Born: Dundee, Forfarshire,Scotland 1851; Arrived: Melbourne, Victoria, Australia 1872; Lived and worked: Scotland 1875-1884; Died: Carlton, Victoria, Australia 1912VictorianLedger Bequest, 1993Oil on canvas on composition board, depicting a rural landscape and miner's commune off a dirt road. Gold brushed timber frame with decorative gesso edges and corners Recto: Signed and dated “J FORD PATERSON / 1884” in blue oil in l.r.c of composition; Not titledpainting, landscape, house, trees, path, road

Large residence on large elevated block for Frederick Christian Lange (1832-1888) and family in 1870. The architect Lloyd Tayler (1830-1900) designed it in an Italianate style. Over time adjoining allotments were purchased until the gardens covered nearly 15 acres. Lange was in partnership with Emil Thoneman trading under the name of Lange & Thoneman, merchants and general importers. Lange was also one of the local directors of the local Australasian directors for the Swiss Lloyd Marine Insurance Company. William Officer (1835-1913), pastoralist, bought the property from Lange in 1888 for 23,500 pounds. Following Officer's death the grounds were subdivided in 1914 and the house finally demolished in 1940. Noting the spelling difference, there is now a street named 'Hertford Street' very close to this location. black and white photograph copyAlma Road south west corner Lansdowne Road built for Federick C Lange (Merchant) Photo 1872

Built for William Wilmot Couche (1829-1890) probably in 1869. The architect was Lloyd Tayler (1830-1900) and it was designed in the polychromatic Lombardic style that had been introduced to Melbourne by the architect Joseph Reed (1822-1890). Couch was a prominent merchant and businessman. He founded the firm Couch Calder & Co, was director of several insurance companies and a member of the Melbourne Harbour Trust for many years. From about 1900 the house was renamed Wavenhoe. In the 1920s Wavenoe Avenue was constructed through its gardens and most of the land sold off including the blocks at the corner of Hotham Street and Alma Road. The house still stands opposite St Kilda cemetery.black and white photograph copy

Historic - Farming - Track tool - Garden ScytheHistoric - Farming - Track tool - Garden ScytheGarden Scythe made of wrought Iron with wooden handle puffing billy, garden scythe

Camp 13, administration area, s.w. corner near Commandants house. Made by prisoners using local stone.Camp 13, Camp Road, Murchison, Victoria. Stone work,ornamental pond, bridge, s.w. corner near administration area - remnants.Camp 13 West Garrison Gardens - Stone bridge over figure 8 poolcamp 13, murchison victoria, pow, internment camps, stonework

Open Monument is a contemporary artwork acknowledging the history of Chinese people in Ballarat. The Chinese diaspora was global and many Chinese people came to Ballarat and the Victorian Goldfields. The work details some of the personal Chinese family memories of Ballarat from the goldrush forward. The 33 marble laser-etched panels include found images and texts mounted on a modernist metal architectural feature holding back a grassed hill landscape. Within the side walkway of gravel and composite stone is an etched of local activities relating to the Chinese community achievements that can be added to by the community.Open Monument is of aesthetic and historical significance to the people of BallaratArchitectural artwork consisting of large marble panels on a corten steel frame imbedded into a grassed mount.Inscription on plaque: Open Monument 無極紀念碑 ​/ Artist: John Young ​/ Officially Launched by Mr Yumin Song / Chinese Consul-General to Victoria​ / 6th September 2015​ / Open Monument unearths stories of the Chinese diaspora in Ballarat, a name which means/ “resting place” to the traditional custodians - the Wadawurrung and Dja Dja Wurrung people.​/ The monument comprises of two artworks: Transculture, a granite-panelled work, evoking stories of alternative worldviews, / modernity, leisure and toil. Whilst Timeline traces the major contributions of the Chinese community in Ballarat, every decade / from the 1850s until the present. The timeline then folds out to 2170, anticipating imaginary future contributions.​ / The monument is open to future interpretations of this history. ​/ I thank you for visiting and acknowledging the contributions and memories that meant so much to / those who have gone before us./ - John Young Zerunge​ / Patron: Mr Henry Thai OAM JP​ / President of Ballarat Chinese ​/ Community Association Inc​ / The following generous donors to this project are acknowledged with gratitude​/ City of Ballarat​ Sovereign Hill Museum Association Inc.​ Ballarat Chinese Community Association Inc.​ Mr Henry Thai OAM JP & Mrs Sandra Thai ​ Mrs Shirley Doon & Family in memory of Harry Doon​ Chinese Masonic Association Inc.​ Mr Mean Te and Mrs Meng Khun​ Mr Jack Nguyen MA JP & Mrs My Tang​ Mr Tony and Mrs Elise Yu​ Mr Chang Zhen Zhen & Family​ Australian Lian Jiang Association​ The Federation of Chinese Associations Vic​ The Leesoon Family​ Mr Stephen K.F Ng OAM JP​ Dr Che Sam Lo MD phD JP OAM​ Elderly Chinese Home Inc.​ The Federation of Chinese Org from VN Cambodian and Lao Association of Vic. Inc.​ Bright Moon Buddhist Society​ Nam Pon Soon Club House​ See-Yup Society​ Mr Peter Chong Wai Lo​ Mr Qing Song Lin​ Mr Binh Quoc Mao & Mrs Thuy Cam Thai​ Mr Alexander Mao​ Mr Yuet Lung Kwok JP​ Mr Tai The Tran​ Mr Phillip K. L. Tran​ Mr William K. L. Tran​ Mr Quang Khon Tran JP​ Mr Kouy Taing​ Mrs Kieng Hor Lou​ Mr Bill Chang Piu Au​ Mr Maurice Kwok Leong ​ Mrs Eunice J. Leong​ Mr Vi Minh Tran JP​ Mr Frank Cheng​ Mr David Cheng​ Mr William Thai​ Mr Lizhen Lin​ Mr Phillip Richard Thai​ Mr Hoan Ping Kow​ Mrs Xao Nhu Kow​ Mr Huy Thai​ Mr Yun Kuen Lo​ Mr Chiu Yip & Mrs Yuan Han Cho​ Mrs Jacqueline Louise Thai Greenwood​ Mr Joe Hap Chi Chao & Mrs Rosana Wei Ning Chao​ Charity & Multi Art Association of Victoria Inc.​ Mr Billy Cai​ Miss Nikki Cai​ Miss Su-Ling & Miss Lily Mays-Doon​ Mr Anthony Doon​ Mr H J Moy & Family​ Chinese Australian Cultural Society Ballarat Inc​ open monument chinese, chinese history ballarat goldfields, china, ballarat, goldfields, john young, chinese, mining, multicultural, immigration, tong way, goon, joss house, embroidery, billy butterfly, chinese market gardens, red lion hotel, ah soon, mayor of main road, chinese herbalist, yee lee, james hong, cheok cheong hong, john ah loo, wathawurrung, robe, lowe kong meng, louis ah mouy, tongway, gallipoli, william lung

In 1878, Mrs Charlotte Anderson founded an private school for girls in her home at Bulleen Road, Kew (now 63 High Street South, Kew). She moved her school to ‘Edgecomb’, in Studley Park Road in 1882 and named it Ruyton. Charlotte Anderson retired in 1888, and sold her school to Miss Eliza Bromby. This image was used to illustrate The Ruytonian, June 1915, p2. The date of manufacture of the duplicate photograph is unknown.Black & white duplicate photograph of Mrs Charlotte Anderson with staff and a group of younger students from Ruyton Girls’ School, c.1885. The group is arranged in three rows of seated and standing individuals, and is located on a garden setting. The photograph was taken at ‘Edgecomb’, Studley Park Road, Kew which was the location of Ruyton from 1882-1888. Mrs Anderson is seated in the middle row, third from right. ruyton girls' school, kew, charlotte anderson

Beatrice Charlotte Henty was born 25 December 1867, married Graham Frederick Blandy in 1927 and died on 5 March 1950 in Toorak. She did not have any children. Miss Beatrice Henty was the daughter of Henry and Marion Henty. Mr Henry Henty and his wife Mrs Marion Anne Henty (nee McKellar) had ‘Tarring’, Kew built for their family in 1872, and resided there until the death of Marion Henty in 1919. ‘Tarring’ was then sold to Ruyton Girls’ School, and the School moved to the site, (now 12 Selbourne Rd, Kew) in 1920. ‘Tarring’ was renamed ‘Henty House’ by Ruyton Girls' School in honour of its original owners. Ruyton Girls' School was founded in 1878, Miss Beatrice Henty attended the School before 1888. The photograph is dated c.1904. Sepia toned photograph Miss Beatrice Henty in the garden of her family home Tarring, Selbourne Road, Kew. The north east and south facades of the two story brick house are visible in the photo. Beatrice Henty is standing in the garden wearing a long gown and a large hat. A gravel path curves across the lower left corner of the photograph. The photograph is mounted on card.ruyton girls' school, kew, beatrice henty, henry henty, marion henty, tarring, henty house, selbourne road, beatrice blandy, kew (vic), 1900s, 1904

The Ruyton Reporter (formerly known as Ruyton Reports) captures the essential Ruyton Girls' School experience for the broader school community. It has been produced since 1986.The record has strong historic significance as it pertains to one of the oldest girls' school in Victoria, Australia. Ruyton was founded in 1878 in the Bulleen Road, Kew, home of newly widowed Mrs Charlotte Anderson (now High Street South). Thus, the record can be used as a reference example for research into Victorian school history. It also gives insight into the types of activities and events undertaken at Ruyton Girls' School during the period of its production. The record's significance is further enhanced by its exceptionally well-documented provenance, having remained the property of Ruyton Girls' School since its production.Colour publication printed on paper with staple binding. 16 pages.Front Page: the reporter / Ruyton / summer 1995 / PRINT POST / PP 341999 00026 / APPROVED / 12 Selbourne Road Kew / Telephone: 9819 2422 / Facsimile: 9818 4790 / R / RECTE ET FIDE LITER / They love to win an argument! / Contents / Cherida's / Champions / Tulloch Sprint / Record / Photography / Exhibition / Left to right: Back Row: Kate O'Brien, Lauren Milner, Ms. Cherida Longley, Catherine Traynor, Prue Bodsworth / Middle Row: Anna Archer, Eve Bodsworth, Claire Waugh-Young, Sangeeta Sandrasegar / Front Row: Penny Hill, Grania Buckley SEE PAGE 2 / STOP PRESS: "Allegro Fantasia" A night of fantastic opera and fabulous food in the gardens of historic / Henty House, Saturday 3rd February 1996. For further details see enclosed brochure. /ruyton girls' school, ruyton, school, students, newsletter, ruyton reports, ruyton news, kew, victoria, melbourne, girls school

Former Congregational minister. Born Ballarat 7/9/1887, died Ascot Vale 18/2/1962. Attended Congregational College Victoria 1916–1919. Ordained Glenhuntly 11/12/1919. Ministry exercised in Busselton WA 1914-1916; Koonung/East Kew 1916-1919; Glenhuntly 1919-22; Elsternwick 1923-25; Forest Street Bendigo 1926-30; Northcote 1931-33; Luhrs Road, Payneham/Medindie S.A. 1934-37; Houghton/Paracombe S.A. 1938-42; Seddon/Yarraville 1943-46; Director, Congregational Young People's Department 1946-51; Hughesdale 1951-57; Maryborough 1958-1960. President Congregational Union of Victoria 1950-51. Married Annie Williams, father of Rev. John Reeves.Reeves is shown as an elderly man holding hands with two little girls. He is dressed in a suit with waistcoat. They are standing near the fence of a public garden."Rev. Duncan E. Reeves"reeves, duncan e., congregational church

Born 3/4/1907 Launceston; died 10/10/1982 Adelaide. Attended Congregational College 1925-1930. Ordained Hughesdale 9/2/1931. Ministry: Hughesdale 1929-1931; Beechworth 1931-32; Gardiner 1932-37; Black Rock 1937-1942; Military Chaplain Aust & PNG 1942-45; Croydon/North Croydon 1945-51; College Park (SA) 1951-56; Luhrs Road Payneham/Hectorville (SA) 1956-60; Luhrs Road Payneham 1960-61; Colonel Light Gardens 1961-67; Port Elliott (SA) 1967-71. President Congregational Union of South Australia 1958-59. Married Madge (undated). Retired 1971. Further information - Portrait, SA Cong., February 1958, p. 4.Sepia photograph, mounted on light brown card of Charles Gilbert Forward wearing striped dark suit with clerical stock and collar, as well as glasses and a very light moustache.Rev. C. G. Forward - Pastor 1937-1943forward c. g., congregationalist, victoria, south australia congregational churches

The aerial photograph shows the market garden situated on the river bend and flat of the Deep Creek at Bulla. In the 19th Century a hotel occupied the site. After World War II the property was owned by the Hughes family, who grew flowers. In 1971 Andrew Vlass purchased the property and it became a market garden until the Vlass family sold it in 1990.A black and white aerial photograph of the river bend and river flat of the Deep Creek at Bulla.scale - 170 feet = 1 inchdeep creek, market gardens, sunbury road, bulla, horticulture, hughes family, vlass, andrew, hotels, george evans collection

St. Mary's Anglican Church at Bulla was originally built on the outskirts of Bulla township in 1858. In the early 1970s it was moved to its present site to make way for the flight path at the newly constructed Tullamarine Airport. The former site was on the corner of Oaklands and Sunbury Roads and is covered with vegetation. The church was designed by Thomas Taylor.A profile view of the west side of St. Mary's Anglican Church at Bulla and the garden area around the church. A slate covered gable roof has been constructed over the porch nave and chancery with a cross at each end of the roof over the nave. 6 bluestone buttresses and 3 lance windows are along the side with 3 small lancet windows and a blue painted wooden lancet door on the porch.churches, religion, taylor, thomas, st. mary's anglican church, george evans collection

A black and white photograph of a weatherboard house and garden known as Bayview Farm at Diggers Rest. It is the home of Uraina and Eileen Cullinan situated at 111 Davis Road, Diggers Rest.on back: BAYVIEW / 111 DAVIS ROAD / DIGGERS RESTcullinan, uraina, eileen, diggers rest, bayview farm, chris, davis road, george evans collection

This building once contained the municipal offices and a public Town Hall for the City of Sunshine. The building was demolished and on the site the R.T. Pollard Gardens were established. The Gardens are shown in the second photograph.Although the council built new municipal offices in Alexandra Ave, a Town Hall for public use was never rebuilt. The council considered that there were other halls available, such as the Mariana Hall or school halls, which could be hired for public or council functions. This picture of the Sunshine Town Hall is a copy made from an unknown printed article. The building no longer exists.THE SUNSHINE TOWN HALL Saturday 21st May 1960sunshine town hall, r.t. pollard gardens, council building, ballroom. pollard gardens

THE OLD CLUNES HOSPITAL WAS SITUATED ON CRESWICK ROAD. IT BURNED DOWN IN JANUARY 1944 DURING BUSH FIRE. IT WAS BUILD 1873 AD.SEPIA PHOTOGRAPH OF OLD CLUNES HOSPITAL SHOWS FRONT ENTRANCE AND PART OF GARDEN.local history, photography, photographs, hospital [old], clunes hospital

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

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.

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.

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.

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.

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.

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 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.

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

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