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 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

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.

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.

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

Stained Brown Frame. Sepia B/W. Photograph. Group in Natural Bush Setting. Back of Photo and Below Front Back Row L to R: Jeani white, James Paton, Doris, Dave Painter, Daisy Barnes, George M Painter, Miss Sweatman, Mabel McMuulin Miss Sweatman. Middle Row: Miss ?, Mrs & Mr Greenwood, George Annie, Miss Calder, Simon Calder (Father). Bottom Row: Uncle Pat, Ve, ev & Lilla Greenwood, Nett, Harry Greenwoodgreenwood family group

B/W Portrait of a couple. Man Standing 3 Piece Suit with fob watch and Coursage. Hair Parted, short moustache. Arm Resting on Stand other arm behind Woman. woman Seated. Short curly hair. Formal Dress, holding a folded object. Potted Plant front Left Studio Portrait. john mason & annie campbell

Part of Tim Shambrook's Collection for 'This is Vermont'. Not used.Black and white photo of Vermont State School Pupils taken outside small wooden school in 1888.vermont state school, no. 1022

Part of Tim Shambrook's Collection for 'This is Vermont'. Not used.Coloured photo of Canterbury Road, Vermont in 1967, showing single lane road.canterbury road, vermont., shambrook, tim

Part of Tim Shambrook's Collection for 'This is Vermont'. Not used.Coloured photo of Canterbury Road, Vermont, taken in 1970, showing double lane road with median strip looking East. Roof of Cadbury-Schweppes Factory can be seen.canterbury road, vermont., cadbury-schweppes, shambrook, tim

Part of Tim Shambrook's Collection for 'This is Vermont'. Not used.Coloured photo of Intersection of Canterbury, Mitcham & Boronia Roads, Vermont, taken from Mitcham Road, showing Vermont Shops and St. Lukes Church on left.st. lukes anglican church, vermont, canterbury road, vermont., mitcham road, boronia road, shambrook, tim

Part of Tim Shambrook's Collection for 'This is Vermont'. Not used.Coloured photo of Corner of Canterbury, Mitcham & Boronia Roads, Vermont, taken in 1967, looking West from outside Scout Hall and showing Vermont Shops.vermont scout hall, canterbury road, vermont, boronia road, mitcham road, shambrook, tim

Part of Tim Shambrook's Collection for 'This is Vermont'. Not used.Coloured photo of Shell Service Station (since replaced by Convenience Store) on corner of Boronia & Canterbury Roads, Vermontboronia road, vermont, canterbury road, shambrook, tim

Part of Tim Shambrook's Collection for 'This is Vermont'. Not used.Coloured photo of Shell Service Station (since replaced with Convenience Store) on corner of Boronia & Canterbury Roads, Vermont. Taken outside St. Lukes Anglican Church on Mitcham Road.shell service station, vermont, boronia road, canterbury road, mitcham road, st. lukes anglican church, shambrook, tim

Part of Tim Shambrook's Collection for 'This is Vermont'. Not used.Coloured photo of Vermont Shops on corner of Canterbury and Boronia Roads, Vermont, in 1967. Looking south to Boronia Road.canterbury road, vermont, boronia road, shambrook, tim

Part of Tim Shambrook's Collection for 'This is Vermont'. Not used.Coloured photo of Canterbury Road, Vermont, taken from outside Vermont Primary School (since demolished) on corner of Mitcham Road.vermont state school, no. 1022, canterbury road, vermont, shambrook, tim

Part of Tim Shambrook's Collection for 'This is Vermont', P. 41.Coloured photo of Canterbury Road, Vermont, looking East. Taken in 1967.canterbury road, vermont, shambrook, tim

Part of Tim Shambrook's Collection for 'This is Vermont'. Not used.Coloured photo of Canterbury Road, Vermont, looking East in 1967.canterbury road, vermont, shambrook, tim

Part of Tim Shambrook's Collection for 'This is Vermont'. Not used.Coloured photo of Canterbury Road, Vermont in 1967, looking West.canterbury road, vermont, shambrook, tim

Original Photo courtesy of Melbourne WaterFramed Black and White Photo of Whitehorse Road, Mitcham, in approx 1910 showing St Johns Roman Catholic Church - School (Church 1872-1952 and School 1872 - 1931) in centre, the School Teachers Cottage at left (1902 - 1935)and Mitcham's first Police Station (1888 - 1950) on the right. In the background in the extreme can be scene the original Mitcham Railway Station (1882)In the foreground is what was known as 'The Great 3 Chain Road' now Whitehorse Road (Maroondah Highway).st john's catholic church mitcham, whitehorse road, mitcham, school teacher's cottage, mitcham police station, mitcham railway station, great three chain road, melbourne water

Students at the Shakespeare Grove campus, including Darren and Wayne Krongold (third and fourth from right). Please contact [email protected] to request access to this record.shakespeare grove, 1970s

Sawbridgeworth was built in 1887 by Arthur Wiseman. The house was named after the little English village in Hertfordshire where the Wisemans had lived for hundreds of years. Arthur's brother, Albert, built his mansion, called Ashleigh, which also fronted Widford Street. Wiseman House is located alongside St. Matthew's Anglican Church.Wiseman House is an important building in Glenroy's and St. Matthew's history.Black & white photograph of front facade of Sawbridgeworth House with people in a horse and buggy.Copied with permissionwiseman, st. matthew's

Locomotive 8A, rolling stock, gangers and passengers, somewhere between Gellibrand and Beech Forest.beech forest; gellibrand; railway; loco 8a;

Gellibrand station was one of the larger and more important stations possessing a waiting room, station office, parcels shed and refreshment room joined by a common verandah. The refreshment room was managed for many years by Mrs. O'Neill who, with her staff, around 1920, offered a hot meal for one shilling. In the afternoon, a "cuppa and rock cakes" was available to passengers on the train to Colac. Other patrons were workers from the various establishments in the railway yard.Gellibrand Station Master and Refreshment Room staff, plus two men, under the verandah of the Refreshment Rooms, in front of two railway lines.gellibrand; railways; refreshments; mrs. o'neill;

Locomotives 5A and 14A on a siding at Colac with a boy standing in front. In the background an engine shed and goods sheds, while on the left hand side a louvre van and NQ truck. B/W.colac: beech forest; railway; loco 5a; loco 14a;

Beech Forest railway station is shown in 1908, with staff and local inhabitants fooling around between snow falls. The collection of sheds and huts was added to and grouped under a common verandah in 1914, after this photo..B/W. Beech Forest Railway Station buildings in the snow. Between the buildings and No.1 Road six people with snow balls, two without.beech forest; railway; snow;

B/W. A mixed goods train headed by an NA class locomotive taking water at Kincaid, the fireman looking at the camera, the driver hanging from the entrance to the enging, and a boy standing in front of the engine. kincaid; colac; beech forest; crowes; railways;

B/W. 281mm x 177mm. Tom Woosnan on a trolley at Weeaproinah in about 1941.weeaproinah; railways;