.h. middleton, c.m. miles, m. muir, e. mcmillan, w. mcdougall, c. napier, w.r. nicholls, napier freehold, w.b, ochiltree, oakleigh gold mining company, dr pinnock, c. quin, james ross, c.b. retallack, e. rowlands, royal standard, linton, frank rabling, william russell, charles soloman, f. selby, w.j. scott, sulieman pasha co, south clunes united, h.w. sinclair, george selby, e.h. schroeder, horsham, e.w. spain, c.h. sheary, sir henry loch gold mining company, a. sutherland, saxon consols, j.b. triggs, h. townsend, harold turnley, c. taylor, melbourne, c. thorpe, a. vandenberg, charles walker, charles wilson, thomas wellington, a. wynne, r. warne, e. wattis, john wood, walter warner, armidale, c. winterbottom, w.l. willliams, j.c. young

Land sales in the Municipality of Moorabbin increased when the train line from the City to Frankston was electrified.Example of the progress of the Municipality of MoorabbinThe train line from the city to Frankston was electrified which intensified the sale in the municipality of Moorabbin, particularly land which was in the vicinity of the railway stations.Golden Square Estate, Bentleigh - J. D. Graham, Stott & Burke - 25 business sites and 112 home sitescentre road, brewers road, jasper road, robert street, mitchell street, daley street, bendigo avenue, auction, real estate, moorabbin, bentleigh

This Grunau Baby 2B glider, often referred to as the “Blue Grunau”, was built by Australian Sailplanes in 1946 and acquired by a syndicate consisting of Norm Hyde, Rob Dowling, Leo Dowling, Dick Duckworth and Ted Desmond of the Gliding Club of Victoria. Piloted by syndicate members and other GCV members the glider performed well in soaring and cross country flights at the various sites used by the GCV in 1947, 1948 and 1949. The glider went to Sydney for a while and then returned to be operated by another syndicate at the GCV. Pat Burke and Bob McAliece bought the glider in the 1950s and then sold it to Keith, Jack and Bruce Hearn of Melbourne. In 1957 the Blue Grunau moved to Western Australia and was added to the Glider Register as VH-GLC. Thereafter the glider had a series of owners. The glider has come to the Australian Gliding Museum via the RAAFA (WA) Division. The flying record of the Blue Grunau has been logged for the period of 28 December 1957 to 17 September 1975: Time in air – 559 hours 37 minutes from 1513 flights. Single seat glider /sailplane of wooden construction with plywood and fabric covering.australian gliding, glider, sailplane, grunau, blue grunau, australian sailplanes, hyde, dowling, duckworth, desmond, burke, hearn, gliding club of victoria, gliding club of western australia, narrogin gliding club

An article from a 'Supplement to Bendigo Advertiser' giving some insights into the history of Tyntyndyer Homestead which is in the Swan Hill district. It gives an insight into the early settlers and their struggles for survival. There is an advertisement within the supplement advertising the 'Historic Tyntyndyer Homestead and Museum.' Coloured and black and white photographs are included in this article which is dated 12/2/1969.history, australian, early farming settlement, lydia chancellor collection, collection, swan hill, aboriginal, aboriginal contact, australia, history, australian history, homesteads, building, house, houses, heritage, tourism, aborigines, settlers, weapons, guns, pastoralists, expedition, john holloway, andrew beveridge, peter beveridge, robert o'hara burke, narrinyeri tribe, bushrangers, relics, national trust, advertisement, exploration

The 1968 Tet Offensive has been called the turning point of the Vietnam War tet offensive, 1968, vietnam war

The 1968 Tet Offensive has been called the turning point of the Vietnam War. tet offensive, 1968, vietnam war

Dedicated to the eleven faithful war dogs that served Australia as members o the combat tracking teams during the Vietnam War. they did not return home but are not forgotten.dogs - war use, vietnam war, 1961-1975 - participation, australian - pictorial works

Used by John Burke at the State Rivers Tatura in the 1960 - 1970's.Compass: black and silver rimmed round container with removable lid. Bottom section has a clear glass with black rim covering the compass pointer and directions. Has 8 gold screws in black rim. Attached to rim is a hinged section with middle section see through. Opposite hinged section is another hinged section with sight on it. On outside rim of container under second hinged piece, is a black metal ring for holding. Bottom of the container has a flanged circle which attaches to a stand. Case: is tan leather with stitching around all edges. Two pieces, one large which holds the compass and the other is joined to bottom piece to form a lid. A leather strap is joined to the large section to hold the lid down and to make a carrying strap. Inside is red felt.compass, john burke, state rivers tatura

Gallery CatalogueUniv of Melb card - with compliments of Prof Joseph Burkewalsh st library

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

Slawa Horowitz-Duldig) was both an artist and a designer, and both aspects of her practice are represented in the collection. There is an archive of approximately 255 drawings by Slawa dating from 1917 until 1922. Slawa’s sketchbooks from this period provide an insight into her early training and demonstrate the artist’s early interest in portraiture. A number of the drawings have been framed, but the majority remains 'in situ'. Slawa was a student at the Viennese Kunstschule für Frauen und Mädchen (the Viennese Art School for Women and Girls) (KFM) from 1917 until 1921, and in 1922 she became a student of Anton Hanak. The KFM School had been established in 1897 as a private school, and it was highly regarded both for its teaching staff and academic curriculum. By 1918 it had introduced stringent admission policy similar to those of the Austrian Academy of Fine Arts, and obtained government funding for its academic program, and began to focus on students seeking to pursue careers as professional artists. In 1921 when Slawa applied to the Austrian Academy of Arts for a place in its program, her application was unsuccessful, as her work was considered advanced, and a place in the third or fourth year of the program was not available. In 1922 she became a private student of Anton Hanak. Many of the portrait images from this early period concentrate on capturing the physical appearance of the face of the model. A number of these studies, in which the subject is not identified, display an academic approach to the genre. Her technical skills in capturing precise facial features of the model, the expression of eyes and the texture of hair are evident. These drawings were perhaps completed in the studio of the KFM School. There are also portraits of friends and family members, including her sister Rella and others, perhaps parents and grandparents, who have yet to be identified conclusively. It is these images of family and friends that particularly demonstrate Slawa’s confidence with pen, charcoal and crayon on paper. Amongst the group are several portraits that indicate the artist’s interest in conveying the inner psyche of a subject, as well as capturing a likeness. Ann Carew 2016The drawings from this period give us an insight into the artist’s early training, and the teaching methods of Viennese Kunstschule für Frauen und Mädchen, one of the first professional art schools for women in Vienna. The drawings and sketchbooks have artistic, interpretative and research significance as records of the art education of women in Vienna in the early 20th century. Ann Carew 2016Charcoal over pencil sketch on paper of Slawa's sister Rella.Artist signature in the bottom left corner.

Slawa built the umbrella using existing and modified umbrella parts purchased from manufacturers and other sources with the idea to develop a more practical umbrella. At the time Slawa was a student studying sculpture at the Akademie der Bildenden Kunste Wien (Academy of Visual Arts). She spent many months developing the prototypes in secret before she applied for and received a patent on 19 September 1929. The patent documentation for Flirt noted that although foldable umbrellas with telescopic shafts were not new, the inventor's umbrella was a significant improvement as it was smaller and more practical as the folding mechanism had been considerably simplified. The umbrella was included in the Inventors’ pavilion at the Vienna Spring Fair in 1931. In a contemporary newspaper report it was described as ‘the magic umbrella of the sculptress’. After the design was granted a patent, it was contracted to the firm Basch and Braun, which authorized its manufacture under licence by the largest Austrian umbrella manufacturer in Austria Bruder Wuster and a German firm Kortenbrach und Rauh. It was called Flirt. In the first year of production sales reached 10,000. This number increased steadily each year as sales spread throughout Europe and the Flirt umbrella was still being produced in the post-war period. Slawa was paid royalties till 1938, the year that she left Vienna and fled to Switzerland. In 1939 with pressure from the Nazis she sold her rights to the company Bruder Wuster. Ann Carew 2016The umbrella prototypes have national and international aesthetic significance as examples of technological innovation in industrial design. The archive has national and international scientific and research potential – detailed records concerning the development of the design, patent and its manufacture are held in the studio. The archive demonstrates the links between the realms of fine art, industrial design and manufacturing in Vienna in the early twentieth century. The sale of Slawa Horowitz-Duldig’s rights to the umbrella under duress from the Nazis makes this archive historically significant. The provenance is excellent, and the prototypes and accompanying documentation have national and international interpretative potential. Ann Carew 2016Three handmade compact foldable umbrella prototypes. The prototypes have black silk covers, a metal shaft, handle, ribs and ferrule. The shaft has a telescopic mechanism. The top and the end of the handle are metal disks. The related documents, designs, patent documentation, a hand written record of her inspiration for the design, and other archival material are also held in the Studio’s Collection.

The Wiener Werkstätte (Viennese workshops) established by Josef Hoffman and Kolomon Moser in 1903 are today celebrated for their work in promoting the involvement of artists, designers and craftspeople in the manufacture of home furnishings; however Sigmund Járay’s firm was also an important, although today lesser-known, Viennese manufacturer of Kunstmöbel (art furniture). An Austro-Hungarian designer of Jewish descent, Sigmund Járay (1838-1908) established his Kunstmöbelfabrik (art furniture factory) in Vienna in the 1870s in partnership with his brother Sándro Járay (1845-1916), a sculptor. The firm with its team of cabinet makers, modellers, sculptors, upholsterers, painters and gilders, manufactured bespoke furnishings and decorated interiors for public and private clients, including the Imperial court. Such was the prominence of the work of this factory, that in 1899 one of the first purchases of the newly formed Austrian Museum of Applied art was a suite of furniture designed by Sigmund Járay for a married worker. In commissioning the furniture, Slawa was adopting the custom of Viennese couples to furnish their homes with bespoke furniture from the interior design firms that flourished in early 20th century in Vienna. Comparative material is held in the National Gallery of Victoria collection; a suite of furniture by Josef Hoffman commissioned by the Gallia family in 1912; and a suite of furniture by Adolf Loos commissioned by the Langer family in 1903. Ann Carew 2016The bedroom suite is aesthetically significant for the quality of its craftsmanship and design. It is a significant example of domestic interior design in Vienna during the 1930s. The bedroom suite is intact, and has been preserved in its entirety – double bed and side tables, wardrobe and linen press, stool and day bed. It has the potential to be displayed in situ in the place where it was last in use. It is of historical significance. Many Jewish families had all their possessions lost or destroyed during the war years. The story of the furniture’s journey from Austria to Australia is relevant to the study of the experience of émigré families during the Holocaust, and the importance of return of their property. It is rare, as it and the furniture in the living and dining room, are the only known examples in Australia of furniture manufactured by the firm of Sigmund Jàray. The provenance of the furniture is excellent, and is demonstrated by photographs taken in Vienna; correspondence with the donor’s sister, Rella; and the quotation from Sigmund Járay Kunstmöbelfabrik. It is in excellent condition. Ann Carew 2016Bedroom suite consisting of a double bed, two side tables, an upholstered stool and upholstered day bed, and a wardrobe and linen press. Made of Maple and Rosewood. Designed by the firm of Sigmund Jaray with Slawa Horowitz-Duldig.

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.

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.

Karl Duldig’s ceramic bowl is a particularly interesting example of Karl’s ability to creatively respond to a new environment with a fresh visual repertoire, in this case, the flowering Eucalyptus in a design reminiscent of traditional European folk art. The bowl is an excellent example of the utilitarian and decorative studio pottery produced by Karl and his wife Slawa Horowitz-Duldig between 1944 and 1960. Clay was an important medium for Karl. When he was forced to flee Austria for Switzerland, working with clay became a convenient medium; and he continued to expand his use of clay in Singapore. In Australia his work in clay extended from domestic hand-made pottery to public sculptures and architectural reliefs. In 1944 Duldig purchased a kiln, which was installed in the garage of the family’s St. Kilda flat, soon after a pottery wheel was acquired. It was the beginning of a cottage industry that supplemented the family income during the war years and beyond. Duldig initially sold his decorative ceramic wares through a local florist in St. Kilda, and subsequently through shops such as the Chez Nous French Art Shop (Howey Place) and Light and Shade (Royal Arcade), and the Primrose Pottery shop in Collins Street. The Primrose Pottery shop was an extremely important commercial outlet, and hub, for emerging artists, potters and designers from 1929 until 1974. Its proprietors Edith and Betty MacMillan worked closely with their suppliers, commissioning and taking items on consignment. In the post war period important Melbourne studio potters such as Allan Lowe, Arthur Boyd, John Perceval and Neil Douglas exhibited and sold domestic wares in the Primrose Pottery shop. The Duldigs studio pottery provides a counterpoint to the ceramics produced at Arthur Merric Boyd Pottery in Murrumbeena, which was established in 1944 by Arthur Boyd, John Perceval and Peter Herbst. The emphasis on painterly decoration was important and the AMB potters also produced simple household wares decorated with Australian flora and wildlife, for example Neil Douglas also made small bowls decorated with the fairy wrens, lyrebirds, gumnuts and eucalypts. Ann Carew 2016The Duldig Studio’s collection of ceramics has national aesthetic and historic significance. It contains a representative sample of works of art in ceramics created by Karl Duldig during his lifetime, including small sculptures, as well as functional and novelty items for the tourist market during the 1956 Melbourne Olympic Games. The artist’s working methods and the development of his practice are comprehensively demonstrated in the collection. This in-situ collection demonstrates the philosophy of the Vienna Secession and its inheritors that handcrafted, simple functional domestic wares might enrich both the lives of the maker and the user. This bowl is part of a collection of ceramics that has national historic significance in providing a rich illustration of an immigrant and artistic experience, and touching on the themes of settlement adaptation of artistic practice. The collection is also associated with places of cultural and historical significance in Melbourne such as the Primrose Pottery Shop, and the story of Australian studio ceramics in the post-war years. Ann Carew 2016Cream earthenware bowl with flowering gum motif and sponged green background.Duldig in script incised under.

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.

Taken by an unknown photographer. This early photograph of Slawa Horowitz-Duldig was probably taken while she was still a student at the Kunstschule für Frauen und Mädchen (Art School for Women and Girls) in Vienna. In this ‘staged’ image Slawa presents herself as a painter, equipment at hand. Slawa had intended to continue her painting studies at the Academy of Arts but became a private sculpture student of Secessionist sculptor Anton Hanak at the Kunstgewerbeschule (School of Applied Arts) the following year. This early photograph is part of a collection of photos, drawings, sculptures and paintings which document the art training system for women in Vienna between the wars. art school for women and girls, anton hanak