Removed at the time Kew Presbyterian church was sold after Union. Cnr Cotham Road and Highbury Grove, Kew.Steel plaque with black text."TO THE GLORY OF GOD AND IN LOVING MEMORY OF David Bain Ross DIED 2ND OCTOBER 1938 "AND THE GATES THEREOF SHALL IN NO WISE BE SHUT BY DAY (FOR THERE SHALL BE NO NIGHT THERE)" REV 2.26 THIS GATE IS THE GIFT OF HIS WIFE DAUGHTER AND SISTERS"kew presbyterian church, david bain ross

Mrs Emily Lord gifted £1500 to the building construction which had a total cost of £2000.Soft black dimpled leather covered bible with gilt page edges. There is a calligraphic inscription in coloured ink inside the front cover."To My Friend Emily Lord in happy remembrance of Laying Of Foundation Stone Barkers Road Kew Sunday School by "Mother" November 9th 1935"barkers rd methodist church, barkers road kew sunday school, emily lord

Soft covered black leather book leather book with gilt embossing on the cover and spine edges. 243 pages. Inscription on the title page. non-fictione. sprott, methodist sabbath school sydney road brunswick

This new church built on 6 Clarkmount Road Sassafras was opened on 30th January, 1937 by Moderator Right-Rev. A Irving Davidson, M.A. It replaced the Log Cabin Presbyterian Church which erected in 1925 as a memorial to G H Derry, the first Chairman of the Recreation Reserve. The new church was built with donations from Mr and Mrs Thomas Kennon.Silver commemorative key with dedication engraved on both sides."THOMAS KENNON MEMORIAL CHURCH OPENED 30th January 1937" "Presented by Scarborough, Robertson & Love to MRS KENNON"thomas kennon memorial church, sassafras

The convention was held in the Methodist Church, Canterbury Road, Surrey Hills on the 12th, 13th, 14th June 1937. It was arranged and convened by the Methodist Local Preachers' Association.Large souvenir program for the 21st Holiness Convention. The program has a pink paper insert which asks for donations to fund the convention and weekend missions.Front cover: "Souvenir of the 21st Holiness Convention, Melbourne" methodist local preachers' association melbourne branch

The convention was held in the Brunswick Street Methodist Church, Cantebury Road, Surrey Hills on the 13th, 14th, 15th, 16th, 17th June 1940. It was arranged and convened by the Methodist Local Preachers' Association.Souvenir program for the 24th Holiness Convention. The program has a reproduction of the artwork "The Light of the World" by William Holman Hunt. The back cover is umber coloured with an image of a bible and card with the words "Behold I stand at the door and knock. If any man will open I will come in! Have YOU opened it yet?"Front cover: "I am "The Light and Hope of the World""methodist local preachers' association melbourne branch, brunswick street methodist church, fitzroy

The Wesleyan Church was located at the corner of Burwood Road and William St. Hawthorn. It was designed by Messrs. Crouch and Wilson. The foundation stone was laid by the Hon. Alexander Fraser MLC on 14 August 1867. The Sunday School next to the church was built in 1878.Sepia carte de visite photograph of the Wesleyan Methodist Church located at the corner of Burwood Road and Williams Street Hawthorn.Burwood Road, Williams Roadwesleyan church, hawthorn, crouch and wilson, hon. alexander fraser

Rev. Eli Stanley Jones (1884-1973), born in Baltimore USA, was a missionary and wrote bestselling The Christ of the Indian Road.Gloss, black and white head and shoulders image of Rev. Eli Stanley Jones."Your friend and His, Stanley Jones"jones, es, methodist

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

St. John's Presbyterian (now Uniting) Church is located on the corner of Mt. Alexander Road and Buckley St. Essendon. Lord Somers was the Governor of Victoria.B & W photograph of Lord Somers laying the foundation stone of the new St. John's Presbyterian Church Essendon on 21 May 1927. The photo is mounted on grey card.

The image is of the Brooklyn Church, 9 Paringa Road, Altona North. ?PresbyterianWooden block with metal plate on one side and photographic image on the other.brooklyn church

James Hamilton (1740-1827) joined the fledgling Methodist society and became a local preacher. He helped John Wesley to organise Methodism in Scotland. He became an influential member at Wesley's Chapel in City Road London. John Wesley 1703-1791 was the founder of Methodism.Printed etching mounted on timber. Depicts 3 men in profile view as they walk down the street.1. James Hamilton M.D. 2. Revd. John Wesley M.A. 3. Revd. Joseph Cole Drawn as they were seen walking in the Streetjames hamilton, rev john wesley, rev joseph cole, methodist

Rev Alan Body ministered at Wentworth (the Victorian parish in New South Wales) for 10 years, and was subsequently transferred to Boort. During his time at Wentworth he conducted a patrol ministry, travelling between 8000 and 10,000 kilometres per year visiting the area from Wentworth to Pooncarie, to Coombah on the Broken Hill road, out west to the South Australian border, south to the Murray and upstream to Wentworth.B & W waist length photograph of Rev. Alan Body with his Wentworth Shire Australia Day Citizen Award."Alan Body page 31 C&N 24/2/1988"rev alan body

Brass plaque on varnished wood mount."Nurses Balcony the gift of Burke Road Church Balwyn"methodist babies' home

Round badge. White with black text and image."Highfield Rd. Methodist Church Silver Jubliee 1937"highfield road methodist church camberwell

George Percival Rayner, BA (Adel), BD (MCD), DCM was born in Strathfield, NSW, in 1894 and died in Adelaide, SA, on 12 December 1976. He was ordained a Congregational minister at Vardon Memorial, Kings Park, SA on 21 December 1921. His ministries were: Vardon Memorial, Kings Park, SA 1921-1923; Augustine, Hawthorn, Vic 1923-1928; Staines, Middlesex, UK 1929-1937; Lea Road, Wolverhampton, UK 1937-1948 and Unley Park, SA 1950 - ?Sepia toned 3/4 studio portrait tipped on to brown card of the Rev. G. P. Rayner, wearing an academic gown and clerical collar. He has his arms at his side, his body slightly angled and he is looking directly at the camera.rev g p rayner ba bd, congregational minister, augustine congregational church hawthorn, george percival rayner, vardon memorial congregational church

The Rev John Edward Smith was born in 1900, ordained in 1932 and died 1986. He served in 1935 Port Campbell; 1937 Wychproof; 1940 Werribee; 1947 Bendigo St. John's; 1952 Albury; 1955 Essendon St. John's and 1967 Apollo Bay. He retired in 1969 and in 1971 was appointed Emeritus Presbytery Melb. West.Black and white head and shoulders studio portrait of Rev. John Edward Smith. He is wearing glasses, looking at the camera and is wearing his clerical regalia. The back has the photographer's name and address, also that of the Rev Smith. It laso has various numbers and measurements indicating that the photograph was to be used in a publication."Rev. J. (John) Edward Smith. 853 Mt. Alexander Road, Essendon, W.5 PHONE FU1085" "The Dover Studio 17 HOLMES ROAD, MOONEE PONDS"presbyterian ministers, john edward smith, st john's presbyterian church essendon

Joseph Ebery was a Congregational minister, born 1858, died November 3, 1947. Ministry was as Wesleyan Home Missionary ?–1897; Congregational churches – Dover (Tas) 1897-1907; Tamar St Launceston 1907-1909; Devonport 1909-1914; Gatton (Qld) 1915-?; Redcliffe (Qld) 1921-1927; Beechworth (Vic) 1927-1930; Hughesdale 1930-1934. Was a Wesleyan lay preacher at Allandale and Woodbridge (Tas). Obituary - "… For ten years carried on an energetic evangelistic ministry, riding his horse over the roughtest roads in his scattered district, which was 25 miles long, and visiting even the southern-mosst home in the island (Tasmania)" As a Wesleyan Home Missionary he was not allowed to marry. The Congregationalists had no such restrictions so he joined the Congregational Church and married his Emily. [See Munster, Biographical Index of Congregational Ministers in Victoria 1838-1977.)Photocopy of studio portrait of Rev. Joseph Ebery and Mrs. Emily Jane (nee Walker) Ebery, Joseph aged 69 and Emily aged 68. Joseph, beard and moustache, is wearing a suit with a cellophane collar, no tie. Emily is earing a coat over a patterned shirt, and a choker necklace and glasses.As for the title.ebery, joseph, congregationalist, wesleyan home missionary, 1858-1947

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

Flemington Wesleyan Methodist church was built on Mt Alexander Road in 1865.

Flemington Wesleyan Methodist Church, Mount Alexander Road built in 1865. A Wesleyan church of which the nave of 1865 is typical in its use of brick and contrasting dressings and is a minor variant in the Methodist tradition of token Gothic, with pointed windows and brittle detailing; the spiky octagonal turrets and classical finial being somewhat novel, the porch and the transept (1883) being later additions. Classified: 18/09/1975 Demolished: 07/1999. [http://vhd.heritagecouncil.vic.gov.au/places/65363]Flemington Wesleyan Methodist Church brick. flemington wesleyan methodist church

Wooden giving box with paper labelsTop: "freely Ye Have Received! xxx [illegible] Give". Front: "Australasian Home & Foreign Missionary Society : Go ye into all the world and preach the Gospel to every creature". Side 1: "He shall speak peace unto the Heathen". Side 2: "The Idols he shall utterly Abolish". Back: " This Box should be opened and the Money sent to Rev. B. Danks, Glenferrie Road, Kew, not later than the end of January in each year B.D."australasian home & foreign missionary

Small polished metal commemorative plaque mounted on a wood block."The first Service was held at St Andrew's Warrigal Road Oakleigh 4-6-1865, This emblem was dedicated 5-7-1959 and remained in the sanctuary until Church Union 22-6-1977."

Silver commemorative trowel with bone handle.Presented to Mrs F J. Cato by the trustees of the Bambra Rd Methodist Church on the occasion of the laying of the Foundation Stone 9.8.30cato, f. j., bambra road methodist church

Gold plate on silver plated EPNS kite shaped commemorative trowel with a turned wooden handle with an engraved inscription. The trowel is in a blue cardboard box."Presented to Mrs Richard Lord on the occasion of her laying the foundation stone of the "Youth Welfare" building at Barkers Road Methodist Church. Nov. 9th 1935"mrs richard lord, barkers rd methodist church

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.