Signed and dated, l.l., red oil "N.F. HABBE. 1876".

Signed, l.l., red oil, "F. Ortlieb/Munchen" Not dated

l.l., red oil, "1C. (letters chipped) Morris./60".painting, sheep, lambs, family, animals, baby, parents

Inscribed on original mountcard, l.l., gold letterpress, "N.J. CAIRE".sandhurst, shamrock hotel, flour mill, albumen, bendigo, sandhurst, jewish synagogue, city town hall, photograph

Inscribed on original mountcard, l.l., gold letterpress, "N.J. CAIRE".bendigo, sandhurst, carriage, hotel, city, photograph, work on paper

Inscribed on original mountcard, l.l., gold letterpress, "N.J. CAIRE"bendigo, sandhurst, camp hill, rosalind park, photograph, work on paper

Inscribed on original mountcard, l.l., gold letterpress, "N.J. CAIRE"bendigo, sandhurst, city, photograph, work on paper

Inscribed on original mountcard, l.l., gold letterpress, "N.J. CAIRE"bendigo, sandhurst, train station, quarry hill, photograph, st. paul, work on paper

Inscribed on original mountcard, l.l., gold letterpress, "N.J. CAIRE"bendigo, sandhurst, photograph, work on paper

Inscribed on original mountcard, l.l., gold letterpress, "N.J. CAIRE"eaglehawk, albumen, photograph, regional victorian. civic, roads, town, bendigo, sandhurst

Inscribed on original mountcard, l.l., gold letterpress, "N.J. CAIRE".bendigo, sandhurst, botanical gardens, house, photograph, work on paper

Inscribed on original mountcard, l.l., gold letterpress, "N.J. CAIRE".bendigo, sandhurst, carriage, fountain, photograph, work on paper

Portrait in felt pen of a female head. Signed (L.r) 'Drew' and (L.l) 'For Cliff/ The woman you sleep with'.andrew southall, drawing, female head, adriane, clifton pugh

Inscribed on original mountcard, l.l., gold letterpress, "N.J. CAIRE". Not dated.albumen, photograph, bendigo, sandhurst, regional victoria, goldfields, township, city

Inscribed on original mountcard, l.l., gold letterpress, "N.J. CAIRE". Not dated.albumen, masonic, building, bendigo, town, sandhurst

Inscribed on original mountcard, l.l., gold letterpress, "N.J. CAIRE". Not dated.albumen, mental health, medicine hospital, bendigo, asylum

Inscribed on original mountcard, l.l., gold letterpress, "N.J. CAIRE". Not dated.albumen, photograph, chum hill, bendigo, sandhurst, town, village, buildings, people, poppet head

Inscribed on original mountcard, l.l., gold letterpress, "N.J. CAIRE". Not dated.alubumen, bendigo, sandhurst, town, buildings, architecture

l.l; 9/25, l.c; Elizabeth, l.r; Bran Seidel 77work on paper, print, printmaker, printmaking, australian artist, etching, portrait, woman

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.

Portrait of an old man wearing glasses and striped robe in front of a paint palette and surrounded by collaged newspaper cuttings. Signed (l.l) 'Clifton '85'. Inscribed on reverse: 'Self Portrait Clifton Pugh'clifton pugh, painting, self portrait, dunmoochin

Photographs relating to the red brick Ballarat South Uniting Church. "This stone from Sebastopol Church was laid by Rev. L.L. Lovell January 20th 1940"ballarat south uniting church, pandemic, uniting church, sebastopol

Painting depicting a reclining female nude and two blackboy plants with emu against an orange background. Inscribed (L.l) 'AP VIII/VIII Leda and the Swan' and signed (L.r) 'Clifton 80'.clifton pugh, screenprint, leda and the emu, female nude, landscape

EtchingVerso: Signed and dated l.l., in print "John Mather 1901" the initials are in monogram "(JM)" Recto: On backing board u.c., ink "Orginal Etching by John Mather 1901". Obversre sheet l.l., ink "Mather".landscape

Signed l.l., red oil, "Gve. Dore". Not dated l.r.cnr.:"Atelier Dore"; studio stencil

Painting depicting a female nude holding a hand mirror against a multi coloured background. Signed (L.l) 'Clifton May/June '74'. On reverse in chalk 'Judith 1974 (T1) (3)'clifton pugh, painting, female nude, mirror, judith

Pen and Ink Drawing on PaperSigned and dated recto l.l. ink "Victor Cobb. 1922" Titled l.r. ink "Harvesting Gippsland"landscape. gippsland.

Victor COBB (14 August 1876-02 December 1945) Born Footscray, Melbourne, Victoria Cobb's reputation rests on a large oeuvre of etchings, built up during his lifetime and depicting with meticulous accuracy the architectural splendour of Melbourne's colleges and churches, vistas of the city, the tea-tree patterned foreshore and the outer areas of bush and countryside. State galleries hold many examples of his work. (http://adb.anu.edu.au/biography/cobb-victor-ernest-5698) This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed limited edition etching of a street scene where an archway over road leads to the Cobb & Co. stables. These scene depicted is possibly in Elizabeth Street, Melbourne. Gift of the National Trust of Australia (Western Australia)Incised in plate l.l.: "The approach to the old Stables / - of Cobb & Co." / Victor Cobb 1926./ (no relation) inscribed in pencil l.l.: Victor Cobb inscribed in pencil l.c.: "Approach to the old Stables of Cobb & Co. / Melbourne inscribed in pencil l.r.: 3?/85. art, artwork, victor cobb, cobb and co, cobb & co, printmaking, etching

l.l; 21/35 MOGGS CREEK EDITION, c; 'On Becoming' (Yellow) (No.1), l.r; Brent Harris 98print, printmaker, printmaking, australian artist, abstract, screenprint, yellow

Etching and engravingTitled l.r. 'Our corporate who art in heaven'. Signed l.l. 'Rosalind Atkins eX De Medici"gas masks, flowers, flora, kauri pine, colaboration