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Melbourne Tram Museum
Map, Melbourne & Metropolitan Tramways Board (MMTB), MMTB Route Maps, 1979
... , routes 95, 96, 97, 90, 89 and 88. 3 - Malvern, East Malvern... 95, 96, 97, 90, 89 and 88. 3 - Malvern, East Malvern ...Series of colour maps for various tram and bus routes, dated 1979. Also contained, not scanned are letters, reports, and specifications for printing these maps for use in shelters etc. Some have the Transport Information Centre telephone printed on them. Some are finished with a plastic laminate finish on either one or both sides. Show the major cross streets, parks, schools, other tram routes, major stop numbers, and railway lines. See also item 3909 for another example of these. Trams 1 - City route guide - R9/77 - showing all route numbers and destinations that passed through the CBD. 2 - Bourke St tram routes - R4/77 - East Brunswick Blyth St and East Preston Tyler St and intermediate routes, routes 95, 96, 97, 90, 89 and 88. 3 - Malvern, East Malvern, Carnegie, and East Brighton Tram Routes (from St Kilda Junction) - R1/79 - shows routes 5, 3, 67, 66, 61, 62, and 64. 4 - Elizabeth St tram routes - R12/77 - Essendon Airport, West Maribyrnong, North Coburg lines, routes 50, 58, 60, 54, 57, 52. 49, 59, 18, 20 and 19 5 - Flinders St tram routes - R5/78 - North Balwyn, East Burwood, routes 48, 40, 41, Hartwell, 28, 74 and 75 6 - Kew - St Kilda Beach - R1/79 - Route 69. 7 - Mont - Albert City - R11/77, shows routes 43. 47. 45. 44 8 - St Kilda Rd Tram Routes R12/77 - details South Melbourne Beach, route 1 and route 2 and St Kilda Beach routes 15, 16, and 55 otherwise shows where the various routes branch off St Kilda Road 9 - Batman Ave tram routes - R9/77 - Wattle Park, North Richmond and Prahran - routes 70, 71, 78 and 79. 10 - Footscray - Moonee Ponds - R3/81 - Route 82 11 - Swanston St tram guide - R1/79 - lists all routes and route numbers that branch or cross Swanston St between Grattan St and St Kilda Junction. 12 - Toorak Camberwell and Glen Iris tram route with Camberwell Junction and Malvern Town Hall, R1/79, routes 8, 7, 6, 72, and 73 shown. 13 - West Preston - Beach tram routes - R12/77 - routes 10, 11, 9 and 12, 14 - William St tram routes - R12/77 - Route 55, 56, and 63 - South Melbourne Depot and Domain. Buses 1 - Footscray, Sunshine, Deer Park, Nth Altona & Fishermans Bend - R2/79 2 - Box Hill bus routes to Templestowe, Heidelberg & East Kew - R6/78 - notes superseded by R3/82 3 - Plan of Russell St Melbourne bus departure bays. 4 - Box Hill, Mitcham & Ringwood bus routes to East Doncaster & Warrandyte - R3/82 5 - City - Warrandyte & East Doncaster bus routes - R3/82 & R6/78 6 - Bulleen - City - Port Melbourne - Garden City Bus route - R6/78 7 - North Altona - City bus route - 11/78 8 - Clifton Hill - Elsternwick - R2/79 9 - La Trobe - Northland - West Heidelberg - City Bus Service via East Freeway - 11/79 and R3/81 10 - Box Hill, Mitcham & Ringwood Bus Routes to East Doncaster & Warrandyte - R10/84 - with the Metropolitan Transit logo.Yields information about tram and bus routes in late 1970s early 1980s.Book - brown comb binding, card and clear plastic covers containing both bound and unbound maps and documents.K C Painter on front cover in ink.tramways, mmtb, tram routes, maps, bus routes, route numbers, routes, route guide -
Melbourne Tram Museum
Ephemera - Timetable, The Met, Set of 18 Tram Timetables, produced by The Met, 1986 - 1988
... - Camberwell - City via Malvern Road - 19/6/1988 .13 - Route 75 - East... be purchased. .1 - Route 3 - East Malvern - City via Balaclava Road ...Set of 18 Tram Timetables, produced by The Met for various routes, white cover with two green, multi fold horizontal sheet, giving a route map, description, notes, time points, information contact details and types of tickets (Neighbourhood and Travelcards) and where they could be purchased. .1 - Route 3 - East Malvern - City via Balaclava Road - replaced by bus 377 on Sundays - dated 14/9/1987 .2 - Route 5 - Malvern Burke Road - City via Wattletree Road - 19/6/1988 .3 - Route 6 - Glen Iris - City via High St - 19/6/1988 .4 - Route 8 - Toorak - City via Toorak Road - 19/6/1988 .5 - Route 19 - North Coburg - City via Elizabeth St including connecting bus service to Gowrie and Upfield stations - 11/3/1987 .6 - Route 55 - West Coburg - Domain Interchange via William St - 11/2/1987 .7 - Route 57 - West Maribyrnong - City via North Melbourne - Route 357 bus replaces tram on Sunday - 1/12/1986 .8 - Route 59 - Airport West - City via Essendon -1/12/1986 .9 - Route 64 - East Brighton - City via Hawthorn Road - 14/9/1987 .10 - Route 67 - Carnegie - City via Glenhuntly Road - 14/9/1987 .11 - Route 69 - Kew (Cotham Road) - St Kilda Beach via Glenferrie Road - 19/6/1988 .12- Route 72 - Camberwell - City via Malvern Road - 19/6/1988 .13 - Route 75 - East Burwood - City via Flinders St - 15/2/1988 .14 - Route 78, Route 79, North Richmond - Prahran via Chapel St and North Richmond - St Kilda Beach via Chapel St - 13/7/1987 .15 - Route 82 - Footscray Moonee Ponds via Highpoint City and Route 223 bus replacement for Saturday afternoon and all day Sunday. 3/8/1987 .16 - Route 88 - Bundoora - City via Preston .17 - Route 96 - East Brunswick - St Kilda Beach via Bourke St City - 22/11/1987 .18 - Route 111 - Royal Exhibition Buildings - Port Melbourne via Bourke St City - 20/12/1987. (2nd copy added 1/4/20201( .19 - Route 600 - St Kilda - Middle Brighton via Elwood - 1/12/1986 Full Image of .5 added 9/4/17 following a query about route 19 timetables - see image i6.trams, tramways, timetables, tickets, tram services, route 3, route 5, route 6, route 19, route 55, route 57, route 59, route 64, route 8, route 67, route 69, route 72, route 75, route 78, route 78, route 79, route 82, route 88, route 86, route 111, route 600 -
Brighton Historical Society
Flag, W. Morgan & Co, School flag, circa 1910s - 1930s
... , Constance Tisdall settled in Erica Avenue, East Malvern, in a house..., Constance Tisdall settled in Erica Avenue, East Malvern, in a house ...This flag was used by Rosbercon Girls Grammar School, which operated in Brighton from 1906 until 1941. The school was established in 1906 by the Tisdall family. The Tisdalls were a family of educators: Irish-born Henry Thomas Normanton Tisdall and his wife Lucy taught for many years at the Walhalla State School in Gippsland, along with Lucy's sisters Alice and Clara Weekes. Three of the Tisdall daughters, Ethel, Constance and Theodosia (Theo) followed their mother and aunts into the teaching profession. Constance in particular considered education her true calling and harboured a dream of one day being principal of her own school. After Henry's death in 1905, faced with financial uncertainty and several unmarried daughters to support, Lucy Tisdall decided to take a risk. She sold the family's Toorak home and, together with her sister Alice, leased 'Ashburnham', a large Victorian villa at 106 North Road, Brighton. The plan was to open a private school, with Ethel and Constance as co-principals and Lucy, Alice and Theo teaching and managing the household affairs. This came as a "joyful surprise" to Constance, who was only informed of the plan after it had been finalised. The school was named Rosbercon after Henry's home village in County Wexford, Ireland. The crest, designed by son Bert Tisdall around 1910, featured a crowned letter 'A' above the motto "amor vincit omnia" ("love conquers all"), both inspired by a verse in Geoffrey Chaucer's "The Prioress's Tale": "about her arm she bore/A paire of bedes gauded all in grene,/And theron heng a broche of gold full shene,/On which there was first writ a crowned 'A',/And after, Amor Vincit Omnia." It was a motto Constance held close to her heart, embodying her values as a teacher. Reflecting in 1961, she wrote, "In a school without punishments, a school with love and understanding between teacher and pupil - with a love of teaching on one side, and a desire to learn on the other, love would indeed conquer all." The school's opening day in 1906 proved less than auspicious, with no pupils arriving at all. The women persisted and by the end of the first week, five students had been enrolled. From here, the school grew steadily in size. A new schoolroom designed by architect Harold Desbrowe-Annear was built in the house's orchard to accommodate the increasing numbers, but by 1911 the Tisdalls began looking for larger premises. They leased the nearby property 'Hazeldean' at 124 North Road and, during the 1912 school holidays, the Desbrowe-Annear schoolroom was raised onto a lorry drawn by sixteen horses and moved down the road to what would become Rosbercon's new home. In 1923, Constance instituted a modified version of the Dalton Plan, an education model based on individualised learning. Girls in senior years were encouraged to work more independently, making regular use of the reference library and working to a monthly assignment schedule. The school performed well academically and in competitive sport, but over time was eclipsed by the nearby Firbank Church of England Girls' Grammar School (established 1909), whose institutional backing provided it with access to wider resources and facilities than those of the small family-run Rosbercon. At the end of 1933, Ethel and Theo retired and Constance became principal of St Anne's Church of England Girls' Grammar School (now Gippsland Grammar) in Sale. Rosbercon was sold to Miss Iris Hay, who served as principal from 1934 until the school's closure in 1941. Following her own retirement in 1947, Constance Tisdall settled in Erica Avenue, East Malvern, in a house named 'Rosbercon' after her former school. She continued teaching English literature, mostly to migrants, and enjoyed regular visits from former students. Well into the late 1960s, old Rosbercon girls continued a tradition of coming together for an annual reunion on the first Saturday in November, on which day Constance would fly the school flag at her home.Large navy blue flag with horizontal maroon stripe at top and bottom, and school crest in centre. Stylised maroon "A" topped with yellow crown. Yellow scroll below with motto in navy blue letters: "AMOR.VINCIT.OMNIA".flag, school flag, rosbercon girls grammar school -
Melbourne Tram Museum
Ephemera - Timetable/s, Melbourne & Metropolitan Tramways Board (MMTB), "MMTB Timetables set of 39", 1960
... 4D, 14 - East Malvern - City .4 - Route 5, 5A - Malvern..., 4A, 4B - Carnegie - City .3 - Route 4D, 14 - East Malvern ...Set of 39 MMTB Tram timetables, 2 fold sheets, , providing timetables for specific routes, route numbers, day of week giving information on tram times at departure time points, sections and fares, where applicable all night bus services. All signed by B. H. Misson, Traffic Manager. All sponsored by Kays Rent a Car and Motor Drome, 18-30 Mount Alexander Road, Flemington. The only one missing is Point Ormond. Not dated, based on fares - 1960 and possibly after Point Ormond had closed. .1 - Route 1, 21 - East Coburg - City .2 - Route 4, 4A, 4B - Carnegie - City .3 - Route 4D, 14 - East Malvern - City .4 - Route 5, 5A - Malvern Burke Road - City .5 - Route 6, 6A, 6B - Glen Iris - City .6 - Route 7, 7A, 7B, 7D - Camberwell - City .7 - Route 8, 8A - Toorak - City .8 - Route 9, 9A - Northcote via St Georges Road - City .9 - Route 9, 9B, 10, 12 - Sth Melbourne Beach, St Kilda Beach - City .10 - Route 10,11 - West Preston - City .11 - Route 15, 16 - St Kilda Beach - City .12 - Route 15, 22 - Moreland - City .13 - Route 18, 19, 20 - North Coburg - City .14 - Route 27, 28 - Hawthorn - Spencer St .15 - Route 42, 44, 45 - Mont Albert - City .16 - Route 48, 40, 41 - North Balwyn - Spencer St .17 - Route 49 - Essendon (Matthews Ave) - City .18 - Route 50, 54, 57, 58, 60 - West Maribyrnong - City .19 - Route 55, 56 - West Coburg - City .20 - Route 59 - Essendon Aerodrome - City .21 - Route 61, 62, 64, 65 - East Brighton - City .22 - Route 69 - Kew Cotham Road - St Kilda Beach .23 - Route 70, 71, 76 - Wattle Park - City .24 - Route 74, 75, 76 - Burwood - City .25 - Route 77, 80 - Prahran - City .26 - Route 78, 79 - North Richmond - Prahran .27 - Route 82 - Moonee Ponds - Footscray .28 - Williamstown Road - Footscray - Tram and bus .29 - Ballarat Road - Footscray - Tram and bus .30 - Russell St - - Footscray - Tram and bus .31 - East Brunswick - City .32 - Domain Road - City .33 - West Heidelberg - City .34 - Sunshine - City via Ballarat and Footscray Roads .35 - Sunshine - City via South and Dynon Roads .36 - Sunshine Park - City .37 - Garden City - City (Victoria St) .38 - Queens Bridge - Fisherman's Bend via Ingles St .39 - Queens Bridge - Fisherman's Bend via Lorimer St and Princes Bridge - Fisherman's Bend via Williamstown Rd.All have the route number in ink on the front cover - see image 5691i.jpg for standard cover.trams, tramways, mmtb, timetables, melbourne, fares, route 1, route 22, route 4, route 4a, route 4b, route 4d, route 14, route 5, route 5a, route 6, route 6a, route 6b, route 7, route 7a, route 7b, route 7d, route 8, route 8a, route 9, route 9a, route 9b, route 10, route 11, route 12, route 15, route 16, route 22, route 18, route 19, route 20, route 27, route 28, route 42, route 45, route 44, route 48, route 40, route 41, route 49, route 50, route 54, route 57, route 58, route 60, route 52, route 56, route 59, route 61, route 62, route 64, route 65, route 69, route 70, route 71, route 76, route 74, route 75, route 76, route 77, route 80, route 78, route 79, route 82, williamstown rd, ballarat rd, russell st, route 96, domain rd, west heidelberg, sunshine, garden city, queens bridge, fishermen's bend -
Melbourne Tram Museum
Map, Melbourne & Metropolitan Tramways Board (MMTB), Set of 15 tram route maps, 1977 to 1979
... , East Malvern, Carnegie and East Brighton Tram Routes (from St... - R11/77, shows routes 43. 47. 45. 44 .2 - Malvern, East ...Series of 15 colour route maps for various tram lines or groups of tram lines for the MMTB. Some have the Transport Information Centre telephone printed on them, others have a label stuck on. Some are finished with a plastic laminate finish on either one or both sides. Show the major cross streets, parks, schools, other tram routes, major stop numbers and railway lines. Two copies of each held unless noted otherwise. .1 - Mont - Albert City - R11/77, shows routes 43. 47. 45. 44 .2 - Malvern, East Malvern, Carnegie and East Brighton Tram Routes (from St Kilda Junction) - R1/79 - shows routes 5, 3, 67, 66, 61, 62 and 64. .3 - Swanston St tram guide - R1/79 - lists all routes and route numbers that branch or cross Swanston St between Grattan St and St Kilda Junction. .4 - St Kilda Rd Tram Routes R12/77 - details South Melbourne Beach, route 1 and route 2 and St Kilda Beach routes 15, 16 and 55 otherwise shows were the various routes branch off St Kilda Road. Copy 1 has "P14909" in pencil in the bottom right hand corner. .5 - Kew - St Kilda Beach - R1/79 - Route 69. .6 - Footscray - Moonee Ponds - R3/81 - Route 82 .7 - Flinders St tram routes - R5/78 - North Balwyn, East Burwood, routes 48, 40, 41, Hartwell, 28, 74 and 75 .8 - William St tram routes - Route 55, 56 and 63 - South Melbourne Depot and Domain. copy 2 has "P14913" in bottom right hand corner. .9 - Toorak Camberwell and Glen Iris tram routes with Camberwell Junction and Malvern Town Hall, R1/79, routes 8, 7, 6, 72 and 73 shown. .10 - Swanston St tram routes - R12/77 - shows all the Swanston St routes, including East Coburg and Moreland. .11 - Bourke St tram routes - R4/77 - East Brunswick Blyth St and East Preston Tyler St and intermediate routes, routes 95, 96, 97, 90, 89 and 88. .12 - as for .11, dated 1/85, showing extension to La Trobe University - has Metropolitan Transit logo. Only 1 copy held. Also shows route 92 and 87. .13 - Batman Ave tram routes - R9/77 - Wattle Park, North Richmond and Prahran - routes 70, 71, 78 and 79. .14 - City route guide - R9/77 - showing all route numbers and destinations that passed through the CBD. .15 - Elizabeth St tram routes - R12/77 - Essendon Airport, West Maribyrnong, North Coburg lines, routes 50, 58, 60, 54, 57, 52. 49, 59, 18, 20 and 19. Copy 1 has "P14905" in pencil in bottom left hand corner.trams, tramways, maps, route guide, route numbers, routes, mont albert, route 43, route 47, route 45, route 44, route 42, malvern burke rd, east preston, carnegie, east brighton, south caulfield, route 5, route 3, route 67, route 62, route 64, route 66, glenhuntly tram depot, swanston st, st kilda rd, south melbourne beach, st kilda beach, route 1, route 2, route 15, route 16, route 55, kew- cotham road, route 69, route 79, route 82, footscray, moonee ponds, flinders st, north balwyn, kew, east burwood, burwood, hartwell, richmond, route 48, route 40, route 41, route 28, route 74, route 75, route 56, route 63, william st, west coburg, toorak, camberwell, glen iris, malvern town hall, route 72, route 73, route 7, route 8, bourke st, route 6, route 95, route 96, route 97, route 90, route 89, route 89, east preston, east brunswick, la trobe university, clifton hill, route 92, route 87, route 70, route 71, route 78, route 79, north richmond, prahran, wattle park, essendon airport, west maribyrnong, north coburg, route 50, route 58, route 60, route 54, route 57, route 52, route 49, route 59, route 18, route 20, route 19, batman ave -
Melbourne Tram Museum
Slide - Set of 2, Keith Kings, 10/12/1967 12:00:00 AM
... (route 64 - East Brighton and Malvern Burke Road) on temporary... W5 class Route 64 East Brighton tram 600 tram 521 tram 812 ...Set of two 35mm Kodak white cardboard colour slide by Keith Kings of: .1 - W2 600 testing the diverted track at St Kilda Jtn. Sunday 10/12/1967. Looking south See Keith's notes as well. Track welding being carried out. Tram showing Special. In the background are signs for Castrol, Speedie Electrical Appliances. .2 - W5 812 and W2 521 on the temporary track following the first diversion for the construction of the new bridge works looking north. Also see Keith's notes. 812 has adverts for wax and Harold's diamonds.Keith Kings stamp and number "14-23" and "14-28"", with details of exposure. .1 - "MMTB St Kilda Jtn bypass works. W2 600 as the test tram after the St Kilda Junction by Pass, No. 1 diversion trying out the south bound temporary track 3.03pm, Sunday 10/12/67. The North bound track tried out at approx. 12.40pm: .2 - "MMTB 521 (route 64 - City) and 812 (route 64 - East Brighton and Malvern Burke Road) on temporary track at St Kilda Jtn bypass. Note sharpness of curves and very limited transitions and tangents. Looking north. 10/12/1967trams, tramways, st kilda junction, trackwork, road works, w2 class, w5 class, route 64, east brighton, tram 600, tram 521, tram 812 -
Melbourne Tram Museum
Album - Robert Thomson Slide Collection, "Melbourne 1-10th October 1993", 1-10 October 1993
... , Malvern East, looking east to terminus at Burke Rd RT015 "5..., Malvern East, looking east to terminus at Burke Rd RT015 "5 ...Photo - see pdf file for further information. Number Brief Description RT001 South Melbourne depot - tram 861 -"Domain Rd" RT002 Fitzroy St, St Kilda - tram 858 - route 16 RT003 "3" - Z class - tram 210 - "City" - route 05 RT004 Swanston St - tram 989 - "University" - route 8 RT005 Swanston St - tram 992 - "City" - route 6 RT006 Swanston St - tram 867 - "City" - route 8 RT007 "2" - Track Relay Wattletree Road RT008 "1" Track Relay Wattletree Road - tram 214 - route 05 RT009 Swanston St - tram 26 - "City - Swanston St" - route 6 RT010 Balaclava Junction - tram 76 - route 09 RT011 "6" - Track Relay Wattletree Road RT012 Fitzroy St - tram 2042 - "East Brunswick" route 96 RT013 Swanston St - tram 985 - "City" - route 8 RT014 "4" - Track Relay Wattletree Road, Malvern East, looking east to terminus at Burke Rd RT015 "5" - Track Relay Wattletree Road RT016 Collins St - tram 923 - "St Kilda Beach" - route 12 RT017 Victoria Pde Siding - tram 67 - "Special" - route 12 RT018 Nth Fitzroy Depot - trams 2037 & 2021 RT019 Park Street - tram 844 - "West Preston" - route 10 RT020 South Melb Beach Ter - tram 49 RT021 St Kilda Line - tram 67 - "East Brunswick" - route 96 RT022 Port Melb Terminus - tram 67 - "Port Melb'ne" - route 111 RT023 Port Melb Line - tram 2038 - "Exhibition Bldg" - route 111 RT024 Sth Melb Depot - tram 937 – “Restaurant" RT025 Collins St - tram 282 - "City" - route 42 RT026 Spring Street - tram 2100 - "City Spencer St" - route 86 RT027 Spring Street - tram 2093 - "Port Melbourne" - route 111 RT028 "1" New Track Spring St RT029 "2" track construction - Spring St RT030 "3" track construction - Spring St RT031 "4" track construction - Spring St RT032 "5" track construction - Spring St Demonstrates the work of Robert Thomson in photography, collection and/or production of slidesAssembled album in a black presentation folder of 32 colour slides, collected or produced by Robert Thomson. All photographs have been scanned and placed on the Museum's G drive. A list of all photographs with details has been compiled. melbourne, tramways, trams, track construction -
Southern Sherbrooke Historical Society Inc.
Textile - Helen Gibson collection - material, cottons, etc
... presentation set labelled "Petamus Altiora Aldsworth, East Malvern... presentation set labelled "Petamus Altiora Aldsworth, East Malvern ... -
Federation University Historical Collection
Photograph - Black and White, Chatham-Holmes Collection: Lance Corporal Horace Pickford, c1914
Horace Pickford was born at Clunes, Victoria. Private Horace Pickford (2882) enlisted for service during [[World War One]] at Melbourne. on 18 June 1915. He gave his mother, Bessie Pickford of Yeovil Estate Clunes, as his next of kin. He served with the 57th Battalion until he was transferred to the 58th Battalion on 15 March 1916. He was appointed Lance Corporal on 01 December 1916, and was wounded in the back in France the next day and evacuated to England from Rouen. On 03 March 1917 Pickford was awarded the D.C.M. for conspicuous gallantry in action, and rejoined his unit in France on 09 July 1917. On 24 August 1917 Horace Pickford was promted to Corporal. He was killed in Action in France on 27 September 1917 and buried in the vicinity of Polygone Wood. The grave was later docuemnted at being located in the Tyne Cot. Military Cemetery (Plot 62, Row E. Grave2). This cemetery is in Passchendaele, 5 1'2 miles north east of Ypres. Horace Pickford married after enlistment, and his wife Mrs Sarah Ida Isabel (Ida) Pickford of 261 Malvern Road South Yarra became his next of kin. Postcard - black and white portrait of Horace Pickford. Written on back: "Lance Corporal Horace Pickford 2882 C Company 58th Battalion Aust Imp Forces On Active Service Abroad"pickford, chatham-holmes collection, horace pickford, australian imperial forces, c company, active service, pickford collection, world war one, yeovil -
Victoria Police Museum
Police Stations (Armadale)
Armadale is an inner suburb of Melbourne, Victoria, Australia, 7 km south-east of Melbourne's Central Business District, located within the City of Stonnington local government area. Armadale Police Station opened, in Melbourne Police District, on 11 May 1885. Its original location is unknown, but in 1890 it is listed in the Sands & McDougall directory as at 295 Hight Street. From 1985-1920 it was located at 20/22 Auburn Grove, 1925-1930 at 769 High Street and 1935-1946 at 3 Cheel Street. The station closed on 28 January 1946. The sub-division east of Orrong Rd was incorporated into Malvern Sub-district and west of Orrong Road into Prahran Sub-district. In a special 1930 issue of the Victoria Police Gazette the Armadale Police Station was described as a seven-roomed brick dwelling with a tiled roof on land measuring 127' x 104' x 98'. There was also a bathroom and W.C., a wash-house, office, and a lock-up (one cell). This is probably a description of the Cheel Street police station. It was staffed by one senior constable and three foot constables.12 photographs comprising 8 coloured images and 4 black and white images 1 sketch plan of Old Armadale Police Stationpolice stations; armadale police station -
Expression Australia
Newsletter, The Australian Deaf Citizen No. 3 Jul-Aug-Sep 1940
The Australian Deaf Citizen was a quarterly magazine owned and edited by John Patrick Bourke dedicated to the interests of the Deaf in Australia.The Australian Deaf Citizen, was a magazine owned and edited by John Patrick Bourke. It is historically significant as it gives an alternative view of the Adult Deaf and Dumb Society at that time including the role played by Ernest J. D. Abraham. Brown Cover 26.5cmHx21cmW, 18 pagesOwned and Edited by J. P. Bourke, No. 1 Acre Place, Malvern, S.E. 4 Victoria Australia -
Expression Australia
Newsletter, The Australian Deaf Citizen No. 5 Jan-Feb-Mar 1941
The Australian Deaf Citizen was a quarterly magazine owned and edited by John Patrick Bourke dedicated to the interests of the Deaf in Australia.The Australian Deaf Citizen, was a magazine owned and edited by John Patrick Bourke. It is historically significant as it gives an alternative view of the Adult Deaf and Dumb Society at that time including the role played by Ernest J. D. Abraham.Blue Cover 26.5cmHx21cmW, 18 pagesOwned and Edited by J. P. Bourke, No. 1 Acre Place, Malvern, S.E. 4 Victoria Australia -
Kew Historical Society Inc
Album, Eva Grant, Historic Buildings in Victoria & New South Wales, 1919-c.1962
One of three scrapbooks created by Eva Grant, a past member of the Kew Historical Society which were donated by her niece, Julie Thomson, in 2013. The scrapbook includes photographs and descriptions of the following sites. (Many of these are now demolished and so the photographs and descriptions may be rare records of a site.) Sites include: Abbotsford (Vic) - Abbotsford Convent, Mayfield (c.1962), prefabricated house - Church street Armadale (Vic) - church (c.1959) - Thomson & Wattletree Roads Arthur’s Seat (Vic) - McCrae homestead Ballarat (Vic) - Memorial plaque on site of Bentley’s Hotel, Memorial on site of Eureka Stockade, Early municipal buildings - East Ballarat, Adam Lindsay Gordon’s cottage - Botanical Gardens, View from Sovereign Hill, Shell house Broken Hill (NSW) - panorama (1963), Flying Doctor’s base (?1963) Eltham (Vic) - Hassell’s outdoor art gallery Essendon (Vic) - Niddrie Homestead and stables (1963) Geelong (Vic) - first Bishopscourt Hawthorn (Vic) - Convent (1930), The Hawthorns, Keilor plains (Vic) - pioneer homes, pioneer cemetery Kew (Vic) - Roseneath (1951), Tarring - Ruyton, Turinville, house - Foley street (c.1960). Malvern (Vic) - church Mount Ridley (Vic) - Summerhill Melbourne (Vic) - Old Brewery - Custom’s House Lane (1960), Customs House, Scott’s Hotel (1962), Western market (c.1960) Phillip Island (Vic) - Grave Toorak (Vic) - Mandeville Hall, Merna (sic) - Arthur Streeton’s house, Toorak House Wentworth (NSW) - Harvey’s Hotel, Sturt Memorial, Sturt’s Tree, Wentworth Gaol Williamstown (Vic) - Williamstown Dairy Yan Yean (Vic) - Bear’s Castle (c.1947) Beveridge/Big Hill (Vic) - Kelly’s cottageImportant photograph record (and notes) about historic buildings in Victoria.38-page scrapbook with additional text created by Eva Grant, a past member of the Kew Historical Society. In addition to the 68 photographs, there are two postcards and a number of publications/handouts.collected by Eva on her trips to heritage sites in Victoria and New South Wales. The pages of the album can be viewed in the image carousel above. Most of the photographs of heritage buildings were taken in the early 1960s.See imagesheritage sites - victoria - australia, eva grant, scrapbooks - 20th century -
Duldig Studio museum + sculpture garden
Sculpture, Karl Duldig, Mask by Karl Duldig 1921, 1921
... Duldig Studio museum + sculpture garden 92 Burke Road East ...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 -
Duldig Studio museum + sculpture garden
Drawing, Slawa Horowitz-Duldig, Portrait of Rella by Slawa Horowitz-Duldig 1917, 1917
... Duldig Studio museum + sculpture garden 92 Burke Road East ...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. -
Duldig Studio museum + sculpture garden
Prototype, Slawa Horowitz-Duldig, Flirt Umbrella Prototype by Slawa Horowitz-Duldig 1928, 1928
... Duldig Studio museum + sculpture garden 92 Burke Road East ...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. -
Duldig Studio museum + sculpture garden
Furniture, Sigmund Jaray et al, Viennese bedroom suite manufactured by Sigmund Jaray Kunstmobelfabrik 1931, 1931
... Duldig Studio museum + sculpture garden 92 Burke Road East ...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. -
Duldig Studio museum + sculpture garden
Fabric, Mathilda Flogl, Falter designed by Mathilda Flogl 1924-31, 1924-31
... Duldig Studio museum + sculpture garden 92 Burke Road East ...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. -
Duldig Studio museum + sculpture garden
Drawing, Karl Duldig, The Buddhist Monk, Guangqia by Karl Duldig 1940, 1940
... Duldig Studio museum + sculpture garden 92 Burke Road East ...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. -
Duldig Studio museum + sculpture garden
Ceramic, Karl Duldig, Gumnut Bowl by Karl Duldig c.1948, c. 1948
... Duldig Studio museum + sculpture garden 92 Burke Road East ...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. -
Duldig Studio museum + sculpture garden
Sculpture, Karl Duldig, Moses by Karl Duldig 1956 (Bronze Cast 1979), 1956 / 1979
... Duldig Studio museum + sculpture garden 92 Burke Road East ...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. -
Duldig Studio museum + sculpture garden
Photograph, Slawa sitting on steps c1920, c.1920
... Duldig Studio museum + sculpture garden 92 Burke Road East ...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 -
Duldig Studio museum + sculpture garden
Drawing, Slawa Horowitz-Duldig, Head of a woman (with eyes closed) by Slawa Horowitz-Duldig c. 1921, c.1921
... Duldig Studio museum + sculpture garden 92 Burke Road East ...The influence of Symbolist art is clear in Slawa's early folios of drawings and paintings where familiar themes of dream-like states, apparitions and mythological creatures are used. Later drawings such as Head of a Woman with closed eyes, c.1921 show a boldness and psychological intensity reminiscent of notable member of the Vienna Secession, painter Egon Schiele whose final exhibition took place in Vienna in 1918. Signed Slawa Horowitzsymbolism -
Duldig Studio museum + sculpture garden
Sculpture, Slawa Horowitz-Duldig, Self-portrait by Slawa Horowitz-Duldig c. 1924, c.1924
... Duldig Studio museum + sculpture garden 92 Burke Road East ...This self-portrait exemplifies Karl and Slawa's shared interest in the art forms of other cultures - also seen in the significant number of Viennese art books on these topics in the Duldig Studio library. It takes inspiration from Egyptian sculptures and is strikingly similar to the cover image of Götter Ӓgyptens (Gods of Egypt) by Alexander Scharff (Library) although her short hair puts a stylish and very modern slant upon the image. The sculpture is hollow, with a large opening at the rear. Slawa on full face, eyes downcast, hair parted in the middle & pulled back in bun with large comb. Drapes across both shoulders. modernism -
Duldig Studio museum + sculpture garden
Photograph, Slawa with sculptures c.1924, c.1924
... Duldig Studio museum + sculpture garden 92 Burke Road East ...This photograph of Slawa Horowitz-Duldig was taken while she was a private student of Secessionist sculptor Anton Hanak. It was taken in his studio in the Prater, possibly by Karl Duldig. Slawa is standing next to her masterwork in marble, 'Kneeling female figure'. This sculpture and others completed later by her as a student at the Academy of Fine Arts, Vienna, were left when the Duldigs fled in 1938, hidden by a friend and subsequently lost.One of a number of photographs taken when Karl Duldig and Slawa Horowitz- Duldig were sculpture students in Vienna in the 1920s, these are a significant record of the art training system offered in Austria between the wars. -
Duldig Studio museum + sculpture garden
Photograph, Slawa and her sister Rella, Vienna, c.1938
... Duldig Studio museum + sculpture garden 92 Burke Road East ...This photograph of Slawa and her sister was taken a few months before Slawa and baby Eva left Vienna, in December 1938. They joined Karl in Switzerland. After leaving Europe, she did not see her sister again for 30 years – years which are documented in the many letters held by the Studio, sent over this time. In 1968 Slawa and Rella met one more time in Paris.This photograph documents the important relationship between Slawa Horowitz-Duldig and her sister Rella Horowitz, later Laisne. Rella assisted Slawa in the process of developing her invention of the modern foldable umbrella, and hid the family's artworks and furniture, designed by Slawa and the firm of Sigmund Jaray, in her apartment in Paris during the Second World War. It is of historical significance as it documents life in Vienna prior to the Second World War. -
Duldig Studio museum + sculpture garden
Advertising card, Card, Kosmetik Institut, Wien ( Cosmetic Institute, Vienna) c. 1932, c.1932
... Duldig Studio museum + sculpture garden 92 Burke Road East ...This advertising card was designed by Slawa Horowitz-Duldig. It was printed by 'Frisch, Wein 1'. Slawa undertook a number of sculpture commissions after graduating from the Akademie der Bildenden Künste Wien (Viennese Academy of Art) where she studied under Professor Hans Bitterlich from 1925-1929. She also undertook design commissions such as this card for the Cosmetic Institute which sold beauty creams. Reminiscent of the work of Austrian painter, designer and ceramic artist Berthold Löffler, in Slawa’s card her stylish typography, colour and design unite to create a unique work.This is an example of Austrian graphic design work between the wars and is of historical and artistic significance. Grey card front with print of single tone line stylised drawing of woman with red lips holding flowers - inside printed inscription in grey and red highlights Back logo - Printer's name (Frisch, Wien, 1) and artist's name ( S Duldig) credited -
Duldig Studio museum + sculpture garden
Photograph, Karl Duldig, Slawa and her sister Rella, Paris, 1968
... Duldig Studio museum + sculpture garden 92 Burke Road East ...This photograph was taken by Karl Duldig when he and Slawa visited Slawa's sister Rella Laisne in Paris in 1968. They went to Paris as part of a world trip on the occasion of the unveiling of Karl's sculptural monument, Dawn, at the Maccabiah Village, Ram Gat, Israel. Commissioned by Hakoah and World Maccabi Union his monument commemorates the sportsmen and women of Hakoah Sports Club who were among the victims in the Holocaust. Karl had played for Hakoah in his youth. This is one of a large collection of photographs taken by sculptor Karl Duldig, documenting his art, life and family. The collection is of historical and aesthetic significance as a personal record of the work, cultural and social milieu of an Austro- Australian sculptor and his family from the early to late 20th century. it is also a record and representative of the experience of those people who came to Australia at this time, displaced by the upheavals of the Second World War. -
St Kilda Historical Society
Photograph - Photo map, 28/01/1951
One of a series of photo-maps produced for the Department of Crown Lands and Survey (1857-1983). For correlation with a current map, and access to other historical photo maps of Victoria, see the Historic Photo-Maps Index published by the Department of Environment, Land, Water and Planning at https://services.land.vic.gov.au/DELWPmaps/historical-photomaps/Black and white aerial photograph1424-43 534 Run 18 Lens 12" Melbourne Metropolitan 12150 28.1.51 M639armadale, malvern, st kilda cemetery, caulfield north, st kilda east, 1951 -
Uniting Church Archives - Synod of Victoria
Photograph, C1880
... Street Malvern East melbourne Photograph Matte, black and white ...Rev. Frederic William MacDonald (1842-1928) was a Methodist minister and President of the Wesleyan Methodist Conference. He was also a writer.Matte, black and white, head and shoulders, studio portrait of Rev. Frederic William MacDonald on card.methodist, macdonald, fw, wesleyan