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Nillumbik Shire Council
Sculpture: Peter WEGNER (b.1954 NZ - a.1958 AUS), Peter Wegner, The Wake 1(from the 'Black Saturday' series), 2010
The 'Black Saturday' bushfires were a series of bushfires that ignited across the Australian state of Victoria on and around Saturday, 7 February 2009. It was Australia's worst ever natural disaster. The fires occurred during extreme bushfire-weather conditions and resulted in Australia's highest ever loss of life from a bushfire: 173 people died and 414 were injured as a result of the fires.This work is by a local contemporary artist with a national and international reputation for figurative and portrait works. The 'Black Saturday' series is a powerful investigation of emotion and grief as experienced by many Nillumbik residents during the 2009 'Black Saturday' bushfires. A cluster of bronze figurines either stand alone or embrace in groups. Their expressions and gestures of despair are made more pertinent with the raw like application and surface treatment of the material used. The 'Black Saturday' series is a challenging work, but one that encourages healing, connection and empathy. Three figures embrace in despair (two men, one woman). One throws his arms around the other two figures who are consoling each other in an emotional embrace. Surface treatment is textured . Metallic brown colour. 'WEGNER THE WAKE 1 AG205643'wegner, figurines, bronze, black saturday, sculpture -
Nillumbik Shire Council
Sculpture: Julie BEGG, In the Balance
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Nillumbik Shire Council
Sculpture: Joseph Scott COWCHER, Passionately Packaged, 1987
This artwork was a finalist in the 1987 Shire of Eltham Art Awards. The materials Cowcher has chosen constitute different transformations of earth - stone, sand (fired into glass), bamboo and dried grass. The work is a sign of the artist's passion in working with these materials and 'packaging' them into an aesthetic composition that connect and dance with one another.Three purple glass objects in the form of pine cones, held together by raffia, resting on a large slab of white stone. N/A -
Nillumbik Shire Council
Sculpture: Guiseppe RANERI, Tangerine Woman with a Blue Ribbon
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Nillumbik Shire Council
Sculpture: Patty CHANDLER, The Bridge
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Nillumbik Shire Council
Sculpture: Ken ROBB, Bonded
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Nillumbik Shire Council
Sculpture: Robert DELVES, When the Boat Comes In
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Nillumbik Shire Council
Sculpture: Stephen HUGHES, The Talisman Seed
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Nillumbik Shire Council
Sculpture: Julie BEGG, Night Flight
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Nillumbik Shire Council
Sculpture: Jill KAHANS, Bark
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Nillumbik Shire Council
Sculpture: Judith BEN-MEIR, The Joke
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Nillumbik Shire Council
Sculpture: Augustine DALL'AVA, Still Plane
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Tatura Irrigation & Wartime Camps Museum
Folio, Bruno Simon, Sculptures, Graphics, Poems
Folio of poetry, in English version, of Bruno Simon, Dunera Internee 1941-1943.Black card folio containing a buff coloured folder and 46 white A4 typed sheets.poetry, bruno simon, dunera, internees -
Tatura Irrigation & Wartime Camps Museum
Book, Sculptures of Hans Knorr
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Duldig Studio museum + sculpture garden
Drawing, Slawa Horowitz-Duldig, Portrait of Rella by Slawa Horowitz-Duldig 1917, 1917
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
Furniture, Sigmund Jaray et al, Viennese bedroom suite manufactured by Sigmund Jaray Kunstmobelfabrik 1931, 1931
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
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, Slawa Horowitz-Duldig, Head of a woman (with eyes closed) by Slawa Horowitz-Duldig c. 1921, c.1921
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
Photograph, Slawa and her sister Rella, Vienna, c.1938
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
Photograph, Karl Duldig, Slawa and her sister Rella, Paris, 1968
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. -
City of Ballarat
Public Artwork, Eternal Flame by Peter Blizzard, 1995
Eternal Flame was created by Ballarat sculptor Peter Blizzard as a marker of the end of WWII in the Pacific. Engraved into the bluestone shaped tile across the base of the statue is details about conflict areas where Australian Troops were active. The metal structure mimics a moving flame with it's polished golden hue, a feature included in many war memorials around the world. Peter Blizzard also designed the Prisoner of War Memorial in the South Gardens, Ballarat Botanic Gardens. The metal structure mimics the moving flame of polished golden hue that is present in war memorials around the world. Eternal flame is aesthetically and historically significant to the people of BallaratMetal construction on bluestone tile baseConflict areas for Australian Troops are engraved into bluestone shaped tile across the base of the statue. eternal flame, world war ii, conflict, peter blizzard, australian sculpture -
Ballarat RSL Sub-Branch Inc.
Post Cards (8) - Wood Sculptures by John Brady
WW1 Avenue of Honour, Lakes Entrance, Victorialiterature, ballarat rsl, ballarat -
Brimbank City Council
Etched clear glass sculpture, Scott Cowcher, Orchid plate, 1985
Local artistEtched clear glass -
Kew Historical Society Inc
Postcard, Nucolorview Productions, Queen Victoria Memorial, Melbourne, Victoria
One of a number of 'real photo' and commercial postcards created by or owned by members of the Christian and Washfold families of Kew. The postcards are part of a larger collection of photographs, postcards and publications donated to the collection in May 2021.Coloured postcard of the Queen Victoria Memorial in the Domain. An ornamental lake is in the foreground.queen victoria monument -- melbourne, sculptures -- the domain -- melbourne (vic.), christian-washfold collection -
Federation University Art Collection
Artwork - Sculpture, Christopher Headley, [Geese]
artwork, artist, ceramics, gippsland, chris headley -
Eltham District Historical Society Inc
Newsclipping, Rudy's art is in good shape! by Linley Hartley; picture by Ron Grant, Diamond Valley News, 13 August 1985, p38, 13 Aug 1985
Feature story on artist and sculpter, Rudy BroekmanDigital file only - Digitised by EDHS from a scrapbook on loan from Beryl Bradbury (nee Stokes), daughter of Frank Stokes.art, beryl bradbury (nee stokes) collection, rein slagmolen, rudy broekman, sculptures -
Eltham District Historical Society Inc
Photograph, Jim Connor, Alan Marshall by Marcus Skipper (1995) outside Eltham Library, Panther Place, Eltham, July 2020
Alan Marshall fully protected from the weather and COVID-19 virus with beanie and maskBorn Digitalalan marshall, art in public places, covid-19, eltham library, marcus skipper, pandemic, sculptures, statue -
Eltham District Historical Society Inc
Slide - Photograph, The Breeze (1990), Edward Ginger, Main Road Research, c.1993
35mm colour positive transparency Mount - Black and Whiteedward ginger, public art, research (vic.), sculptures, the breeze (1990) -
Eltham District Historical Society Inc
Slide - Photograph, Sculptures, Ninks Road, St Andrews, c.Nov. 2001
Part of a slide show presentation "A Trip Down the Diamond Creek" by Russell Yeoman to the Eltham District Historical Society meeting of 14 Nov. 200135mm colour positive transparency Mount - Black and Whiteart in public places, ninks road, public art, sculptures, st andrews -
Eltham District Historical Society Inc
Photograph, Detail - 'Classical Landscape' by Cliff Burtt, Alistair Knox Park, Eltham, March 2004, 2004
Colour photographeltham, alistair knox park, art, classical landscape, cliff burtt, sculptures