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

Created during her residency at Laughing Waters, Ash, the performance is a response to concurring world events and continues Orr's practice of using her own body as the site for creating provocative imagery. In Ash, she explored a familiar theme - our relationship with the environment. The audience was are asked to peer inside a rough wooden hut where Orr laid motionless on a coffin-like slab. The floor was strewn with forest litter and her own body, covered in ashes, carried text messages as reflections on human suffering, in particular the plight of refugees in Australia.Photograph - cibachrome depicting the artist Jill Orr in a reclined position, swathed in fabric. There is black text all over her body carrying messages about war and the plight of refugees.laughing waters, jill orr, ash

Ino KIYOSHI (b 1946, Kyoto Japan, d. 2008) Worked in Australia from 1973–76 and 1978–2008 Ino Kiyoshi was to a family that has been involved in the production of pottery for some 160 years. Working in the family studio while studying at the Kyoto School of Arts and Crafts, he completed his diploma of Ceramic Art in 1969. He then attended the KyotoTechnical School for a post-graduate course in glazing. then lectured in ceramics at the KyotoTechnical School. Following in the footsteps of the famous Japanese potter, Shoji Hamada who had visited Australia in 1965, Kiyoshi Ino visited Sydney in 1973, where he worked with Japanese potter Shigeo Shiga). Kiyoshi took up an appointment as Visiting Lecturer in Ceramics at the Gippsland Institute of Technical Education, Churchill, Victoria, from 1974 to 1976 and returned there as Assistant to the Senior Lecturer in Ceramics in 1979. He ceased teaching at the Gippsland Institute in 1988. Ino was involved in the establishment of a space for artists in the old butter factory at the nearby township of Yinnar and in 1982 the Yinnar Art Resource Collective, commonly known as Yinnar ARC, was established. Ino has exhibited extensively throughout Australia. Gift of the artist, 1982impressed seal for Kiyoshi Ino on baseceramics, shikuhu ino, jan feder memorial ceramics collection, gippsland campus, yinnar, yinnar art resource collective

This document was written to celebrate the 60th birthday of Legatee Leigh Johns in 1983. It is a collection of poems written about L/ Johns by different authors as a tribute to him reaching 60 years of age. Leigh Johns was born in 1923, the date of the founding of Melbourne Legacy, and became a Legatee in 1956, serving on 15 ML Boards and as an executive member of the Legacy Co-ordinating Council . He had a distinguished war record in the RAF during WWII and survived 32 bombing raids over France and Germany. He was an enthusiastic contributor of poetry to the Melbourne Legacy Bulletin which explains why this document is in the form of a poem. He was granted Reserve status in 2001 and died in 2008.The tone of the document reveals the affection with which Leigh Johns was regarded amongst his peers, and illustrates the collegiality which existed in the organisation during his membership.White A4 photocopy paper with black type x 13 pages.'Box 16' on title page. Typed title 'Leigh F Johns / 60th Birthday / 10 February 1983'.legatee, birthday

Ada Lyon, nee Apted (1898-1962) was a member of the Eltham War Memorial Trust which in 1945 decided that a WW2 memorial in Eltham should include a baby health centre, a children's library and a pre-school centre. Ada Lyon worked tirelessley as a member of the women's auxiliary to raise funds for the memorial. The third and final stage of the Memorial was opened in November 1961. Following her death the following year; a memorial sundial was erected in recogintion of her work for the War Memorial Trust. Words on the plaque read: "To the memory of Mrs Ada Lyon in recognition of her work for this Trust".The sundial recognising the local contribution of Ada Lyon is of local historical significance in not only recognising a woman for her contributions during an era when women were generally unrecognised publically but is also a reminder to current generations of her work and that of her peers to iniate the war memorial in honour of local enlistments in WW2.Roll of 35mm colour negative film, 10 strips. Print copies originally located in a small pink (with decorative flowers) album, suede spine, 18 x 18 x 6 cm, 50 page inserts, 100 photo capacity.Kodak Gold 100-5ada lyon, eltham war memorial, sundial