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

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.

7103 - House with auction removal sign. -1 The view across the road to central park -2 View from the side showing seedling house and Stawell Bowling club -3 Showing the house on the truck looking towards the cab of the truck. -4 Looking back towards the house on the truck -5 The house on the truck just before turning a corner6 colour photographs showing the parks and gardens superintendents house streetscape

Log Cabin built by Mr. J. Wharrie c 1930’s. Originally the Log cabin had a bark roof. The roof was replaced with iron. The home is located in Darlington Road Stawell. The Wharrie family lived in the cabin for many years during the 1940's and owned a doll factory. Black & white photograph depicting a home built of logs with a lattice porch way, stone chimney's and iron roof. On the iron roof is a weather vane decorated on top by a carriage and 2 horses. The house is set in a garden with a stone fence in the foreground. There are 2 black & white prints one an enlargement of the smaller photograph.stawell dwelling

Important Victorian Labour Day annual event in Melbourne and many floats form a lengthy parade - celebration in the streets of Melbourne, concluding at the Alexandra Gardens along River Yarra; it is a presentation of various communities, arts and cultural performances in the State of Victoria.Getting together, celebrating multicultural community and many facets of social lifeGold plated trophy presented to Slovenian Association Melbourne in 1980 for the entry of a float at the Moomba parade.Melbourne Moomba Festival Chairmans Trophy 1980 Best Float by First Time Entrantslovenian association melbourne, moomba parade, moomba festival melbourne, moomba float

The Moomba International Cultural Group presenting International Medley Program, Melbourne, on Sunday, 4th March 1962 at Alexandra Gardens with international participants, among them musician playing a Slovenian polkaProgram design showed the Moomba logo and announcing Miss Moomba INternational Quest, Free admissionslovenian association melbourne, miss moomba international quest

LithographSigned and dated 'Lanceley 2001' lower right corner under printed image. Edition A/P 9/12, numbered on bottom centre under print. Titled 'Night Garden' in bottom left corner under printed image.

Multi-plate etchingSigned and dated 'A Kellett 01' in lower right corner under printed image. Edition 21/40, and title 'garden study' lower left corner under printed image.

Geelong is famous for its bollards. Created by local artist Jan Mitchell, the colourful bollards spot the foreshore, representing a fascinating and fun chronicle of the city’s past. Few people know that Mitchell planned for a flock of sheep to be part of her public art project. The wool industry is an important part of Geelong’s history, so Mitchell thought what better than a flock of sheep to welcome people to the city. The flock (and a Shepard) were to be placed out on the Melbourne-Geelong highway, near Lara, to welcome travellers to the city. The sheep would then be scattered along the road as a wayfinding signal to bring people to Geelong. When traffic authorities heard the plan for bollard sheep along the road, they squashed the project as a potential distraction for drivers. Another flock was also suggested for the hills of the eastern gardens, overlooking the bay. This was also disapproved; so Mitchell only ever partially completed four sheep bollards. The bollards are remnants of Jan Mitchell’s flock of sheep. The sheep also show the evolution of one of Geelong’s most iconic art installations. From the first sheep showing the raw timber of the old Yarra Street pier, to the sheep without a face, through to the completed sheep, it is possible to trace Mitchell’s process in the preparation of the bollards. The lost bollards form part of the National Wool Museum’s unique collection. The first bollard is the least complete, still in its original timber colour. From the central cylindrical shape, an additional wedge protrudes. This unpainted wedge forms what would have been the face of the sheep, with an ear present on either side that would have been painted white. Presently they are a bare metal. No legs are present on this bollard. The second and third bollard are completed to a similar level. They have a central cylindrical shape with an additional wedge protruding from the front of the timber. This wedge forms what would have been the face of the sheep, with an ear present on either side. The face and ears have been painted white but the finer details such as the eyes have not been added. These bollards bodies have also been painted white and have their legs attached. The legs are thin metal cylinders, approximately 50mm in diameter and 500mm long. The fourth bollard Is complete. It has the same central cylindrical shape with an additional wedge protruding from the front of the timber. This wedge forms the completed face of the sheep, with an ear present on either side that has been painted white. The face also features completed painted eyes. This bollard has its legs attached. The legs are thin metal cylinders, approximately 50mm in diameter and 500mm long. geelong, bollards, geelong's bollards, jan mitchell

Advertising brochure for Sunrise Estate, Mitcham. Includes train timetables and list of local factories and schools.Advertising brochure for Sunrise Estate, Mitcham. land subdivision, sunrise estate, mitcham, garden avenue, sunshine avenue, creek road, aylmer avenue, aroona avenue, glide, farrell & co.

Auction brochure for 'Sunrise Estate' Brunswick Road, Mitcham, 85 sites, 2 February 1957. Agent Glide, Farrell & Co; Eric Weber & Co. Ltd. Includes train timetables and list of factories and schools in area..Auction brochure for 'Sunrise Estate' Brunswick Road, Mitcham, 85 sites, 2 February 1957. sunrise estate, mitcham, brunswick road, centre road, mcghee avenue, holly court, berry avenue, garden avenue, land subdivision